Prelude

Regarding this prelude written in A-flat major, the composer himself stated that it is truly a warm-up prelude to be played first. He added that one should not immediately play it at the piece's tempo, but rather start slowly with beautiful tones, and then gradually increase the speed. Indeed, the beginning of the piece is marked "from Adagio to Allegretto". Furthermore, fitting for a warm-up, this piece in 4/4 time begins with eighth notes in the right hand and whole notes in the left hand, then transitions to eighth notes in both hands, and finally returns to a form where either the left or right hand plays longer note values, concluding the piece. Therefore, it can be said that this work also has an educational purpose.

Sorrow and Sadness

Although not indicated in the title, the composer himself designated this as a nocturne. The beginning is marked "Adagietto, quietly, calmly". In this piece in C-sharp minor, there are sections where both hands play the same notes with a time lag, and in such instances, it is required to maintain the continuity of the right-hand melody line. Additionally, "at a free tempo" is marked midway, and scales descending and ascending over a wide range are inserted. These scales are sometimes not played in one breath, which aligns with the imagery evoked by the title. Furthermore, these inserted sections are generally marked f, while other sections are primarily p. Therefore, these two types of passages can be interpreted as having different "characters," namely "sorrow" and "sadness."

New Czerny No. 1

Czerny Op. 30 No. 1 is a type of arrangement where the right hand is raised by a semitone, and a left-hand part by the composer is added. At that time, the composer reportedly aimed to create melodic beauty and enjoyment, rather than a complete etude like the original. Indeed, a 9-measure coda is added at the end of the piece, indicating an attempt to make it more of a "piece" as a work, beyond the original.

Run, E Major/Minor

As indicated by the subtitle, this is an Allegretto piece where 3/4, 6/8, and 9/8 time signatures constantly alternate. It is also designated as a "Concert Etude" by the composer himself. The "E Major/Minor" in the title likely refers to the piece starting and ending in E minor but having a section in E major in the middle. Additionally, sections marked "Cantabile" are inserted twice. In such sections, it would be required to create a contrast with the "running" other parts, which feature diverse beat counts due to time signature changes. There are also sections where the beat counts differ between the left and right hands, making it suitable for practicing hemiola and polyrhythms. However, what is noteworthy is that such elements, while employing simple figures suitable for rhythm practice, also possess musical interest and are perfected as a "Concert Etude."

Doll's Lullaby

In this work, the melody and accompaniment are clearly separated, so it can be said that it is a piece designed to highlight the melody. Notably, the melody is not always in the uppermost voice. Furthermore, even in the accompaniment, chromatic progressions and counter-melodies are occasionally hidden, so it is important to highlight the melody while not being solely preoccupied with it. The beginning is marked "Largo, slowly, calmly, beautifully," which suggests the composer's intention to convey these aspects to young children.

Variational Etudes

Composed in 1966 for the "Children's Music Class" attached to the Toho Gakuen School of Music. It consists of a theme and nine variations (originally eight variations, with one added later). Although written in A minor, it would be more accurate to say that it harmonizes melodies based on Japanese scales in A minor.

• The theme is in 4/4 time, marked "Sostenuto, majestically". Although short at 13 measures, it is written in ternary form.
• The subsequent First Etude (Variation) is also in 4/4 time, with the melody appearing in the left hand. In the recapitulation, the melody returns to the right hand.
• The Second Etude (Variation) mixes 4/4, 3/4, and 5/4 time signatures. It primarily features scales in one hand, scales in both hands, and contrary motion scales in both hands.
• The Third Etude (Variation) is in 3/4 time, but both hands exhibit hemiola and polyrhythms, and its scale is somewhat larger. A fermata is placed on the final note of this variation.
• In the Fourth Etude (Variation), it is harmonized in A major. The time signature becomes 3/2, and the beginning is marked "beautifully, singing". The dynamic range used also widens from p to ff. A fermata is also placed on the final note of this variation.
• In the Fifth Etude (Variation), it becomes Allegro and returns to harmonization in A minor. The time signature is 4/4, and it is a propulsive variation, but quarter notes are often placed on the fourth beat, creating a sense of being held back while progressing.
• The Sixth Etude (Variation) begins ff and is characterized by unison scales in septuplets. It is also interesting that a fermata is placed on the last note of the 8th measure, followed by a double bar and then three measures marked ritardando.
• The Seventh Etude (Variation) then shifts to "Adagio espressivo, slowly, calmly, with full expression". The time signature also becomes 3/4, and a fermata is placed on the note that concludes this variation. It is generally written polyphonically. Furthermore, its conclusion with an ascending figure is very impressive.
• The Eighth Etude (Variation) then shifts to "Presto, very fast". It is characterized by the theme being fragmented into various pitches. It is in 2/2 time and primarily features eighth-note triplets, but the end of this variation sees an ascending accumulation of quintuplets. A fermata is also placed on the final note of this variation.
• The Ninth Etude (Variation) serves as the finale for the entire work, shifting to "Maestoso". Indeed, it is written with weighty chords and leaps across a wide range. Like the Sixth Etude (Variation), it begins ff. The entire work, which was predominantly harmonized in A minor, concludes with the C major tonic chord at the end of this variation.

As described above, the structure is such that the changes in character between each variation become more pronounced and emphasized as the piece approaches its end.