6. Sad Story

The form is ABA.

• A: Measures 1-8
• B: Measures 9-16
• A: Measures 17-24
• Coda: Measures 25-34

Phrases are in two-measure units. As indicated by the marking at the beginning, play cantabile, singing richly. Measure 8 serves as a point of repose. Up to this point, there is nothing particularly dramatic, so play plainly, without fluctuating or slowing the tempo.

From the B section, drama unfolds. When comparing the chords in measures 9-10 with those in measures 11-12, play expressively, feeling the G-flat in measure 11 as poignant. In measures 13-16, express a strong, poignant character. At that time, pay attention to the tenuto markings written in the right-hand melody line. This is considered a place where ample time can be taken. Throughout these four measures, measure 15 is likely the target, so build towards it and reduce the volume at measure 16.

In measures 17-24, the narrative returns to a calm state.

From measure 25, the dynamic marking becomes forte. This is the most dramatic and large-scale section of the piece, where the volume increases the most. It is advisable to play forte and heavily until the dim. marking appears in measure 29.

The final Picardy third (an ending where a minor key piece concludes with a major chord) should be played softly with a beautiful tone.