This piece features many dotted rhythms. Depending on the performance technique, these dotted rhythms can sound crisp or heavy. First, I will explain an effective technique for playing dotted rhythms. In a dotted eighth note + sixteenth note rhythm, the sixteenth note should be treated almost as an ornament to the following note. Absolutely no force should be applied to this sixteenth note. It should be played in "a single motion," almost simultaneously with the note that follows the sixteenth note.

For example, in measure 1: On the first beat, the dotted eighth note G in the melody should be accented, and the following F# (a sixteenth note) should be played with no force at all, in a single motion, almost simultaneously with the G on the second beat. Of course, the note that follows will be accented. In other words, if force is applied to this F#, or if force is applied twice (once to F# and once to the following G), it will sound heavy and awkward. Please pay attention to this first.

From measure 17, the B section begins, requiring repeated notes. The composer's score indicates fingerings 3-2-1. While repeated notes also appear in Beethoven's "Für Elise" with continuous 3-2-1 fingerings, this can be difficult for some individuals. Therefore, for example, the 3-2-1 fingering in measure 17 can be replaced with 1-1-1. Please choose fingerings that are comfortable for you.

Otherwise, you should adhere to the dynamic markings written in the score, but in measure 21, try reducing the volume to around mp and then crescendoing to the peak point at measure 23.