Pedal Usage

Pedal is essential for this piece. By seamlessly connecting the left-hand accompaniment figures, the piece can flow horizontally. However, when using the pedal, it is recommended to employ "off-beat pedaling" (changing the pedal on the off-beat) to avoid blurring the right-hand melody. Pedal blurring becomes more noticeable the slower the tempo. Depending on the tempo chosen for this Andantino, pedal blurring might become less of a concern, but please discuss this thoroughly with your teacher.

Alternative to Pedal

In the unlikely event that the pedal is not used, the only remaining option is to avoid creating breaks as much as possible. For example, in the left hand of measure 1, moving from E-G to E-G, the repetition of the same notes creates the most likely situation for a break, so please avoid breaks as much as possible.

Concept of the Melody Line

We consider there to be two types of melody lines:

• The first is the figure "HEHAG" from measure 1 to the first note of measure 2.
• The second is "EFisGFisE" from measure 3 to the first note of measure 4.

In both cases, the subsequent sixteenth notes and eighth notes are considered supplementary.

Shaping of Melody Lines

The shaping of these two melody lines is identical and should be handled with crescendos and diminuendos.

• For the first, consider the high E as the peak, descending with a diminuendo from there.
• For the second, apply a diminuendo with G as the peak.

Specific Considerations for the Second Melody Line

Regarding the final sixteenth note of the second melody, please refer to the author's subjective perspective. In the case of measure 4, it is a cadence moving from the vi chord to the V chord. When ending on a dominant, it feels like a comma in punctuation, a point where tension increases. It would not be inappropriate to apply a crescendo to the sixteenth note (right hand) here. However, for the same second melody line, measure 12 features the tonic chord E-G-H. Although this is an ascending figure, it would be good to apply a diminuendo.

Comparison of Melody Lines

When comparing the first and second melody lines, assume that the first has higher tension, and make its dynamic level greater than that of the second.

Conclusion

At the end of the piece, slightly slow down, and for the three chords in the final measure, change the pedal once for each chord.