This is a technically somewhat challenging piece. As it is in a compound meter, the piece progresses continuously, without pause. There are no indications of rit. or a tempo within the piece. While this is merely the author's conjecture, it seems advisable to maintain a steady progression, minimizing the use of rubato or ritardando. Articulation is crucial in this piece. Clearly differentiate between staccato and legato, ensuring that staccato notes are never played heavily. In this regard, wrist technique becomes a critical issue. For instance, the C in the right hand on the upbeat of beat 1 in measure 1 descends to G on beat 2, and a legato is indicated there. However, the G has a staccato marking. As a tip, do not apply force twice to these two notes, C and G. Rather, the force should be directed towards the G, and the C should be played as if it were an ornament to the G. Therefore, it feels less like playing two separate notes and more like playing both notes with a single motion. At that moment, as soon as the finger plays the G, quickly use the wrist to lift the hand upwards. The same applies when ascending from the G on the upbeat of beat 2 in measure 1 to the C on beat 1 in measure 2. Play G and C with a single motion, lifting the hand slightly upwards. Furthermore, for staccato notes like those on beat 2 of measure 4, similarly lift the hand upwards, playing the note short as the hand leaves the keyboard. Henceforth, for all pairs of notes where the latter note is marked staccato, apply the same hand motion. However, in measures 13-15, for instance, the left hand must play lightly by itself, which can be quite challenging. One approach is to play the ascending notes from the upbeat of beat 1 to beat 2 in measure 13 with the left hand. Then, since the notes descend from the upbeat of beat 2 in measure 13 to measure 14, play these with the right hand. Subsequently, one can alternate between the right and left hands. Furthermore, the left-hand part from beat 2 of measure 16 to beat 1 of measure 17 is quite demanding, isn't it? Therefore, from beat 2 of measure 16, play the three eighth notes G, A, and B with the left hand, and for the C and E in measure 17, play only the C, omitting the E. This way, you play G, A, B, C with a fingering of 4-3-2-1 starting from G. The E above the C can be played by forming a sixth with the right hand and playing it simultaneously with the right-hand C. This approach should be considerably easier. Similarly, for the two notes from the upbeat of beat 1 to beat 2 in measure 22, it is more reliable to take them with the right hand. For your reference.