This etude can be thought of as a duet. There are several passages in this etude that repeat the same material. In such instances, you should introduce variation rather than playing them exactly the same way. Considering the entire piece as a duet and introducing variation in repeated passages are key performance hints for this etude.

Formal Structure

• A: Measures 1-16
• B: Measures 17-40
• A: Measures 41-64

A Section (Measures 1-16)

The first A section (measures 1-16) is divided into two parts: measures 1-8 and measures 9-16.

Within measures 1-8, consider there to be three sub-sections: one in measures 1-2, one in measures 3-4, and one in measures 5-8. In this case, the tension should be higher in measures 3-4 than in measures 1-2, and measure 6 within measures 5-8 is where the tension reaches its peak, gradually declining thereafter.

Exactly the same occurs in the following measures, 9-16, though the third melodic figure differs. Consider which of these two sections, measures 1-8 or measures 9-16, should be dynamically louder.

In any case, what has been discussed so far primarily concerns the right hand, but the tenor voice in the left hand (the upward-stemmed notes in the bass clef) is also important. While you have freedom regarding how much to bring out this tenor line and when to make it prominent, be sure to thoroughly memorize the tenor melody line itself. Even just being aware of it will change the music.

B Section (Measures 17-40)

Next, the B section begins in A-flat major. Since A-flat major is a warmer key compared to F minor, keep the dynamics subdued. Consider this section as one where pleasant memories come to mind. In this B section, the written notes in measures 17-20 and measures 21-24 are almost identical. This is a place where you should introduce variation. While the specific type of variation is up to the performer, it is advisable to avoid extreme fortissimos. For example, you could play measures 17-20 at p and measures 21-24 at pp with the una corda pedal. The key is to avoid playing them exactly the same way.

Measures 25-26 and 27-28 are a sequence, so these should also be varied. The same applies to measures 33-34 and 35-36.

Return of A Section (Measures 41-64)

From measure 41, the A section returns. This section also contains several repetitions. Again, you should introduce variation in this section. For instance, measures 47-48 and 49-50 are identical. For example, you could bring out the melody in the right hand's top voice the first time, and then bring out the left hand the second time. Be sure to change something.