The primary point of caution for this piece is to avoid flat dynamics. In technical pieces, one tends to focus on technique, often neglecting dynamics, and this piece is no exception. Analysis is crucial for determining the dynamics.

Section Breakdown

• A Section: Bars 1-9
• B Section B1: Bars 10-17
• B2: Bars 18-25
• A Section: Bars 26-29
• CODA: Bars 30-40

First, in the initial A section, the 8-bar phrase is further divided into two 4-bar sub-phrases: bars 1-4 and bars 5-8 (the second time, bars 5, 6, 7, 9). When comparing bars 1-4 and bars 5-8, which do you perceive as having a greater dynamic level?

From the perspective of physical pitch, in bars 1-4, the right hand reaches a high G in bar 3. One could argue that this section is louder. On the other hand, bars 5-8 attempt to modulate to G major, suggesting higher tension in that section. While either interpretation is acceptable, it is imperative to differentiate the dynamics between these two phrases.

Furthermore, in both phrases, bar 3 reaches the peak point, followed by a diminuendo. Please consider this discussion within the context of maintaining that dynamic order.

Now, the B1 section can also be divided into two parts: bars 10-13 and bars 14-17. In this case, which do you perceive as being volumetrically larger? The author finds bars 14-17 to feel louder due to the shift to the minor key, but again, either approach is acceptable. Here too, ensure that these two phrases differ dynamically.

The B2 section does not divide into two. A crescendo should be applied towards bar 22, which the author believes is likely the loudest part of the piece. Once bar 22 is reached, gradually decrease the volume.