The essence of this piece lies in the light and agile staccato of the right hand. Pieces featuring staccato often present challenges such as inaccuracies, unarticulated notes, or blurred sounds. Initially, firmly establish the precise note positions by playing legato (or non-legato is also permissible) with a forte dynamic. Subsequently, execute the staccato as briefly as possible.

Conversely, the left hand features tenuto markings, indicating that these notes should not be shortened. Furthermore, the whole note in measure 4 must be sustained for its full notated duration.

Conceive of the phrases as two distinct units, each comprising four measures. For the first phrase (measures 1-4), establish a clear direction towards the F in measure 4; for the second phrase (measures 5-8), direct the musical line towards the G in measure 7. Fundamentally, for both phrases, progressively increase the musical tension as the phrase develops.

Regarding the tempo, it is indicated as a march tempo. Envision a familiar march tempo, and ensure that the performance does not become excessively fast.

Sectional Form

a (measures 1-4) + a1 (measures 5-8)

With one flat in the key signature and starting with a D minor chord, it might seem to be in D minor. However, in measures 3 and 7, the note is C natural, not C sharp, indicating that the leading tone is not functioning. This means it is an ecclesiastical mode with D as the final (equivalent to the tonic), specifically the Aeolian mode.

The characteristic motif of the theme is a circling figure, D→F→E→D, returning to the initial note. In the subsequent measures, only the descending figure F→E→D is repeated, partially emphasizing the motif's characteristic. In the following two measures, it transposes up a second, repeats, and concludes. In the overall structure of this piece, this is repeated twice. The end of the first half features a deceptive cadence (V→VI), while the end of the second half concludes with a perfect authentic cadence (V→I). I believe these differences in cadence types should be expressed as changes in nuance.

Looking at the bass part, the beginning of the phrase is a first inversion chord where the third of the chord is the lowest note, and this progresses sequentially upwards for four measures. With a structure based on sequential progression in an unstable first inversion, the horizontal connection is further emphasized.

As the title 'March-like' suggests, a steady pace (i.e., a march) is repeated. However, the persistent repetition of the descending sequential progression in the theme's motif also evokes a sense of strong conviction or idea. In a tonality that is by no means bright, what could these repeated movements signify?