Analytical Commentary

As indicated by the tempo marking "jokingly" (おどけて), the piece is intended to convey a humorous nuance.

The main key is C major. Although the tonality might feel ambiguous due to the presence of an F♯ non-harmonic tone from measure 1 and the final cadential chord being a I add6, the bright atmosphere is likely attributable to the fact that, apart from these instances, the piece is constructed in C major.

There are various interpretations regarding the F♯ from measure 1. In C major, an F♯ can also be considered a constituent tone (leading tone) of the double dominant.

The main motif possesses a rhythmic character reminiscent of a waltz. Like a waltz, it is structured in two-measure units, differing from the single-measure movement typical of a minuet.

The overall structure is binary form.

• A [a (mm. 1-4) + b (mm. 5-8)]
• B [b1 (mm. 9-12) + a1 (mm. 13-16)]
• Coda (mm. 17-20)

In the A section, two distinct sub-sections, a and b, are presented. While b is not a waltz-like rhythmic motif like a, but rather a legato and strongly melodic motif, the staccato articulation evokes a bouncy dance image. The dance-like imagery conveyed through both a and b likely connects to the title "Dance."

Furthermore, in the b section, the bass clef in the left hand also employs non-harmonic tones such as passing tones (or passing chords) and neighbor tones, indicating a melodic element. This reveals that the section is a two-voice polyphony. Consequently, in sections b and b1, the left hand should be expressed with nuance as an independent voice, rather than merely an accompaniment.

Regarding the overall range, as the left hand is in a relatively high register within the bass clef, considering the characteristics of the piano, the piece should by no means be played heavily; rather, a light touch and delicate articulation are required throughout.

In terms of structural flow, the beginning of the B section proceeds from the development of sub-section b to the development of sub-section a. This is interesting as it reverses the order of presentation in the A section. The return of sub-section a1 at the end provides a sense of unity and tightens the structural integrity of the work.

In measures 15-16, there is an ascent by a second. Comparing just this section to the original a motif to observe how the sound changes with the higher pitch could provide hints for interpretation.

As mentioned earlier, the final cadential chord is a I add6 chord. It is in second inversion, with the fifth of the chord as the lowest note, and furthermore, the highest note is the third of the chord, making it harmonically unstable.

In a sense, it functions as an imperfect cadence. It might be beneficial to listen to the sound and let one's imagination expand, pondering why the composer intentionally wrote such an unstable sound.