The opening four measures sound like a fanfare, and the dance begins from the fifth measure. For the left hand, it is important to carefully sustain the notes firmly, especially the tenuto on the first beat. In particular, in measure 5, the accented D-flat in the right hand clashes with the E in the left hand, creating a dissonance; listen carefully to this sonority. The crescendo in measures 11-12 should also reach its full extent by the end of measure 12, and then, if played as if suddenly pulled back in measure 13, it will create a contrast appropriate to the style of this piece. Although this piece has a charming theme, Birthday Party, the fervent passion of a folk tradition is expressed throughout. For example, in measures 29-32, all notes in the left hand have accents; it is advisable to sustain the notes firmly and play each note with a clear accent without becoming light. In the marcato section starting from measure 37, the left hand descends, ascends, and descends in two-measure units. If you crescendo gradually within these units, I believe you can naturally reach the f in measure 43 in a way that utilizes the motif. The same applies to the four measures from measure 47. And now, as it approaches the climax, from measure 52, the same phrase is repeated persistently multiple times, and the intensity rapidly builds. With this surging excitement, as if one's blood is boiling, the piece finally reaches the chromatic hemiola section in measure 61.