Musical example provided by: Ongaku no Tomo Sha

Technical Demands

Although it is a simple piece, it falls into the category of technically difficult compositions. To play this piece, the learner requires strong and resilient fingers. Without strong 3rd, 4th, and 5th fingers in the right hand, it is difficult to play well. In that sense, it might be advisable to postpone this piece.

Achieving Dimensionality

Alongside technique, a crucial aspect when performing this piece is to "create a sense of three-dimensionality" or "depth." This implies treating the piece polyphonically. There are several musical materials, and by varying the timbre of each, a sense of depth can be achieved.

Analysis of Opening Measures

The left hand in measures 1-2 and measures 3-4 at the beginning are the same musical material. In the Zen-On edition, the left hand in measure 1 is marked p. However, even within the p dynamic, strive to play with a deep, rich tone, singing out clearly. Avoid a mechanical execution. Play the left hand in measures 1-4 cantabile, singing it out. The right hand in measures 3 and 5 constitutes another musical material. In my personal opinion, playing the right hand in measures 3 and 5 pp and staccato, with a light touch, creates a clear contrast with the left hand, allowing it to be distinctly heard as a separate material. If "Children's Gathering" is the correct translation for the title, then this staccato, descending third figure in the right hand could be interpreted as children's laughter.

Dynamic Considerations in Measure 5

In measure 5, pay attention to the placement of the forte. Remember that the forte begins on the third beat, and the first beat should end p.

Interpreting the Theme from Measure 7

Now, the theme begins from measure 7; let's focus on the left-hand line. The left hand in measures 7-10 might not be considered a melodic line, but play it smoothly and legato, singing it out as if it were a cello. Furthermore, the right hand from measure 7 to measure 12 proceeds in thirds; strive to bring out the top (upper) note as much as possible.

Right-Hand Articulation and Fingering Challenges

And what requires particular attention is the right-hand articulation. Let's consider how to approach this. In measure 7, two slurs are written: one for beats 1-2 and another for beats 3-4. Therefore, there is no particular necessity to connect beat 2 to beat 3, nor is there a strict requirement to break the connection. While this is up to the performer's discretion, the passage from the third beat of measure 7 to the first beat of measure 8 is written as a single phrase. In this case, if you strictly follow the fingering in the Zen-On edition, it becomes impossible to connect the last note of measure 7 (F-A) to the first note of measure 8 (E-G). Therefore, by using fingering 2-1 for the first note of measure 8 (E-G), it becomes possible to connect legato from measure 7.

Strategic Pedal Application

Then, in measure 8, if you end with 2-1, it becomes impossible to maintain legato for the entire measure using only fingers, so use the pedal. Briefly depress the pedal at the 2-1 fingering to ensure the connection is not broken until the 3-1 fingering on the second beat. In this manner, skillfully use the pedal to prevent the right-hand line from being interrupted. Of course, in passages like measure 10, no pedal should be used at all.

Further Pedal Considerations and Material Distinction

The pedal becomes particularly necessary in passages involving sixths, such as in measure 13. In the case of sixths, it is impossible to connect both the lower and upper notes with fingers alone. Please use the pedal. Furthermore, in measure 14, consider the melody to end on the first beat, and treat beats 2-3 as a separate musical material. Therefore, playing these two to three beats pp allows for a clear distinction between the materials.

Concluding Remark

For your reference.