The main melody is introduced at the beginning with some simple chords. Make sure the left hand doesn’t cover up the melody. The melody is repeated in measures 10-17 with a more complex accompaniment. Pay attention to which way the stems are pointing. This will help you understand how all the parts work together. Measure 44-51 is the same as the beginning, but everything has been moved up one octave. Also, the left hand changes to treble clef for this section.
This song is in 3/4 and has a bit of a waltz feel to it. It makes me think of a street scene in Paris. The left hand should emphasize the downbeat of each measure, and then play beats 2 and 3 slightly softer. Make sure the left hand doesn’t cover up the right hand melody.
This song is in the key of G-minor and has two flats in the key signature. Remember those flats throughout the piece, but also watch out for all the accidentals. By the way, this song is swung so the eighth notes will not be played evenly. It starts with a walking bass line in the left hand. It’s mostly stepwise and mostly quarter notes. Measure 33-40 has the same bass line with a new right hand riff. Practice this right hand riff at a slow tempo and then gradually add the left hand bass line in.
The intro looks a little complicated, but it’s really just the same right hand melody repeated over changing left hand notes. The only change in the right hand is in measures 7-8 and 15-16. Now look at measure 33-38. You can think of all the G notes that the right hand plays as filler notes, because they “fill in” the gaps between the higher note melody.
This song introduces a simple melody and descending bass line, then gradually increases in complexity. The most difficult section is probably measure 81-96. The right hand is played in 3rds. Take some time to decide the best fingers to use, because playing in 3rds can sometimes create difficult fingerings. Also, notice how the left hand switches to treble clef in measure 65-71. These faster eighth notes will also take some practice.