Although the time signature is 3/8, it is not strictly necessary to perceive three beats. For instance, similar to Chopin’s Scherzos, considering the piece in 4-bar units as if in 4/4 time can reveal the overall structure.

The piece is divided into two halves, a first half and a second half, each consisting of exactly 36 measures. If one considers phrases in 4-bar units, both the first and second halves would comprise nine phrases. This approach is logical.

After measures 1-4, playing measures 5-8 reveals a sequence. Furthermore, measures 9-12 and 13-16 also form descending sequences. By analyzing the piece in 4-bar units in this manner, the structure becomes easily comprehensible. Try to construct the piece following this principle.

Midway through, modulations to the relative major, A-flat major, and the subdominant, B-flat minor, can be observed. Experiment with varying the timbre and dynamics according to each key.

Although the piece is in F minor, it does not convey a sense of gravity. An optimistic interpretation is not incorrect.