The musical skill required to captivate an audience with this simple, short piece is exceptionally high. First, performers should practice all notes at forte, ensuring that the fingers responsible for the bass, such as the 5th finger of the left hand, firmly grasp the bass notes and produce a full sound. Although the tempo is marked Allegretto, it is not strictly necessary to adhere to this indication. Performers may play at a tempo that feels comfortable to them.

The piece consists of 16 measures, neatly divided into two 8-measure halves: the first half and the second half. A key point for the first half is to avoid accenting the first beat. In both measures 1 and 3, the half note on the second beat serves as the goal note. Measure 2 begins softly, with the E on the third beat as the goal, followed immediately by an arpeggio descending to G in measure 3. Since the G on the first beat of measure 3 marks the end of the first phrase, it should not be accented; rather, it should conclude with a release of tension, and the half note D on the second beat of measure 3 becomes the next goal.

In both measures 1 and 3, the half notes are marked with a tenuto. It is uncertain whether these tenuto markings were added by Beethoven himself. As this is Classical music, it is forbidden to unduly prolong these two half notes; however, they can be understood as an indication for emphasis.

In measure 5, the notes ascend to the highest G in the first half. Subsequently, the music descends through a sequence, so ideally, the dynamics would decrease from measure 5 onwards. However, the chord in measure 6 is a II chord, functioning as a subdominant. Opinions may vary among performers regarding the dynamics of this measure. Measure 7 features a dominant chord as a natural harmonic progression, and the first half concludes on the tonic.

In the second half, measures 9-12, the decisive factor is the repeated notes in the left hand in measures 10 and 12. Unless these are played precisely, the passage will not sound effective. While fingerings are flexible, performers who struggle to execute the repeated notes cleanly with the same finger should consider alternative fingerings, such as 3-2-1.

The dynamics should be louder in measures 11-12 than in measures 9-10, followed by a crescendo from measures 13-16, with the notes ascending to the highest D in this section. A dynamic range from mezzo forte to forte would be appropriate. However, it is crucial to ensure that the sound does not become heavy and to avoid an overly harsh forte.

To make this piece sound fluent, the issue of balance is paramount. Measures 10 and 12 are the only places where the melody line changes to a chord; naturally, the top note of these thirds should be prominent, but all other melody lines outside these two measures are monophonic. Consequently, the balance between the left and right hands becomes the decisive factor.