This etude frequently repeats the same musical idea twice, so the key point is how to differentiate these two repetitions as the piece progresses.

For example, in the opening two measures, measures 1 and 2 are identical in every note and rhythm. How should these two measures be performed? Introducing some form of differentiation will help avoid a monotonous rendition.

Measures 12-13 and 14-15 are also identical. Let's consider these four measures. If a certain climax is expected after these four measures, it would be possible to increase the volume in measures 14-15 compared to measures 12-13, thereby creating a sense of direction.

However, this approach depends on how measures 16-20 are interpreted.

As these examples illustrate, sections where the same idea occurs twice should be varied, taking into account their respective contexts. This is the first point.

Another point concerns the flow. This piece progresses with an uninterrupted stream of eighth notes (except for the final two measures). A continuous pattern of eight eighth notes per 4/4 measure, especially in the accompaniment, can easily lead to a rigid, non-flowing, and unmusical performance if not handled correctly.

Playing eighth notes with metronomic precision can increase their rigidity. It is crucial to play the eighth notes so subtly that their individual presence is barely felt, applying rubato throughout the piece, and performing with a sense of rhythmic freedom.

Other points of caution for this piece involve the pedal. Since many eighth notes follow continuously without interruption, the piece is highly susceptible to muddiness. While pedal use is necessary, care should be taken not to overdo it.