First, this second movement should be approached as an ensemble akin to a string quartet. The piece progresses in three or four voices. Considering the desire for articulation reminiscent of string bowing itself, and the abundance of scales, it is strongly recommended to minimize pedal usage. Excessive pedaling in this second movement will lead to significant blurring. While pedaling is certainly permissible, blurring should be avoided as much as possible. Regarding where to use the pedal, for instance, at the very beginning, on the upbeat in the right hand, a momentary pedal can be used to ensure continuity when moving from B to B. Alternatively, in measure 8, during the progression of thirds, a brief pedal can be applied to connect all voices. Otherwise, avoid the pedal as much as possible, and it is entirely unnecessary in sections with scales, such as measure 9 or measure 12. Another point of caution is to ensure that repeated notes are clearly audible. Taking the opening upbeat as an example, confirm that both of these two B's sound distinctly. While this section might be manageable, after the repetition, when the theme appears in the left hand, it sometimes happens that these two repeated notes are not clearly heard, so please be careful. Incidentally, regarding the opening upbeat, while there might be an interpretation to start the trill from C after the 16th note B, the trill is attached to B, not C. Therefore, the author would start the trill from B, meaning the B is repeated.