The composer might have written the piece with small children in mind, perhaps to avoid the need for large reaches or even pedal use. However, this might paradoxically make the piece more difficult to play. The author has attempted to play it several times but finds it challenging to master. It becomes particularly difficult when the pedal is applied.

This piece is written to be playable without the pedal. However, playing it entirely without the pedal results in a very dry sound. For younger students, even an assist pedal is acceptable, so please guide them to incorporate some pedal use.

Pedaling Options

• Consider that there are two types of measures. One type has three chords, each lasting one beat for three beats. The other type has only one chord within the measure. For example, Measure 1 has three chords, Measure 2 has only one chord. Measure 3 has three, Measure 4 has one, and so on. For measures with three chords, if you use the pedal, change the pedal three times, each time the chord changes. For measures with only one chord, like Measure 2, it is acceptable to hold the pedal for the entire measure.
• Do not use the pedal for measures with three chords, and only use the pedal for measures with one chord. For example, do not use the pedal for Measures 1 and 3, but hold the pedal for the entire measure in Measures 2 and 4.
• This pedaling method avoids abrupt breaks when moving from one phrase to the next. For example, play from Measure 9 without the pedal until the third beat of Measure 10. Press the pedal the moment you play the note on the third beat, and release it on the first beat of Measure 11. This eliminates breaks between phrases.

These are some possible options, so please discuss with your student and decide on the pedaling.

The next important aspect is directionality. While some teachers may consider two-measure units, let's consider the A section in four-measure units. If measures 1-4 are considered a single phrase, the target note, or goal, is the D-sharp in the right hand on the first beat of Measure 2.

The B section should be considered in two-measure units. For measures 9-10, the direction is towards the melodic B on the first beat of Measure 10. For measures 11-12, the direction is towards the melodic F-sharp on the first beat of Measure 12.

Once these target notes are determined, proceed towards them, and after passing them, ease the tension and timing. The author believes that a certain degree of rubato is acceptable.

Furthermore, pay attention to the balance between the left and right hands. If the left hand becomes too prominent, the piece will be ruined. Strive to maintain balance, especially when the hands are in close proximity.

As for musical considerations, this piece is by no means an optimistic or joyful one. Rather, it is an expression of sadness. Instead of playing it with light dexterity, the author personally believes it is acceptable to play with a sense of sadness and a touch of weight.