Contrast is a crucial theme in this third movement. Specifically, major and minor keys

alternate rapidly throughout this movement. Imagine a smiley face emoji and an angry face emoji quickly switching places.

In the author's view, the major sections should be played gently and with a light touch

(piano), while the minor sections, in stark contrast, should be performed with severity and forte.

Although I referred to 'minor sections' and 'major sections,' this does not necessarily imply modulation; rather, the aim is to create contrast, even if it involves, for instance, a harmonic sequence or

II or VI

chords.

The following is merely an example for your reference. For instance, measures 1-4 are in a major section, so play softly and piano; and measures

5-8 are a VI chord, so play slightly more forcefully; measures

9-10 are a II chord, so play forcefully; measures 11-12 are tonic and dominant, so play softly; measure 13 is I , so play slightly stronger; and measures

14-16 are again tonic and dominant, so play softly. Such contrasts create expression and make the piece enjoy

able.