Performance Practice and Editions

This piece allows for a wide variety of performance interpretations, and there are also various editions of the score. Some include dynamic markings, others have articulations written in, and so on. The score the author is currently examining has no dynamic markings, articulations, or tempo indications whatsoever. It is highly probable that this is the original score.

Tempo

First, regarding tempo: this piece is written in 2/4 time. In the Baroque era, two-beat time signatures were generally performed at a very fast tempo. While it is certainly permissible to play it fast, this piece is written in a style closer to homophony, with a melodic line placed over an accompaniment. From this point, the author's judgment becomes somewhat subjective, but upon examining this melodic line, it is difficult to perceive any elements that suggest a fast tempo. Rather, one can find elements that call for a leisurely, rich, and singing quality.

If the performance is too fast, measures such as m. 15, for example, might feel very mechanically processed. Ultimately, this is a decision for the teacher to make, but please consider this as a piece of advice.

Form

The form is a clear ABA structure: A (measures 1-8), B (measures 9-16), and A (measures 17-24). Let's begin by examining the first A section.

Analysis of Section A (Measures 1-8)

These eight measures can be divided into three parts: measures 1-2, measures 3-4, and measures 5-8. Harmonically speaking, measures 1-2 conclude on the dominant, while measures 3-4 conclude on the tonic. Therefore, the author perceives slightly more tension in measures 1-2 than in measures 3-4. Measures 1-2 are like a comma in a sentence, while measures 3-4 are like a period.

The dynamic peak is typically from the end of measure 5 to the beginning of measure 6. However, a common phenomenon is for learners to already play loudly from the right-hand C on the downbeat of measure 5. One reason for this is that this note is often played with the first finger. Begin p and use the arpeggio to create a crescendo. Be careful not to play the very first note forte.

Non-Harmonic Tones in Section A

Now, there are several non-harmonic tones in these first eight measures. Of particular note this time are suspensions, found in three places: measure 2, measure 4, and measure 8.

In measure 2, the harmony is G-H-D (G major triad). Therefore, any note other than G, H, or D is a non-harmonic tone. This means the E on the first beat is a non-harmonic tone. However, where did this E come from? It is considered to be the E from the end of the previous measure, sustained into the next measure, which defines it as a suspension. Suspensions often occur on strong beats and create a special musical effect. Incidentally, try playing F directly on the first beat, omitting this E. While the music would still be perfectly valid, playing this E adds a sophisticated touch to the music. The same applies to measure 4 and measure 8.

The treatment of these suspensions always involves playing the subsequent resolving note softly. In measure 2, the right-hand F on the second beat is the resolution of the preceding non-harmonic E. Therefore, the E should be played louder, and the F should be played as if it disappears. Similarly, in measure 4 and measure 8, the resolving notes should be played softly.

Analysis of Section B (Measures 9-16)

The B section features three sequences: measures 9-10, measures 11-12, and measures 13-14. These three sequences each have a distinct character. Consider which unit has the highest tension and which is the most calming. It is crucial to play each of them differently, ensuring these three units are never played in the same manner.

In measure 15, the right-hand D on the first beat should be played p. The subsequent sixteenth notes should be light and pp, taking care not to play them stiffly. In measure 16, the right-hand C on the first beat is a passing tone, a non-harmonic tone. Passing tones usually occur on weak beats, but here it appears on a strong beat. Since it descends from sixteenth notes to reach C, it should ideally be quite soft. Nevertheless, play it slightly louder than the H on the second beat.

Analysis of Section A' (Measures 17-24)

Measures 17-24 are simply a return of the initial A section. Play measure 24 slightly slower than measure 8 to clearly indicate the conclusion of the piece.