Finishing this short, sparse piece is extremely difficult. Let's first consider the musical material.

The motif depicting the cuckoo's call is a two-note descending third figure, such as D-B or B-G, appearing in measures 1 and 8. For this motif, extreme care must be taken to ensure that the second note is not accented. The hand motion for this is a "down-up" technique, where the hand is lifted to reduce volume when playing the second note. All cuckoo call material in this piece should be treated in this manner.

Measures 1-4

This is the first phrase, spanning measures 1-4.

• Measures 1-2: Maintain the shape of the cuckoo's call, being careful not to accent the second beat in the right hand or the third beat in the left hand. The weak part of the right hand's second beat coincides precisely with the strong part of the left hand.
• Measures 3-4:

• Right Hand: Broadly consider measure 3 as A and measure 4 as G. Envision a descending line from A to G, playing measure 3 strongly and measure 4 weakly. (The terms "strong" and "weak" discussed here refer solely to the difference in volume between two notes, not to actual forte or piano dynamics.)
• Left Hand: Descend scalewise from D on the second beat of measure 3, reaching the lowest G in measure 4. Therefore, apply a diminuendo. Control the five notes D, C, B, A, G so that each has a subtly different volume.

Measures 5-8

• Right Hand: Measures 5-8 form a two-measure sequence. In both instances, consider the half note as the goal note, approaching it and then decaying from it. While maintaining this order, increase the volume in measures 7-8 compared to measures 5-6.
• Left Hand: Gradually increase the volume from G, reaching the half note D in measure 7, then decrease the volume as it descends to G in measure 8.

Measures 9-10

Measures 9-10 are where the volume and tension are highest in the piece. Utilize the sequence from measures 5-8 to build volume, reaching measure 9. Although the cuckoo rhythm changes, the relationship between the two notes should be treated as previously described.

Measures 11-12

Measures 11-12 conclude with a diminuendo in both the right and left hands.

Overall Principle

The most crucial point in this piece is to maintain polyphonic order. Consider the right and left hands as separate voices and play them while preserving their individual integrity. For example, regarding measures 11-12, while both voices end with a diminuendo, strictly speaking, the first note in the left hand, A, should not be too loud, but rather should build in volume towards the next D. Such meticulous handling of lines is indispensable.