This piece can truly be considered as having been written with a string quartet as its model. When teachers assign this piece to students, some children may not even know what a string quartet is, or the names of the instruments. It would be beneficial to show them videos or other visual aids. It should be played lightly, elegantly, and delicately, evoking the image of strings. Even in the forte sections, there is no need to play excessively loudly.

From the beginning, phrases start in 4-bar units, and it is advisable to aim for the goal on the second beat of the second bar. The goal position is the same for both bars 1-4 and bars 5-8.

The next section is a new one. From here, it can be considered as one phrase in 8-bar units. Aim for the goal in bar 12. After that, it gradually fades until bar 16. However, do not slow down the tempo. In bar 17, the opening phrase returns, and the F# in the chord of bar 18 creates an indescribable color. Nevertheless, the marking is p, so perhaps emphasize it slightly within the p dynamic range.

The only forte marking in this piece is in bar 24. Even though we reach bar 24, it is merely a very short course starting from bar 21. An elegant, stylish performance that never creates a strong sense of pressure is desirable.

Please look at bar 26. In the first beat, all melodic parts are staccato. On the downbeat of the second beat, there is a legato, and the upbeat is again staccato. Since this is an expression of violin articulation itself, clearly distinguish between staccato and legato, and try to play it like a violin. The same applies to bar 30.

Between bars 35-36, no rit. is specifically written, so there is no need to ritardando, but it should end as if fading away.