6. Ivan's Hobby Horse

This piece features a continuous rhythm that vividly depicts a horse's gallop, thus requiring lightness. To achieve this, it is crucial to play the eighth note in the “eighth note + two sixteenth notes” rhythm with a short staccato. Even if the tempo is slightly slower, articulation is the most crucial aspect of this piece.

Therefore, it is suggested that since the two sixteenth notes are often followed by an eighth note, these three notes should be grouped together (as a conceptual unit). Let's examine these three notes:

• First note: E and G on the off-beat of beat 1 in measure 1.
• Second note: C on the off-beat of beat 1 in measure 1.
• Third note: E and G on the downbeat of beat 2 in measure 1.

At this point, do not apply force to the first and second notes; emphasize only the third note. Furthermore, play these three notes together in one swift motion. When playing the third note, allow your fingers to lift slightly as a rebound. Rather than playing with just the fingers, it is advisable to use the wrist with a rotational feeling to play all three notes in one impulse. Lifting the fingers after playing the third note is desired for accent and staccato. Drive the entire piece with this technique.

Below are points to note:

• In measure 4, the author's score indicates the left-hand melody as B♭-A♭-B♭-C. However, online videos show it played as B♭-A♭-B♮-C. There is a possibility of two versions. Nevertheless, the right-hand melody written in measure 29 is B♮-A-B♮-C♯, where all intervals are major seconds. Given this, one might be inclined to think that B♭-A♭-B♭-C is a misprint, but performers should follow their respective scores.
• Unless there are specific indications such as poco rit. or rit., this piece should proceed steadily. Be careful not to rush or slow down.
• The melodic lines appearing in the right and left hands, generally, should not have special shaping; rather, it is acceptable to play them percussively with accents. However, taking the main theme in measures 3-4 as an example, the loudest point should be the note on beat 2 of measure 3. Apply similar treatment thereafter.