Performance Considerations

There are two important points to note.

1. Regarding Timing

Especially for those hearing this piece for the first time, avoid performances that might lead to misperceptions of the beat. In essence, play with precise timing, like a metronome, without the slightest deviation. For example, at measure 36, the D octave on the off-beat of the second beat should not be perceived as the downbeat of the first beat. To achieve this, when transitioning between sections, absolutely avoid taking any extra time before moving to the next section. Even a slight deviation in timing can cause the beat to sound distorted.

2. Regarding Voice Separation

Another point concerns sections where notes alternate between the right and left hands. Measures 33-34 are an example of this. While measures 33-34 are relatively straightforward, in measures 1-16, the upper notes (right hand) and lower notes (left hand) should be considered as two distinct voices. If these two voices are played with the same volume, the listener will perceive them as ADFisEGCisEDFis. However, the upper voice is actually A Fis G E Fis, and the lower voice is D E Cis D. Therefore, vary the volume between the upper and lower voices to ensure the two voices are not confused. Although measures 1-16 become octaves in the latter half, similarly, vary the volume and timbre of the two voices there as well.