Suspensions and passing tones are written on strong beats. For example, in measure 1, starting from the anacrusis, GFEDC is written, with F placed on the downbeat of the first beat. This is considered the composer's intention to emphasize non-harmonic tones, creating a slightly stylish and charming expression over the elegant arpeggiated accompaniment. Although this is an optimistic movement, in a comfortable allegretto tempo, one should perceive these accented non-harmonic tones and play with rich expression while maintaining elegance.

From measure 58, 32nd-note octave tremolos appear; here too, one must not forget elegance, avoiding a hard or rough sound. Playing so many 32nd notes will naturally lead to a forte; therefore, it is better to slightly restrain the volume of the right hand, and the left hand should produce a soft, gentle volume, not a strong staccato.

Sections like measures 139-141 also tend to become rough; however, when playing such parts, it is crucial to always remember "elegance," so keep the volume moderate and play with grace and enjoyment.