Analysis of the Piece

This is a cheerful march in 2/4 time. In this piece, dynamics tend to become flat, so attention should be paid to this. Although dynamic markings are already present in the author's score, I suspect these were likely added later. The piece is in binary form, divided into two sections at the repeat markings.

Let us first examine the first half. Although a rare case, the first half spans nine measures. The cadential figure in measure 8 takes an extra measure, thus making it nine measures in total. These nine measures are divided into two sections: measures 1-4 and measures 5-9. In measures 1-2, a slight accent may be applied to A, the melody note on the second beat (but do not overdo it). Play with a sense of the second beat. A dynamic level of mezzo forte would be appropriate. In measure 3, both hands expand, with the right hand reaching A, its highest note thus far. Increase the dynamic level in measure 3. Then, in measures 5-6, the left hand plays D an octave lower as the bass note; maintain the volume, and reach the cadential figure in measure 7. While it is acceptable to maintain the volume, the first beat of measure 8 is the resolution of the chord from the previous measure. Reduce the volume for A on the first beat of measure 8 in both hands.

The reason for reducing the volume is to facilitate an increase in volume as the cadential figure recurs from the second beat of the same measure. At this point, typical problems that arise will be specified. For example, the half note D on the second beat of measure 4, and similarly the melody D on the second beat of measure 5, must be sustained for their full half-note duration; however, they are often inadvertently cut short (to approximately a quarter-note duration). Here, it is important to strictly observe the note values. Many learners produce strained sounds in measure 8. This is due to:

• Discrepancy between the left and right hands.
• The left-hand repeated notes becoming heavy or slow.

either or both. For the left-hand repeated notes, the fingering does not necessarily have to be 3-2-1; 3-3-3, etc., is also acceptable. Since muscles are required for repeated notes using the left wrist, try practicing only the repeated notes for 2-3 minutes, numerous times and in a concentrated manner. After practice, the repeated notes should become easier. Regarding the dynamics in this section, if the repeated notes are too loud, they become jarring. It is advisable to significantly reduce the volume of the repeated notes, even in a forte section.

Next, we proceed to the following section. In contrast to the opening, which began in D major, measure 10 introduces the same melody starting in A major. Here, a different timbre from D major is desired. Try playing with significantly reduced volume and a light touch. You may consider it a different character. Now, while the peak points of this piece might be the two cadential sections in measures 8-9 or 21-22, I believe a different drama unfolds from the upbeat of the third beat of measure 13 to measure 17. Specifically, from measure 13, follow the ascending scale pattern and gradually apply a crescendo. Such a pattern, where the same pitch pattern ascends or descends consecutively, is called a sequence. Increase the volume as you progress to the right, making measure 16 the loudest. Naturally, this requires starting measure 13 at a piano dynamic.

Finally, proceed towards the cadence in measures 20-22. The points of attention for the cadence in measures 21-22 are exactly the same as those for measures 8-9. Pay attention to the repeated notes. The only difference is that while measures 8-9 proceed plainly at tempo, the cadence in measures 21-22 should conclude with a more definitive ending by slightly slowing down the three quarter notes in measure 22.