This is a very bright, joyful, and elegant third movement. Firstly, this movement is prone to losing the beat due to the alternating appearance of triplets and quarter notes or eighth notes. Therefore, the tempo must be played with extreme precision and maintained as a single, consistent tempo (ensure the tempo does not change from section to section). Furthermore, strictly adhere to the timing of the rests.

For instance, even in sections like measure 65, the chord on the upbeat of beat 1 should be sustained precisely for the duration of a quarter note, the fermata should be counted accurately, and immediately after the fermata ends, count one eighth note before playing the final note of beat 2. Between measures 70 and 71, there are many rests; these should also be counted precisely before proceeding.

This third movement contains many non-harmonic tones, with a significant number of passing tones appearing on strong beats. This is true for the opening two measures, and in measure 3, the right hand's AG, GF, FEs, EsD each have the first note of the slur as a non-harmonic tone, with the subsequent note being the resolution. When playing AG, release the tension on G. Similarly, for GF, FEs, EsD, and DC, place a slight accent on the first note, lightly cut the second note, play it weaker than the first, and maintain this order while executing a diminuendo. Since these pairs of notes are played as separate units, you may think of it in terms of violin bowing.