This piece is divided into two main sections. The first is measures 1-8. The second is considered to be either measures 9-16 or 9-20. The final four measures can likely be regarded as the Coda.

This structure can be thought of as:

• Measures 1-8: First Half
• Measures 9-?: Second Half

This piece is not one that expresses strong emotions; rather, it has strong elements of pictorial depiction. Therefore, it is best performed in a detached and skillful manner, without deviating from the tempo. Consequently, the expression of dynamics becomes crucial. I will primarily discuss dynamics.

First Half

For the first half, in measures 1-2, consider the tied E in measure 2 as the peak point. Approach this point, and from E, the line then diminishes through D-C.

Measures 3-4: This time, the same melody begins, but since the bass is in a lower position, the volume should be slightly increased compared to measures 1-2. The melody's ending does not descend as in measure 2 but ascends towards A; however, a strong accent on A is not particularly necessary. It is sufficient if the overall volume of measures 3-4 is slightly higher than that of measures 1-2.

Next, measures 5-8 are treated as a single phrase in four-measure units. Since the highest note of the first half, D, is reached in measure 6, the first half gradually diminishes after passing this D.

Second Half

In the second half, measures 9-10 correspond to measures 1-2 of the first half, and measures 11-12 correspond to measures 3-4. The dynamic control is the same as in the first half. Furthermore, measures 12-16 correspond to measures 5-8; however, in measure 14, an even higher F is reached, so the tension (volume) should be increased compared to the first half. Measures 17-20 are used to gradually decrease this heightened tension. Apply a gradual diminuendo towards the Coda.

The melodic contours leading to peak points in this piece are very clear. Each phrase should be performed with distinct dynamic levels. Be careful to avoid dynamic flatness.

However, this does not mean producing overly strong sounds; rather, create subtle dynamic variations within a limited range.