A characteristic feature of this piece is that the left and right hands are written to play chords alternately. For example, in measure 1, one could theoretically play DGD with the right hand and B E G B with the left hand to produce the same notes. However, it is not notated that way. It can be inferred that the composer intended these chords to be played crisply and dryly, hence this specific notation.

Although staccato is first notated in measure 5, it should be understood more as a confirmation to avoid legato playing.

Therefore, the entire piece should be played predominantly staccato, crisply, and dryly.

Other Points to Note

• In measure 1, the left-hand chord consists of E and G. This E is a crucial note. The presence or absence of this note significantly alters the atmosphere. Try playing it without the E; it then becomes merely a G major tonic chord. The inclusion of E adds richness to the chord's character. However, since this E is the lowest note, if the fingering is, for instance, 2-4, the 4th finger would be responsible for E, and due to the inherent weakness of the 4th finger, there is a possibility that it might not be clearly audible.
• Furthermore, in measure 3, the C of the left-hand chord C-E-G is likely played by the 5th finger. When these 4th or 5th fingers are responsible for the bass notes, if the attack is too weak, the richness itself may be lost, so please be mindful. Practice strengthening the 4th and 5th fingers of the left hand to ensure a firm attack on the bass notes.
• Another point to note is dynamic control. For instance, a crescendo is notated in measure 3, with measure 5 as the goal. Play the crescendo between these measures with a sense of urgency (but without accelerating the tempo). A tip for this is to reduce the volume to approximately p on the first chord of measure 3, which will make the subsequent passage easier to execute.