 The even time picks up the slow steps . The general marking for volume is pp ( very soft ) , repeated several times , changed by a crescendo marking only twice , both times growing to pp again . The accompaniment follows a similar pattern almost throughout the song : in one measure , the bass in the pianists left hand moves in dotted eighth notes , while the right hand regularly alternates triplet sixteenths and eighths , resulting in a subtle shift of accents , which has been described as a " trance @-@ like mood " . The voice enters after two identical measures , also moving in dotted eighth notes . The first motif is a three note stepwise descent ( A sharp , G sharp , F sharp ) . It is immediately repeated on the word " Dämmergrau " . The text is mostly rendered simply , with only one note on each syllable . When the view changes in line 3 from observation of nature to the destination , the key shifts abruptly to B @-@ flat major , and the word " schönsten " ( most beautiful ) is accented by a long high note . This climax of the first stanza is prepared by a crescendo , but again a sudden pianissimo . With the beginning of the second stanza , the key returns to F @-@ sharp major , the melody is not identical but similar to the first stanza ; the first motif appears one step higher , from B to G sharp , on " Dämmergrau " , repeated on " Liebe Land " . The line reaches a climax on " blaues " ( blue ) . The text of the last three lines is repeated as a shortened version of a stanza , with the first motif in its second form this time on " gehe nicht schnell " and " eile nicht " , with this emphasis on " not fast " marked " immer ruhiger ( aber nicht schleppen ) " , which translates as " calmer and calmer ( but no dragging ) " . The voice ends with a rising line , ending openly on C sharp , while the triplet movement stops , and the piano slowly repeats the final chord , marked ppp . 
