Excerpt from Aki Piano Method Book 2. This method book is known for closely integrating solfège abilities with piano education.

For this reason, hand position is prioritized, and although the starting note for the left hand is the 3rd of the I chord, forming a first inversion, this is not considered to be for expressive reasons. Considering that these left and right interval arrangements are not perfect consonances such as octaves, unisons, or fifths, they can be interpreted as a two-voice texture with parallel motion. Therefore, to balance the left and right hands, it is necessary to be aware of timbral nuances in the left hand as well.

The overall structure is a one-part form. Measures 1-4 and 5-8 can be considered two small phrases, sharing the same motif from the opening two measures. The theme spans four measures and is composed of two motifs. Measures 1-2 are characterized by smooth stepwise motion, while measures 3-4 show a change, progressing from a dominant seventh chord (root omitted, third inversion) to a I first inversion, forming a D→T progression. Compared to measures 1-2, the harmonic sense becomes clearer.

Regarding expressive possibilities, considering these changes, measures 1-2 could simply express ascending and descending motion smoothly with crescendos and decrescendos, while in measures 3-4, an awareness of the left hand's F note (※the 7th of the dominant seventh chord = harmonically a tendency tone that resolves downwards, thus implying tension) moving towards the E note, and in the right hand's measure 4, the ascending arpeggiated line could be expressed as if opening the phrase.

The cadence in measure 8, with the tonic note in the left hand at the end, results in a stable perfect cadence.

Thus, although seemingly a simple piece, by grasping the subtle changes in both its composition and structure, a more expressive performance can be achieved.