[Bars 17-18] We mark the start of the second half of this 32-bar piece with a higher inversion of the pedal point motion applied in the opening two bars. [Bars 19-20] In fact, both compositionally and educationally, we seize the opportunity in the second half of the piece to play inversions of other previous passages too. This two-bar section is based on the one in bars 7 and 8, only this time we are playing higher up the neck using add4 arpeggios, rather than add2 arpeggios (in this case, Am add4, G add4, F add#4, G add4). [Bars 21-22] The section presents a bit of a mixture. First, we start with an
GGGFGAm add2 arpeggio. This is followed by a descending G triad leading, via a chromatic passing tone, to a melody based exclusively around an F triad, which also moves via a chromatic passing note to a melody composed exclusively of a G add4 arpeggio. [Bars 23-24] Here, chord tones are targeted from a semitone below. Note how the eight 16th-notes over each chord are divided into a 3+3+2 configuration, which helps to give each motif some rhythmic interest against the underlying pulse (of 4+4).