• Since the melody line is in the left hand, the right hand's volume should be restrained.
• For harmonic analysis, in the first half, measures 1 and 4 are tonic chords, and measures 2-3 are dominant chords. Therefore, slightly emphasize the dominant chords, and reduce the volume when returning to the tonic chords. In the second half, measure 1 is a tonic chord, and a subdominant chord appears for the first time in measure 2, at which point the tension should be increased. Measure 3 is a dominant chord, and it concludes with a tonic chord in measure 4.
• Please ensure that all half notes written here are not accented. All half notes are written as the final notes of phrases.

The movement of the left-hand melody is jocular and intriguing. The 'G-E' in measure 1 (beats 3-4) transforms into 'G-F' in the subsequent measure 2, and again into 'G-F' in measure 3, only to ultimately revert to the initial 'G-E' in measure 5. Upon restarting from 'G-E' in measure 5, the passage that was previously 'G-F' now becomes 'A-G'. The piece then concludes rather abruptly with 'G-F-E-D-C'. The afterbeats in the right hand should be performed rhythmically, as if clapping hands.