The piece is characterized by dizzying key changes. Consequently, variations in tone quality are required for each section. Prepare a diverse tonal palette and experiment with a wide range of timbres. Furthermore, the author perceives this piece as one that necessitates a degree of improvisation. While some performers may opt for a strict interpretation, maintaining a metronomic tempo, and this approach is certainly valid, incorporating a certain improvisatory freedom can significantly enhance the piece's allure.

For instance, at the outset, measure 1 exhibits the fastest tempo, which then gradually decelerates, leading to a decay in tempo that extends to measures 6-9. At measure 10, the tempo reverts to its original pace, subsequently decaying once more towards measures 17-19.

In such instances, for example, a discernible difference in volume between the G in the left hand of measure 8 and the G in measure 9 would be appropriate. Rather than playing them identically, the G in measure 9 should be played as if it is fading away. The use of the soft pedal might also be considered. The same principle applies to measures 18-19.

In the B section, the theme commences at measure 20 in G-sharp minor. While listeners might anticipate measure 22 to follow a pattern akin to measure 2 or measure 12, measures 22-23 present a highly unexpected and striking change. Here, an instantaneous alteration of timbre using the soft pedal would be effective. The tension escalates with the forceful modulation at measure 25, and the piece returns to the A section at measure 36. Measures 25-36 can be regarded as the section of highest tension within the composition.

Finally, at measure 57, the piece forcefully reverts to C minor. Here too, an exploration of different timbres is encouraged.