General Approach

It is unclear whether the tempo markings and notations such as non legato written here were actually penned by the composer, but for now, let us follow this score. This piece allows for a wide variety of interpretations. Learners should consult closely with their teachers to consider the piece's structure and determine its dynamics and articulation.

Structural Observation

An interesting observation emerges when viewing the overall structure of this 16-measure piece. The author's score is laid out in four-measure sections across four staves, meaning the phrases are written as follows: measures 1-4, 5-8, 9-12, and 13-16, forming four distinct sections.

Upon closer inspection:

• The measures in the "left half" (measures 1, 2, 5, 6, 9, 10, 13, 14) are primarily composed of melodies featuring quarter notes and eighth notes, with the bass often moving on every beat.
• In contrast, the measures in the "right half" (measures 3, 4, 7, 8, 11, 12, 15, 16) are largely composed of eighth notes, and the bass movement is either absent or written with calmer notes, such as half notes.

Interpretation of Sections

From the author's perspective, these "left half" and "right half" measures seem to have a responsive relationship, like a question and answer, or a conversation between a male and female, or a male dance and a female dance. Rather than viewing each four-measure section as a single phrase, it is suggested that each two-measure segment presents a different scene or mood. It might be helpful to imagine the left half as having movement and the right half as having a sense of stopping.

Dynamic and Articulation Examples

• Measures 1-4: The first two measures (1-2) could be played lively and forte. Then, drop to p in measure 3, gradually crescendoing towards the end of measure 4, leading into measure 5.
• Measures 5-8: In contrast, measures 5-6 could again be lively and forte, while measures 7-8 might convey a sense of decline.

In the latter half, something different occurs:

• Measures 9-10: The lively, moving measures (9-10) remain similar to the first half.
• Measures 11-12: However, in measures 11-12, the highest note in this piece, F, appears. The atmosphere here is slightly different from the first half.

Therefore, for the latter half, one possible interpretation is for the right-hand phrase to gradually ascend from measure 9, reaching the highest F on the third beat of measure 10, where a brilliant trill occurs. Maintain this tension through measure 11, then execute a diminuendo in measure 12.

Measures 13-16 can be interpreted similarly to measures 9-10.

Conclusion

In any case, the piece transforms with various interpretations. Please try playing the piece with your own understanding.