This march is conceived with a focus on leading towards longer note values. In measures 1-2, apply a slight accent to the half note A in the right hand. On the downbeat D of beat 1, avoid accentuation; play it short, leading towards the half note on the upbeat.

Subsequently, all notes should be played with an emphasis on leading towards longer note values (including half notes and dotted quarter notes).

In measures 8 and 21, pay careful attention to the repeated notes in the left hand. Ensure that these are never played too heavily or too loudly.

While the first half is in D major, the second half commences in A major; therefore, increase the tension in this section. Up to measure 11, the A in the treble clef is the highest note, so it should be played with considerable volume. However, in measures 14-15, execute a crescendo through the ascending one-measure sequences, reaching an even higher B in measure 16. Consider measure 16 to be the climactic point of this march in terms of dynamics.

In the final measure, an even higher D appears. While the author would personally conclude the final measure without excessive volume, opting for a more subdued ending, this is ultimately a matter of performer's discretion.