Musical Analysis

Ternary Form: A [a (mm. 1-8) + a1 (mm. 9-15)] B [b (mm. 16-19) + c (mm. 20-23)] A1 [a (mm. 24-31) + a2 (mm. 32-39)]

In the flow of the theme from the opening measures 1-8, there is little clear triple-meter accompaniment movement in one-measure units typical of a waltz. Coupled with the indications of Tranquillo (quietly) and p (piano), this suggests that the character of the phrase evolves gradually rather than undergoing abrupt changes. The thematic motif, consisting of two eighth notes and a half note, also lacks a sense of lively motion. These small pitch changes should be expressed with a delicate touch. Throughout the entire piece, no dramatic changes occur in a short time, truly embodying the title as a gentle waltz.

Looking more closely, the first beat of measure 1 features the third of the tonic triad (I) in the bass, forming a first inversion. The sound is inherently less stable compared to a root position chord where the root is in the bass. This unstable third descends stepwise (C→B→A→G→F→E) with each passing measure, creating a strong sense of horizontal motion, suggesting that the phrase builds towards the dominant seventh chord in measure 6 as its peak of tension. The crescendo and decrescendo from measures 4 to 7 are likely expressions of this horizontal flow and harmonic movement. Incidentally, the G in the bass of measure 4 is not the seventh of the I7 chord; from a stylistic perspective (Romantic-style writing), it is more naturally interpreted as a non-harmonic passing tone.

Measure 8 concludes with a half cadence on the dominant seventh chord, and from measure 9, the opening of the theme is restated. From measure 12, there is a partial modulation to E minor. As a precursor to the F#m7-5 chord (a dominant ninth chord on III in E minor), the A minor I chord in measure 11 is a triad (a doubled fifth in measure 3), which enhances the darker sound of the minor triad. Measures 13-14 feature a hemiola cadence; following the indicated slurs here allows the polyrhythm of the hemiola to be clearly felt.

The B section begins at measure 16. The melodic line in measure 16, with its augmented fourth progression from F to B, is the most distinctive feature in the piece. With the dominant as a pedal point, this is a II7 chord. Measures 18-19 are a variation of measures 16-17, and the harmonic progression is actually the same. While starting a phrase with an imperfect cadence from the subdominant is characteristic of the Romantic period, the fact that the II chord in a minor key is a diminished chord, and the melody begins by forming an augmented fourth interval between its fifth and root, is a bold idea from a compositional perspective. Furthermore, if we list the constituent notes of measure 16, they are La-Si-Mi-Fa, which for Japanese listeners, evokes the familiar Yonuki minor scale (La-Si-Do-Mi-Fa). This seems to be the factor that creates an oriental atmosphere.

From measure 20, the dynamics gradually diminish through a diminuendo. However, measures 20-23 show an ascending melodic line (G#→A→B) and harmonically, the tension increases towards the dominant. Despite this, the volume decreases, eventually stopping at measure 24 with a fermata on a unison, where no chord is even formed. Only a single E note remains. This movement seems significant and cannot be simply dismissed as a half cadence or the end of a phrase. By imagining the decay of sound while maintaining harmonic tension as a human emotional gesture—for instance, someone wanting to speak but remaining silent—one might achieve a natural expression rather than a mechanical one, even if the composer's true intention remains a mystery.

From measure 25, the theme is restated. From measure 32, it modulates to F major, and the theme is developed. In measure 36, it returns to the tonic A minor, where a lowered fifth and a double dominant (i.e., augmented sixth chord) are placed, forming a cadential formula in measures 37-38. Notably, measures 37-38 also feature a hemiola, similar to measures 13-14. However, the inner voice of the left-hand accompaniment chord forms a counter-melody (A→F→F#→G#). Highlighting this inner voice line to express a polyphonic structure with the main melody would lead to a more three-dimensional performance.