This piece invariably ascends (or descends) in units of either 4 or 6 measures, reaching a cadence (final form).

The following are examples of the number of measures until a phrase reaches a cadence:

• Measures 1-6
• Measures 7-12
• Measures 13-16
• Measures 17-20
• Measures 21-26
• And so on.

In many cases, since the piece ascends to reach a cadence, it is acceptable for the tension to gradually build until the cadence is reached; however, because this occurs so frequently, the effect tends to be diminished. There are no two phrases that are exactly alike; something continues to change in each. Therefore, first, the performer should clearly determine the dynamics for each phrase. During this period, only forte and piano dynamics existed, so fundamentally, decide whether each phrase should be loud or soft. On top of that, try to create a clear contrast.

Furthermore, actively incorporate dynamics other than forte and piano. Even if sixteenth notes appear, they are not necessarily forte, so it is also possible to create tension by starting with pp.