It is written in a very clear ABA form. Phrases progress in 8-bar units. The tempo is understood to be neither too slow nor too fast. There are piu mosso and stretto sections, and after the piece reaches its peak, dim. molt. e meno mosso is indicated, so the tempo changes. Up to this point, it is not particularly difficult.

There are two difficulties in this piece.

Difficulty 1: Chord Balance

One is in the chord balance. The distinction between the melody line and the accompaniment must be made as clear as possible, to the point where it seems impossible to make it any clearer. In other words, the accompaniment notes should be blurred, and the melody should be heard clearly. By doing so, one can first prevent a rushed feeling. Since the accompaniment is always written on the beat, if the accompaniment is too loud, it will emphasize the beat, resulting in a mechanical performance where the melody does not flow horizontally. The aim is to achieve music that flows horizontally, rather than music that is vertically chopped.

Difficulty 2: Handling Accents

The second is the handling of accents on the second beat. When the melody notes on the first and second beats are the same, an accent is placed on the second beat. Now, as becomes clear when actually playing it, strictly adhering to this accent within a limited dynamic range is extremely difficult, and if done poorly, it can result in an unpleasant sound. So, what should be done? As one suggestion, create a slight "hesitation" or "hold back" before playing the melody note on the second beat. Alternatively, take a little time after playing the melody note on the second beat. Or both. By doing this, the note on the second beat can be emphasized, and a merely sharp accent can be avoided. Accents, at times, should be interpreted as emphasizing the note.

It is important to devise solutions for these two matters, and to convey changes in emotion to the listener through changes in harmony.