On Pedaling

The use of the pedal is highly recommended as it significantly enhances the sound, and the pedaling in this piece is not difficult. If possible, its use is advised.

• Measures 1-8: Depress the pedal once per measure.
• Measures 9-16: Release the pedal completely (no pedal).

On Balance

The left hand should be played as softly as possible. Be careful not to let the left hand mark the beat or become excessively loud.

On Phrasing and Harmony

Measures 1-8 should be divided into two sections: 1-4 and 5-8. Measures 3 and 7 are considered the peak points of their respective four-measure units.

Here's a tip: When moving from the last right-hand note in measure 1 (E) to the first right-hand note in measure 2 (D), ensure that the D is not louder than the E (it should be softer than E).

When moving from the last right-hand note in measure 2 (G) to the first right-hand note in measure 3 (F#), you may play the F# louder. This is the only dominant chord within the four-measure unit. Of course, 'louder' does not mean a harsh, protruding sound, but rather slightly louder than the preceding G.

When moving from the last right-hand note in measure 3 (F#) to the first right-hand note in measure 4 (G), the dominant resolves to the tonic. Therefore, the G should naturally be played softer than the F#.

The exact same approach should be repeated for measures 5-8. However, repeating the same thing twice can lead to a flat performance. For measures 5-8, it is advisable to slightly reduce the volume, use the soft pedal to create an echo effect, or generally strive for a different approach than in measures 1-4.

Measures 9-12 and 13-16 should be interpreted as descending scales. Therefore, it is generally appropriate to decrease the volume as the melodic line descends.