Overall Flow:

It is marked Moderato. Except for measure 16 and the cadenza (cadence) between measures 28-30, the accompaniment consists of three quarter notes per measure, one per beat, which are continuous. This implies a smooth, uninterrupted flow.

Overall Structure:

It is considered to be a song with accompaniment. The notes written with larger heads in the treble clef (right hand) are considered the melody line. The finely written 32nd notes are not considered part of the melody line.

Point 1: Grasp and Shape the Melody Line

The 32nd notes in the right hand can be challenging, leading one to focus on them, but it is crucial to begin by grasping the melody line. First, try playing only the melody line in the right hand with the left hand, without the 32nd notes. For instance, when comparing the melody notes E and G from the end of measure 1 to the beginning of measure 2, G might be slightly louder. Similarly, when comparing the melody notes C and D from the end of measure 2 to the beginning of measure 3, D might also be slightly louder than C (the opposite interpretation is also perfectly acceptable).

However, for the melody notes E and C from the end of measure 3 to the beginning of measure 4, considering that the chord is resolved and it marks the end of a phrase, it is advisable to play C with less volume than E (as if fading away).

In this way, give direction to the melody line. When playing only the right-hand melody line with the left hand, shape the melody so that it sounds like a complete piece on its own. If it sounds like a piece in this state, adding the 32nd notes later will still result in a full musical performance.

Point 2: Treat the Melody Line and 32nd Notes as Separate Entities

The 32nd notes written throughout the piece in the right hand should be regarded purely as ornamental notes. Therefore, the 32nd notes should be played as softly as possible (pp) with an even touch. A somewhat blurred timbre is desirable, and the further away from marcato, the better.

On top of this, the melody line should be played clearly, close to marcato, so that it is audible to everyone. However, the 32nd notes appear immediately after the right-hand melody line is played, which can make distinguishing between the melody line and the 32nd notes difficult.

Here are two tips:

• First, take 'extra' time between the melody line and the immediately following 32nd notes. This means applying a tenuto to the melody line and starting the 32nd notes slightly later. This alone will convey that the melody line and 32nd notes are distinct.
• Second, continue to listen to the melody line with your ear. For example, the melody note E on the first beat of measure 1 is sustained with the bass note by the pedal; at this time, try to listen to this note with your ear until the third beat. Doing so will naturally lead the 32nd notes to become pp.

As a result, you can make the melody line and the 32nd notes sound like separate musical textures.