This is a lovely short piece by Amy Beach. It is a work that even young children can play once they are able to use the pedal.

Regarding Dynamics:

This composer, Beach, is a relatively recent composer, yet there are no detailed instructions for dynamic markings. It is likely that if 'p' is indicated, you can consider shaping and dynamic changes within the 'p' range until the next dynamic marking appears.

For example, the piece begins with 'p' in measure 1, but no particularly different dynamic markings appear until measure 16. Therefore, from measures 1-14 (measure 14 has a diminuendo), let's maintain dynamic changes and shaping within the 'p' range. In measure 17, 'dolce' appears, followed by a 'crescendo' in measure 20, and then the 'f' marking finally appears in measure 22. From measure 25 onwards, there is an instruction to play 'pp' until the end.

The difference between the initial 'p' and the 'pp' from measure 25 can be distinguished by using the soft pedal. Please keep the soft pedal depressed from measure 25 until the end.

Regarding Shaping:

The highest note in this piece is A. In measures 1-16, the highest A appears around the middle of each phrase, 1-8 and 9-16. Considering this, it is appropriate to think of the shaping as gradually increasing tension from measure 1, decreasing tension upon reaching A, then increasing tension again from measure 9 towards measures 11-12, and decreasing tension in measures 14-16. However, note that she has written crescendo and diminuendo markings in measures 6-8. Although there are no particularly high notes in these measures, let's focus on the harmony. In measure 6, accidentals appear for the first time, and it sounds as if there is a temporary modulation to the relative minor, B minor. In measure 7, a borrowed chord also appears. These complex harmonic progressions can be used to increase tension, so do not determine shaping solely based on pitch height, but consider these special harmonic progressions as well.

The same applies to measures 9-16. In measures 22-23, the descending scale played forte should always have a slight decrease in force as it progresses. In other words, please be careful not to play the six notes of the right-hand scale at the same volume. The same applies to measure 23.

Regarding Rubato:

As far as the author can see from this score, the notes resonate continuously, with no moments of interruption. This suggests that the music should proceed without stopping its flow. In other words, it is fundamentally thought that the progression should be closer to a metronomic pace, without creating motions or moments that stop somewhere. However, it is also believed that a certain degree of rubato should be applied. For example, measures 8 and 16 are like punctuation marks in a sentence. It is acceptable to slightly slow down the tempo (please be careful not to stop completely or suddenly drop the tempo significantly).