Performance Notes

The tempo indication is only "con moto," and no specific tempo marking is given. To avoid a heavy sound, a tempo of quarter note = 105 or more is desirable. The left-hand accompaniment consists of quarter notes marking the beat. Since these repeated notes can contribute to a heavy or stiff sound, it is advisable to play the left-hand accompaniment lightly with staccato.

Phrases should be considered in two-measure units. In the first half, there are four such phrases: 1-2, 3-4, 5-6, and 7-8. The last note of the phrase (right-hand melody) becomes the lowest note within that phrase. For example, in measures 1-2, the final A in measure 2 is the lowest note within that phrase. While it is absolutely out of the question to accent the last note of a phrase, particular care should be taken in phrases where the first finger is likely to be used, to avoid accenting the final note (as the first finger is the strongest and tends to naturally produce an accent).

In measures 1-2, the melody ascends from D to E in measure 2; observe the chords. These are tonic and dominant. The dominant has higher tension, and the melody note E is the highest note within the phrase, so make the E in measure 2 the goal note. Furthermore, although it reads C# B C# A, consider this simply as a descending line C# B A. Therefore, it should be a diminuendo.

In measures 3-4, the melody line descends A G F#, and measure 4 is a continuation, considered as E D C# B A. This means that the very first note of measure 3 should be the strongest, and if you consider it as gradually descending, the final note must be played even more quietly, especially since there is a 'p' marking. If the next section is forte, the last note of the 'p' section tends to become forte.

The author's score has dynamic markings: measures 1-2 are forte, 3-4 are p, 5-6 are forte, and 7-8 are p. From here on, this is purely the author's perspective, but the author believes that such a large dynamic contrast is not necessarily required. This is because creating too much dynamic contrast can lead to the left hand becoming rough, or make it difficult to shape the 'p' sections, among other challenges.

Regarding balance, naturally, the left hand should be kept as soft as possible. This also applies when the left hand is in a 10th interval relationship, such as in measures 10 and 14.

In the latter half, measures 9-12 should be considered as one phrase of four measures. This phrase descends from the A on the second beat of measure 9 as its peak, down to the A one octave lower (the last note of measure 12). The final measure 16 ends slightly slower.

The key is to play joyfully, lightly, without heaviness, and with good balance.