This piece has 16 measures and can be considered to be divided into four phrases of four measures each. Each phrase has a goal point in its third measure, and requires a sense of direction leading towards it.

For example, the first phrase moves towards the third measure, starting from p in the first measure, slightly increasing the volume in the second measure, reaching approximately mp in the third measure, and returning to p again in the fourth measure.

The measures 5-8 should also have such a sense of direction in the same manner. In particular, the 11th measure within measures 9-12 can be considered the point where the volume becomes the loudest in this piece.

Measures 13-16 are an exception; the second measure of this section, i.e., the 14th measure, should be the loudest, and from there, the volume should gradually diminish.

Now you understand the goal points and the points towards which each phrase should be directed.

Next, consider which of the four phrases should be the loudest, among other things.

For example, when comparing measures 1-4 and 5-8, it is clear that measures 5-8 have higher tension, so such a difference should be applied between measures 1-4 and 5-8.

Furthermore, measures 9-12, which reach the highest note (B natural) at their peak, should have an even greater volume than the preceding measures 5-8. And measures 13-16 should decrease in volume compared to measures 9-12.

While this is just one example, it is important to play all phrases with varying dynamics in this manner.

Key Notes for the Performer

• Measure 6, left hand, beat 1, E-flat: This is a very emotional place, where feelings are expressed honestly. The performer should play while feeling this.
• Measure 11, left hand, beat 1, C: This is a borrowed chord. It is a place for strong expression.