Arranged by Michiko Ikuma, this piece is marked "tanoshiku" (joyfully). Articulation is also a crucial element for playing joyfully. Basically, the eighth notes in this piece should be played staccato. Quarter notes may also be played staccato. However, when doing so, remember that the staccato on quarter notes should be slightly longer than that on eighth notes.

The next point of attention is the treatment of dotted notes. Avoid playing the dotted rhythms in measures 2 and 6 heavily. The trick is to consider the sixteenth note as an ornament to the following eighth note, applying almost no force to the sixteenth note, and placing the accent on the subsequent eighth note. Furthermore, in both measures 2 and 6, the dotted eighth note on the first beat may be connected legato to the following sixteenth note.

Now, let's look at the dynamics. In this piece, only "mezzo forte" is indicated at the beginning, with nothing else written thereafter. However, this does not mean you should play mezzo forte from beginning to end. Dynamic variation is a crucial element of this piece.

For example, measures 1-4 and 5-8 have exactly the same notes and rhythm. Introduce variation by playing one louder and the other softer, ensuring they are not identical. Similarly, measures 9-10 and 11-12 are also identical, so introduce dynamic variation. Measures 13-14 and 15-16 are also identical, but since the instruction "dandan yukkuri" (gradually slower) is written, treating them accordingly will naturally create a difference.