First, in pieces that depict a certain kind of flow (whether psychological or pictorial), the music must not be stopped midway. Under no circumstances should the flow be interrupted; proceed without taking unnecessary time.

Furthermore, in pieces where arpeggios are predominant, it becomes easier to understand them by converting them into chords. For example, in measures 1-2, from the bottom note, measure 1, beats 1-2 are GGHDG, beats 3-4 are DDDFisA; measure 2, beats 1-2 are GGDGH, and beats 3-4 are DDDFisA. It becomes clear that measure 2, beats 1-2, forms the peak of a mountain, leading up to it, and then descending from that apex.

Descending sequences, such as those in measures 3-4, should simply be treated with a diminuendo. Since the music descends to G an octave lower in measure 6, this should be considered the weakest point in the first half.

From here, the music ascends again. In measure 7, C changes to C-sharp, leading to D major, and the tension rapidly increases. The first half concludes with a D major cadence.

Performers should pay attention to phrasing (shaping) within the given key (to avoid flatness), create the mood of the modulated key, discern the harmonic sequences (to avoid confusing them with modulations), and determine the overall dynamics.

The atmosphere is very calm and not serious. However, "continuity of flow" is crucial, so do not stop the music midway.