This study focuses on two-note scalar ornaments in the right hand, which prepare students for more advanced ornaments, such as those found in sonatas by Mozart and Haydn. An additional technical element is explored in holding the bass notes in most measures of the left hand. This both grounds the left hand physically and also gives aural emphasis to the bass line. Although the beginning phrases of each section are four bars long, the following asymmetrical phrasing gracefully pulls the piece across the four-bar break and into the closing cadence.
Margaret Runaas, Professor of Music, Iowa Wesleyan College