This is a great preparatory work for more advanced piano literature, such as Rachmaninoff etudes, in which the melodic line soars over thick textured chords. The right hand has constant triplet figurations with the melody in the thumb. Following the tenuto markings and pedaling carefully can help create a legato line in the melody, even though only the thumb is used. The triplets need to be steady and at a quiet dynamic level. To create a spacious, unhurried atmosphere, the ritardandos at the end should be extreme.
Caroline Krause, Iowa Center for Research by Undergraduates Fellow