First, master the pedal. This is a very important point for performing this piece. For children whose feet cannot reach the pedal, it is recommended to use an assist device to engage the pedal. The reasons are explained below.

Pedal Application

Please look at the left hand in bars 1-4. Dotted half-note chords continue. Incidentally, the author's score has fingerings written: bar 1: 1-5, bar 2: 2-4, bar 3: 1-3. The reason for these fingerings is that using them allows the left-hand chords to be connected seamlessly. For example, imagine two cellos, and you must never break the horizontal line. This is extremely important. For bars 1-3, the above fingering is fine, but when moving from bar 3 to bar 4, it inevitably breaks. Incidentally, bar 4 has the fingering 1-5 written, but connecting it from the previous bar is almost impossible. Therefore, use the pedal.

In bar 3, when the third beat arrives, press the pedal.

In bar 4, release the pedal on the first beat.

This allows you to connect the chords between bars 3 and 4.

Below, from bar 14, beat 3, to bar 15, beat 1, use the same pedaling as for bars 3-4.

• Bar 16: Engage the pedal from beat 2, and release it on beat 3 of the same bar.
• Bar 22: From beat 3 to bar 23, beat 1.
• Bar 24: From beat 3 to bar 25, beat 1.
• Bar 27: From beat 1 to beat 2; this is to connect the two repeated G notes in the right hand.
• Bar 30: From beat 3 to bar 31, beat 1.
• Bar 32: Press on beat 2, and re-pedal on beat 3 (not release, but re-pedal). This is to connect both the left and right hands.

Direction of the Piece

Next, let's consider the direction of this piece. This piece is in binary form:

• A: 1-8
• B: 9-16
• A: 17-24
• B: 25-32

In the opening A section, phrases are in 4-bar units. There are two: 1-4 and 5-8. Consider the first beat of bar 3 as the peak point for each (of course, this is just one interpretation). Following the melody notes, you'll see a stepwise descent: bar 1, beat 1 is B; bar 2, beat 1 is A; bar 3, beat 1 is G; bar 4, beat 1 is F#. While one might think that a descending line implies a gradual decrease in volume, the author finds the chord in bar 3 to be the most dramatic, so bar 3 was chosen as the peak point. The same applies to bars 5-8. It moves towards the first beat of bar 7.

In the B section, consider bars 11-12 as the peak of a mountain, ascending to it from bar 9, and fully descending by bar 16.

The second A section becomes a canon. In this case, since there are no chords, the feeling is not like bars 1-4, but rather a sense of memories continuously circulating, or searching for something. In this case, follow the diminuendo markings written in the score, decreasing the volume as you progress (the left hand at the beginning of the melody in bar 19 and the left hand in bar 23 start loudly and gradually decrease in volume. This means the right and left hands proceed with different dynamics).

The second B section is exactly the same as the first B section.