Pedal Usage

This is a relaxed piece, not one that expresses strong emotions. Since the melody line is considered the vocal part, close attention should be paid to the precisely notated rests. For example, in measure 6, there is an eighth rest on the off-beat of the third beat in the right hand. This eighth rest marks a branching point between the preceding phrase and a new one, so ideally, silence should be created. However, since this piece consistently aims to sustain the bass, the pedal is used for the bass. Consequently, this rest cannot be observed. The solution is as follows:

• Release the pedal on the third beat during measures 6-9 and 16-19. Then, depress it again from the fourth beat.
• Repeat the same procedure thereafter.

Another pedal instruction is in the final measure, measure 24, where the pedal should be held down for the entire measure. This is to sustain the whole note in the bass on the first beat.

Melody Line and Variations

The next point of attention concerns the variations. In this piece, the same melody is repeated three times, each time with variations, and the right-hand accompaniment patterns gradually become more complex. Naturally, the performance must not obstruct the melody line, nor should the melody line disappear.

The interplay between the melody line and the accompaniment becomes so intricate that the melody line must be played alternately by the left and right hands. Although there are indications in the score, I will state the author's perspective:

• The melody line D in measure 12, third beat, should be taken by the left hand.
• The melody line A in measure 14, third beat, should be taken by the left hand.
• The melody line G# (gis) in measure 21, off-beat of the fourth beat, should be taken by the left hand.
• The melody line B (H) in measure 22, third beat, should be taken by the left hand.