Technical Considerations

First, a technical point to be mindful of in this piece is the relay between the left and right hands. When relaying the melody from right to left, and left to right, pay meticulous attention to the evenness of the notes. Furthermore, if the notes are uneven, in addition to timing, also examine your finger shape. Check whether the notes are struck with the correct form, and if your fingers do not hyperextend when striking. If the left-right relay is still not smooth even after this, try practicing in sections (e.g., repeatedly play only the second beat of measure 8 (AFDH) to check for evenness. When doing so, loop AFDH as ↓AFD↑HDFA↓FDHA, ascending and descending, and play it quickly). Apply similar practice to measures 15-18 to achieve evenness.

Musical Form and Analysis

From a musical perspective, the form is clearly ABA.

• A: Measures 1-20
• B: Measures 21-28
• A: Measures 1-20

The peak of the A section is reached at measure 15. How many subdivisions can be made up to measure 15? Let's consider measures 1-8 as one subdivision, and measures 9-20 as another.

Looking at measures 1-8, the highest note is A in measure 5 (right hand). From there, it's clear that the highest notes descend sequentially to G in measure 6 and F in measure 7. The first half of measures 1-8 progresses from measure 1 to measure 4. Since the highest notes in measures 3-4 ascend higher than in measures 1-2, play measures 3-4 with more emphasis than 1-2, leading to measure 5. From there, as the music gradually descends, apply a diminuendo.

In the case of measures 9-16, measures 9-10 and 11-12 correspond to measures 1-2 and 3-4, respectively. Therefore, apply a crescendo here, similar to measures 1-4. This time, from measure 13, the music reaches an even higher C than the highest A in measures 1-8, and then ascends further to E in measure 15. Ensure that measure 15 becomes the point of highest tension in this A section.

Next, let's look at the B section. This section of 8 measures is divided into two parts: measures 21-24 and measures 25-28. From here, it's up to individual interpretation; consider how the mood differs between these two sections. While there may be various opinions, the basic principle is not to play these two sections identically. Always introduce some kind of difference.

This piece is characterized by Gillock's distinctive flowing melodies, evoking the image of fairies dancing in a forest. The right hand's light arpeggios and graceful legato phrases express the delicate movements of fairies, while the left hand accompanies not merely as an accompaniment but as a counter-melody. While the pedal can be used to create a fantastical atmosphere, due to the abundance of short note values, it is advisable to use a shallow pedal rather than a deep one, adding nuance to the resonance. Consciously allowing the layers of sound to expand naturally, as if light is shimmering, will further enhance the fantastical world.  

Although accents are marked on the final notes of the right-hand phrases and on the left-hand chords, be careful not to strike them too forcefully. By allowing them to resonate lightly with the awareness of 'a point where energy is released,' natural movement will emerge within the flow.  

From measure 13, the energy gradually builds, leading towards the brilliant long arpeggio in measure 15. Here, it is advisable to apply significant diminuendos and crescendos to achieve a dynamic and dramatic expression. Strive to make the sound expand beautifully.

 In the middle section, poco meno mosso, it is advisable to savor the mood and carefully express the changes in resonance. After immersing oneself in the A minor resonance for four measures, the music gradually returns to C major. Here, cherishing the sensation of gradually regaining a positive feeling and brightness will enrich the musical expression.  

Emphasize subtle expressions to bring out the fantastical charm inherent in this piece.