Slow pieces of this type, with a sparse texture, tend to lose direction, potentially resulting in a flat performance. As a solution, try playing through it at a slightly faster tempo to grasp the overall structure. The first half can be considered as 12 measures, consisting of three 4-measure phrases. Between the first (measures 1-4) and second (measures 5-8) phrases, the second phrase is pitched higher, so its dynamic level should likely be greater. The third phrase (measures 9-12) ends quietly without any indication of modulating to another key, so its tension can be reduced compared to the second.

The second half can be thought of in 2-measure or 4-measure units. An ascending sequence begins, reaching H (B natural), the highest note in the piece, at measure 19. From measure 21, after a series of 4-measure phrases descending by a second each, measures 25-28 can be considered a coda-like cadence. The subsequent measures 29-32 can be regarded as an echo of measures 25-28.

Performers should concisely consider the overall structure, including the differing moods of each phrase and the direction provided by the sequences, and apply appropriate dynamics to each.