While chords like the Neapolitan sixth may appear midway, and the flow may become somewhat dramatic, it should fundamentally be considered an optimistic movement.

Although this is merely one approach, if the theme spans measures 1-4, a sense of direction can be achieved by targeting measure 3 or 4 and applying a crescendo towards it.

Consequently, in a similar manner, a gradual crescendo should be applied to measures 15-19, targeting measure 18 or 19. While maintaining this order, the volume of each phrase, such as measures 20-24 and 25-29, should be progressively increased.

The descending sequence beginning at measure 9 also appears three or more times; even though it is a descending pattern, it is effective to apply a crescendo as it descends.

Many phrases in this piece are four- or five-measure units; deciding which measure to target within these units will make the piece easier to understand and more enjoyable.