The origin of this form is extremely varied and complex, so it will be omitted here. However, it is certain that this is a form established as a dance. Since it resembles a Baroque Gigue, please consider it a piece to be played at a fast tempo. The author believes that a tempo of approximately dotted quarter note = 210 would be appropriate. As this is a vibrant piece in a duple meter, the articulation should not be legato and flowing horizontally, but rather an articulation that emphasizes the duple meter (or the beat). Therefore, if the author were to play it, all notes would be neither completely staccato nor completely legato; the notes would not be fully connected, and a slight space would be inserted when moving to the next note. This creates a dry sound, but at the same time, it can convey joy and dynamism. Let's look at the dynamics from the beginning. Starting from the high D in measure 1, it descends to a D one octave lower in measure 4. Since this D is a 'passing tone' on a strong beat, the C-sharp in the second beat of measure 4 becomes the resolution. Therefore, no accent should be placed on the C-sharp. From there, the volume gradually increases over measures 5-8, reaching measure 8. Whether measure 8 or measure 7 is the peak can be left to the discretion of the teacher. The latter half spans measures 9-16, where joy can be expressed through a canon-like writing style. While the dynamic treatment of this latter half is flexible, if a repeat is taken, the second time should be played with a different approach than the first. For example, if the right-hand line is emphasized the first time, then the left-hand line could be emphasized the second time. If the author were to repeat and play the second time, they would always apply a crescendo from measures 13-16, play measure 16 with the greatest volume, and simultaneously slightly broaden the tempo when approaching the final measure 16. It would be good to end grandly, yet perhaps a little exaggeratedly.