The way dissonances or discords sound varies depending on the choice of instrument. For instance, on the piano, a major 7th or a minor 2nd is certainly not a 'consonant' sound and can sometimes feel jarring. However, if a two-voice major 7th or minor 2nd is played by two different instruments, the sense of discomfort might be less pronounced than on the piano. The piece 'Annick' gives the impression of chord progressions that deviate from the norm, or counter-melodies that feel unsettling, especially for those with a deeper knowledge of harmony and counterpoint.

One reason for this is that the piano, as an instrument, allows all voices to be played on the same instrument, which can often, paradoxically, make the piece harder to comprehend.

From the author's perspective, it is crucial to perform this type of piece in a way that minimizes the sense of discomfort. For example, the two-voice movement in measures 7-8 is quite rare. If these two voices are played with exactly the same timbre and volume, they might simply sound like a 'crash'. However, if, for instance, the left hand's volume is reduced as much as possible, played with a slightly blurred timbre, and the right hand is made to sound clear, the sense of discomfort should diminish.

This is a piece that calls for such ingenuity. In measures where such discomfort is felt, particularly measures 20 and 24, try performing as if the two voices were being played by different instruments.