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The final example for this section is much less visually apparent in terms o the phrasing. There may be

a few cues from dynamics and tempo indications, but this pie ce is all about perpetual motion. You'll have

to take your cues primarily from harmonic shifts. A pie ce such as this can tum into a long, meandering,

and meaningless string of notes i you aren't able to bring out the structure

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the phrases.

STU Y TIPS

• This pie ce is also a great arpeggio exercise. Practice the following pattems right hand alone to help

you with what you'll need for this piece: pima; arnip; paim; prnia.

• It's easy to go faster than the tempo marked in the beginning, but don't be tempted, or you'll regret

it when you reach measure 17

• Measure 19, study right hand alone.

• This piece, as with many others, can be pretty dull without dynarnics. Find the high points, and

make gradual crescendos/decrescendos to give a beautiful contour, highlighting the harmonic

changes.

• Make sure your left hand connects the moving lines (for example, the accented notes in measure

2; the second sixteenth notes in each group measures 8-11; and the half notes on beats 1 and 3 in

measure 12). We should hear these as melodies, connected and highlighted from the regular tex

ture of the arpeggio.

• Be sure to mark the main phrases, and plan your dynamics and any rubato (phrase breaths) around

these sections. Try to identify the phrases on your own before you read my list (following irnme

diately)

o

suggested phrases:

o Measures 1-6

o Measures 7-11

o Measures 12-16

o Measures 17-22

o Measures 23 to end