General Remarks

I believe this simple two-voice piece is musically very challenging. The fewer the notes, the more musically difficult it becomes. Generally speaking, legato playing is essential throughout. Therefore, techniques such as overlapping may also be incorporated. Although this score contains no dynamic markings whatsoever, dynamic variations are, of course, indispensable.

Voice Treatment and Phrasing

Let us now proceed with an explanation from the beginning. First, the division into the first and second halves should be clear. The first half consists of three phrases: measures 1-2, measures 3-4, and measures 5-8. While this is a style of writing that cannot be classified as either a fugue or a canon, it is certainly written in two voices, and these voices are independent. In other words, it is not written as a melody with an accompaniment below it. Both voices should be considered melodic. Consequently, neither voice should become extremely weak, but it is questionable whether playing them at exactly the same volume and with the same timbre is appropriate. I feel that the left hand could be somewhat subdued, but I would leave that judgment to the instructors.

Detailed Analysis: Measures 1-8

In any case, I would play both voices legato.

• Measures 1-2: The B on the second beat of measure 1 should be the loudest note, gradually decaying towards the D on the third beat of measure 2. Simultaneously, the left hand moves towards the B on the third beat of measure 2, decaying after passing it.
• Measures 3-4: The volume should be slightly louder than in measures 1-2. In this case, move towards the C in measure 3, and gradually decay from C to the G on the third beat of measure 4. Essentially, this is a sequence of measures 1-2. The G on the first beat of the left hand in measure 4 should not be accented, as it is considered a resolution of the F# in the previous measure. The left-hand phrase should feel as if it begins anew from the second beat of measure 4.
• Measures 5-8: Although it is a single phrase, the right hand should make the F on the third beat of measure 6 the softest. Measures 5-6 should be considered a sequence of 1-2 and 3-4. Then, starting from the D on the fourth beat of measure 6, the goal should be the Eb in measure 7, or the C of the trill on the third beat. This section is where the volume becomes the loudest in the first half. The D in measure 8 is a resolution note, so it should be slightly softer than the C in the previous measure. However, this cadence (ending form) concludes on the dominant. Since it is not a section that provides a sense of resolution, avoid becoming extremely soft, such as pp.

Detailed Analysis: Measures 9-16

After passing through measures 9-10, which have a different mood than before, suggesting "hesitation, reassurance," the sequence follows in measures 11-12. This also has a mood like the resolution of the hesitation in 9-10. After that, another sequence appears, but this time only the material from measures 9 and 11 is repeated twice consecutively (measures 13-14), and measures 15-16 form a cadence, so measures 13-16 should be considered as a single unit. In stark contrast to the calm sequence of measures 9-12, the mood completely changes in measures 13-16.

Detailed Analysis: Measures 17-20 and Trills

I believe the most dynamically significant section in this piece is measure 17, where it reaches the highest note, B. From there, a gradual diminuendo towards measure 20 would be appropriate. Despite measure 17 being the peak, the D in the right hand on the third beat of measure 16 should be slightly softer than the preceding F#.

Next, a note on trills. There are two trills: in measure 7 and measure 19. From this point on, these are purely my personal opinions. Instructors should research how to handle these two trills.

• Measure 7: If I were playing, for measure 7, I would first play four rapid DCDC notes, sustain the final C, and then add one more D just before reaching the D in measure 8. In other words, I would make it a DCDC D trill.
• Measure 19: Although it might ideally be a trill starting from A, different from the B which is the last note of the second beat, I would handle it similarly to measure 7, playing BABA G to reach the G in the next measure 20.

Furthermore, articulation is generally flexible.