Musical Aspects: Note 1

This piece contains several musical materials, each with its own character, which should be maintained consistently. For example, in measure 1, the right hand's triplet + eighth note figure is to be played leggiero, with the final eighth note staccato. From this, we can assume that this material must be played lightly. If, for instance, this staccato is lost due to the pedal, it would compromise the original character of the material. Therefore, when this triplet + eighth note figure appears, it is important to respect each material, for example, by not using the pedal. This is one point.

By the way, this piece is written in ABA form, just to inform you:

• A: Measures 1-40
• B: Measures 41-68
• A: Measures 1-40

You may have already noticed that the left-hand accompaniment is a light triple-meter accompaniment reminiscent of a waltz, and that the bass note, i.e., the note on the first beat, is written as a dotted quarter note. However, have you noticed that this is not consistent, and sometimes there are measures where it is written as a regular eighth note? In the A section, measures 27 and 31 are examples. Why are the bass notes in these two measures not written as dotted quarter notes?

The reason is that it is impossible to sustain the note with the finger for the duration of a dotted quarter note. Since the bass note on beat 1 is in a low register, the finger must be lifted from the bass to play the second and third beats. These two measures are written with an eighth note for the bass because the bass cannot be held down with the finger.

In other words, this can be interpreted as the composer's request that the bass be held down with the finger wherever possible to play the second and third beats. If you were to sustain the pedal for an entire measure, there would be no need to hold the bass with your finger. Therefore, the implication is to not use the pedal, sustain the bass with your finger, and play the eighth notes on beats 2 and 3 short and detached. Even when the right hand plays legato, as in measures 12 or 24, do not rely on the pedal; connect with your fingers, but sustain the bass with your finger, and play the second and third beats staccato.

By performing these actions, it becomes possible to make each material sound independent. For example, in measure 9, the aforementioned triplet + eighth note material appears. This is a section where you want to play the staccato lightly without the pedal, so avoid the pedal (some editions may have pedal markings here, but the author disagrees).

Suppose you do not use the pedal at all in the A section from measures 9 to 32. In that case, the bass is normally played with the 5th finger. When playing the next bass note, you would lift the 5th finger once and then play the same 5th finger again for the bass, creating a natural break at that moment. Ideally, the bass line, like a cello, should be played legato as a single voice.

If the two bass notes are very far apart, the break will sound even more obvious.

However, in this piece, the bass notes rarely leap drastically and often proceed by step. So, try to play without lifting the 5th finger until just before playing the next bass note. You probably won't feel much discomfort even without the pedal.

If you are concerned about breaks in the bass in sections where the bass notes are far apart, such as from measure 12 to 13, or measure 15 to 16, briefly apply the pedal just before changing the bass. This will eliminate the break in the bass, so those who are concerned should try this.

The A section is a section where articulation should be emphasized, so try to minimize pedal use as much as possible.

Now, for the B section, you may use the pedal to connect the melody line or to differentiate the sound and atmosphere of this section. However, in places where material from the A section appears, such as measures 47 or 51, you should release the pedal to reproduce that material.

Musical Aspects: Note 2

This piece is broadly composed of three different moods. Play while feeling each of these moods. The three moods are:

• 1. A mysterious and captivating world: A section, measures 9-32
• 2. A stable and happy world: B section, measures 44-60
• 3. A pressing and frightening world: A section, measures 33-40 and 60-68

For your reference.