To perform this piece, let's acquire a special technique. This concerns the right hand. The human thumb (finger 1) is the strongest finger, possessing strength comparable to that of all four other fingers combined. Conversely, the weakest fingers are fingers 4 and 5, as these two rarely require significant force in daily life. However, in piano playing, fingers 4 and 5 of the right hand very often carry the melody line, and fingers 4 and 5 of the left hand often carry the bass line. Therefore, these fingers 4 and 5 must be rigorously trained.

By consistently focusing on bringing out the top note of chords with the right hand, fingers 4 and 5 can be strengthened.

In this sense, this piece requires special strength from fingers 4 and 5, so let's use it for training. Now, the pattern of a dotted eighth note + two thirty-second notes + an eighth note + an eighth rest, which appears from the anacrusis at the beginning and concludes on the first beat of measure 1, is seen throughout the piece.

As a playing tip, first, give volume to the initial dotted eighth note. Next, for the two thirty-second notes, play them at approximately pp, with a shallow touch, more like touching than striking, without pressing deep into the keybed. These thirty-second notes rush energetically towards the final eighth note, and you should consider their execution to be almost simultaneous with the striking of the eighth note.

Then, apply force only to the eighth note. It's an instantaneous force. While no force is applied to the two thirty-second notes, this eighth note alone requires "explosive" force. This force is extremely fast and strong, so visualize your hand lifting upwards as a reaction.

As a result, the listener will strongly perceive only the initial dotted eighth note and the final eighth note, hearing the preceding two thirty-second notes as if they were ornamental notes.

From measure 1, beats 2-4, extending to measure 2, beat 1, arpeggiated lines are written in the chords for both hands. Here, too, we will use the same technique as before. Let's explain starting with the right hand in measure 1, beat 2. The notes are C-F-A, but the melody line is the top note, A. If you apply force three times, once to each of C, F, and A, it will sound heavy. Therefore, apply no force to the initial C and F. Instead, apply force only to the final A. Visualize playing the initial C and F at pp and only the final A at forte.

As a result, the finger responsible for A will likely be finger 4 or 5; apply explosive force to it, similar to before. Be conscious of the finger responsible for A in the right hand. By doing so, you can make only A clearly audible. The left hand volume is mostly unnecessary. If the movement is quick, p is acceptable.

You will be fine once you master these two units:

• The pattern of a dotted eighth note + two thirty-second notes + an eighth note + an eighth rest.
• Chords with written arpeggios.

Another point of caution: This piece must be played continuously, almost like a metronome, without disrupting the timing. Indeed, the only tempo modification marking written is "poco rit." in measure 21. However, it is not good practice to disrupt the beat when the listener is actively counting. For example, in measure 23: after playing the chord on the downbeat of beat 1, the sixteenth notes must immediately follow on the upbeat; if this is delayed, it will disrupt the listener's sense of pulse.