Overall Flow:

It is marked Allegro non troppo. While this marking is indeed ambiguous, meaning 'fast, but not too fast,' the author interprets it as an instruction to avoid a monotonous progression. Four triplets are arranged within each measure, and this pattern continues without interruption until the final measure. This signifies that the music flows continuously without pause. However, it is not music that progresses mechanically or rapidly, nor does it convey a sense of pressure or agitation; rather, the music should proceed gently, calmly, affirmatively, smoothly, and freely. Care must be taken to ensure it does not become music that rushes 'from one moment to the next without a single stop.'

Overall Structure:

It is considered to consist of a melody and accompaniment. The notes in the right hand, with stems extending as quarter notes on the treble clef, are considered the melody line. From measures 14-17, there may be differing opinions regarding which voice constitutes the melody line.

Note 1: Regarding Rubato

As mentioned previously, this piece should not be played monotonously like a metronome; it requires a sense of lyricism, which necessitates the application of a certain degree of rubato. The question then arises as to how to apply rubato. A simple method is to first play the melody (melody line only, excluding the second and third notes of the triplets) and the left-hand bass as two voices. Since the triplets are not played, this means playing four quarter notes in each measure. Then, decide which notes to emphasize within each phrase, progress towards them, and once those notes are reached, allow the intensity to diminish. At this point, try to take liberties not only with dynamics but also with timing.

Once you can freely control the timing, try playing normally, adding the triplets. At that time, even with the triplets, fluctuate the tempo according to the aforementioned 'free version.'

This will allow you to escape rigidity and sing with ample expression.

Note 2: Regarding the Balance between Melody and Triplets

In this piece, even though it is understood that the melody line falls on the beat, there is a tendency to inadvertently apply too much force to the triplets as well. A crucial point in this piece is to differentiate between the melody note and the remaining two triplet notes. The melody note should be played clearly, while the remaining two triplet notes should be played pp.