Overall Structure and Interpretation

The overall structure is binary form.

A [a (measures 1-4, including the opening anacrusis) + a1 (measures 4-8, from the anacrusus)]

B [b (measures 8-12, from the anacrusus) + C (conclusion, measures 12-14, from the anacrusus)]

In the large section A, the small section 'a' is structured to be almost identically repeated. The difference between 'a' and 'a1' is that measures 1-2 of the first bar consist of two quarter notes, whereas measures 1-2 of the fifth bar consist of one half note. How should this subtle difference be interpreted?

For example, one might consider expressing the first four measures with an awareness of the pulse, while in the latter four measures, focusing on the changed half note to create a more expansive and grander phrase peak. In any case, in a small-scale piece like this, even the slightest change should not be overlooked; treating it as a key to expressive variation may provide a hint for rich musical expression.

Key Performance Points

There are two main points to pay particular attention to regarding the structure of the piece:

• The first is in the accompaniment figure of the left hand in the large section A. Since the melody line in the upper voice and this accompaniment are too close, the balance can be poor, making the accompaniment easily sound too loud. It would be advisable to practice with ingenuity to control the balance, perhaps by imagining a seesaw, making the right-hand melody line slightly heavier and the left-hand accompaniment figure slightly lighter.
• The second is the dynamic contrast between forte and piano in the large section B. If the registers were different, it would be easier to create contrast, compounded by changes in timbre. However, here it is a repetition of the same motif in the same register. While this may seem simple at first glance, if one does not clearly intend to change the atmosphere itself rather than just the volume, the contrast may sound less pronounced than intended.

Additional Caution: Repeated Notes

Another point of caution would be the repeated quarter notes on the same pitch in the A theme. The A theme is composed of ascending and descending lines. Therefore, if these quarter notes are played in a detached manner, losing the sense of connection, or if the rhythm becomes uneven, the ascending and descending lines formed by the theme will not be perceived. Although there is no legato indication, it is crucial to play with an awareness of horizontal connection.

Score Annotation: Staccato

Furthermore, there is an instruction at the beginning of the score: "☆Staccato should not be cut too short." If one considers the disadvantages of cutting too short, it becomes clear why this should be heeded. It is anticipated that chords and melody lines may not be able to sustain sufficient resonance, and sudden, sharp staccatos could also disrupt the balance and atmosphere of the piece.

※It is recommended to demonstrate by playing and comparing cases where the staccato is cut short versus not. A teacher's performance should not only be exemplary but can also deepen a student's understanding by intentionally presenting bad examples at times.