When observing, for example, the first of these 12 Sketches, it is easy to imagine it as string quartet writing. This collection itself embodies an instrumental imagery, and this sixth piece should also be considered an ensemble-like work in that sense. For instance, it could be for two vocalists, or two violins and a viola, etc.

While not a strict canon, it sounds like one. This piece is divided into three sections, designated as ABA:

• A: Measures 1-16
• B: Measures 16-25
• A: Measures 25-36

The initial A section is further divided into two parts: measures 1-8 and measures 9-16. Note the final measures of these two parts, measure 8 and measure 16. The melody starting from measure 1 continuously descends, already dropping an octave by measure 4, and reaching the F# below that by measure 8. The melodic line ends on F# on the second beat of measure 8, but the counter-melody ends on C# in measure 9.

In contrast, in measure 16, the melody similarly ends on F#, and the counter-melody ends on D in measure 17. From here, the piece modulates to D major. It reaches its peak in measure 20 and returns to A again in measure 25.

The returning A section moves exactly the same way as the initial A, but what is noteworthy is measure 33, where the principal melody ends on A. The chord on the first beat of measure 9 is A-C#-E, which is the tonic of A major, but because the final note is C#, it results in an imperfect cadence.

In contrast, in measure 33, for the first time, the principal melody ends on A, resulting in a perfect cadence. It is in measure 33 that one can finally feel calm and reassured. Until then, there is a degree of unease. Please endeavor to convey these subtle differences in the harmonic cadences.