No. 2

Although this piece is marked Allegro non molto, for those of us who have heard the second and third editions, the image of the piece is already established. Therefore, the tempo may need to be set at a pace that allows for a certain degree of virtuosic playing, otherwise the piece might not shine. The metronome marking is quarter note = 100, which is still quite a fast tempo. Even for the first edition, performing this piece requires considerable technical skill. For musical ideas, please listen to recordings of the third edition (the most commonly performed version today) to gain an impression. While the melodic line cannot possibly be played at the same speed as in the third edition, it is clear that this first edition also demands a fast and energetic performance.

When the tempo becomes fast, the arpeggios and scales written here require the application of fundamental techniques acquired through Hannon and Czerny. However, this piece also includes repetitions and passages of broken octaves in triplets. These are surprisingly tricky, so I would like to focus on these two aspects. Please look at the anacrusis at the beginning; this is already a difficult section.

If the broken octave triplets, as in measure 1, were all on white keys, the fingering 514514 would not be too difficult. However, it becomes problematic when black keys are involved. The anacrusis includes F-sharp and G-sharp. Although various fingering options are likely written, I also use finger 3 in addition to 1, 4, and 5. If the performer has hands large enough to reach an octave with fingers 1 and 3, please try experimenting with finger 3 as an option. Incidentally, for the broken octave fingering in the left hand at measure 17, I use E 515, F-sharp 414, G-sharp 314.

There are many practice methods for repetitions. For example, when practicing repetitions with only fingers 1, 2, and 3, increase the number of notes from three to four. Then, using three patterns—3213, 2132, and 1321—play the repetitions as fast as possible towards the fourth note, stopping the fourth note with a forte. Hold the stopped note on the key for a few seconds. When stopping on the fourth note, ensure that your fingertip does not waver. If there is a difficult pattern among the three, focus on practicing it intensively.

If repetitions become uneven, it is usually because either the preceding finger or the following finger is weak when moving from one finger to another. That is, when playing repetitions like 3-2, weakness in either finger 3 or finger 2 can cause unevenness. It is also common for a weak finger to lift slowly from the key, preventing the key from fully rising before the next finger strikes, thus hindering proper repetition. Experiment with various repetitions to identify which finger is causing the issue. Hannon also includes repetition exercises, so practicing those is another approach.

Additionally, here are some points to note:

• The forte in measure 4 is Subito. It is fine for it to become suddenly loud.
• In measures 23-24, the melodic line is B-natural, B-flat, A, G-sharp, A, B-flat; it is advisable to decide on the target note. I considered B-natural as the target.
• In measures 28 and 29, the left-hand notes on the upbeat of beat 3 should be played forte and in one swift motion.