First, consider each phrase as a 4-measure unit. It is crucial to vary each of the four phrases (measures 7, 11, 15, and 19) through melody and harmony, creating contrast among them (avoid playing them identically).

For the initial six measures, be careful not to let the inner voice of the right hand (likely played by finger 1) become too prominent; give it direction, leading towards C-sharp in measure 3. Moving on, the perfect fifth progression from the opening should be envisioned at the beginning of each beat in the left hand from measure 7 onwards. From measure 7 onwards, slightly emphasize the top note of the left hand to create a two-voice texture, treating the left-hand top as a melody.

In the middle section, after sequences and so forth, a peak point is reached at measure 29. Even if marked forte, avoid playing the three chords in the right hand at exactly the same volume. From the author's personal perspective, I would play the first beat strongest, allowing the other two chords to slightly diminish. The same applies to measure 30.

Maintain the overall 6/8 flow throughout the piece, unless otherwise indicated.