Sali

Since this piece is not technically very difficult, I would like to discuss the musical performance of the A section, excluding the middle section. First, consider measures 1 through 13 as a single unit. Within this unit up to measure 13, there are four phrases. You will notice that all four melody lines are very similar, but the chords change with each phrase. Of particular note is the final chord of each phrase. You should change the color (or character) according to the nature of this chord.

For example:

• Measure 3 should be played with a serious character.
• Measure 6 gently.
• Measure 9 with instability.
• Measure 13, finally returning to the original key of B minor, should fade away.

Next, the B section within the A section begins from measure 14. This can be considered as four phrases: 3 measures, 4 measures, 3 measures, and 4 measures, or as two 7-measure phrases. For these phrases as well, perceive the harmony, interpret the mood, and vary the timbre and dynamics.

From measure 28, it becomes a cadenza, but although a diminuendo begins from measure 27, mf appears in measure 29. Consider this not as something to be reached by a crescendo, but as a subito character. It is a psychological depiction of suddenly recalling sadness. The bass F in measure 29, if possible, you would want to sustain with the pedal, but holding the pedal down from measures 29-30 might cause muddiness. Hold the pedal down for measure 29, and gradually release it in measure 30 (instead of releasing it all at once, gradually fade it out by repeatedly re-pedaling).

From measure 31, the A section within the A section returns, but this time an inner voice is added to the right hand. Personally, I think this inner voice can be emphasized, so you may bring it out clearly using the first finger.

From measure 44, the B section begins, and the tempo increases. This is a section where the technical difficulty suddenly increases. The melody line is written in octaves for both the left and right hands (e.g., beat 2 of measure 44, beat 2 of measure 45). Taking octaves with both hands may seem easy at first glance, but in some places, it might be easier to take the octave with the right hand. For example, in measure 47, if you play it exactly as written, the left hand jumps to a considerably high position. In this case, it becomes easier if you take the octave with the right hand only for beat 2, and then have the left hand play on beat 3. For other parts, please refer to this example and find easier methods flexibly.

In the B section, there are four markings of FF pesante. However, personally, I feel that it is better for the performance not to make it too pesante.