Key Considerations

This piece has two key considerations: one is the method for maintaining the polyphonic order in the B section, and the other is pedaling.

Let's begin by explaining the B section. Measures 10-25 are considered the B section. Within this, measures 10-16 are the two-voice section. In the right-hand part, one voice has stems pointing downwards, and the other voice has stems pointing upwards.

First, regarding the inner voice with stems pointing downwards:

The peak note of the first phrase is C on the first beat of measure 11. The peak note of the next phrase, starting from measure 12, is C on the first beat of measure 13. For the third phrase, it is D-flat in measure 15, and for the next phrase, F in measure 17. These four notes in total are the target notes that define the direction.

Following these four peak notes of the inner voice are the resolution notes:

• The first is B on the second beat of measure 11.
• The second is B on the second beat of measure 13.
• The third is C on the second beat of measure 15.
• The fourth is E-flat on the second beat of measure 17.

All these resolution notes must decay and be softer than their respective peak notes. Ensure they are never louder than or equal in volume to the peak notes.

Next, let's look at the upper voice.

Starting from the second beat of measure 11, the peak note of the first phrase in the voice with stems pointing upwards is F-sharp on the first beat of measure 12. For the next phrase, it is F-sharp on the first beat of measure 14, and then B on the first beat of measure 16. These are the three peak notes.

The notes written immediately to the right of these peak notes are the resolution notes:

• G on the second beat of measure 12.
• G on the second beat of measure 14.
• A-flat on the second beat of measure 16.

These are the three resolution notes.

These peak notes and resolution notes should be treated in the same way as those in the inner voice, ensuring that the resolution notes are not louder than or equal in volume to the peak notes.

The challenging aspect of this section is how these two voices intertwine with staggered timing. For example, the A-flat in the upper voice on the second beat of measure 11 is the starting note, but the ending note of the inner voice is simultaneously written below it. Here, the inner voice must be played softly, while the outer voice must be played strongly. As the inner voice is likely played with the first finger, it tends to be played with too much force. However, you must control both voices simultaneously so that they sound like a duet. This is the key point to note in this section.

Pedaling

Regarding pedaling: Generally, depress the pedal once per measure and hold it until the next bass note changes. Although holding the pedal might cause muddiness because the melody line sometimes contains notes a semitone apart within the same measure, the notes for the first one or two beats are often chord tones, and non-chord tones frequently appear on the third beat. However, do not change the pedal on the third beat; prioritize the bass and avoid changing the pedal. Nevertheless, in measures such as 8 and 9, change the pedal flexibly as appropriate.