Although a short piece of 24 measures, it is a work that incorporates many of Yamada's unique idioms. This is not limited to this piece, but various expressive possibilities open up depending on how one interprets the fermatas and rests on the bar lines. For example, the fermata at the end of measure 10 can be imagined as a gesture of suddenly stopping the progress depicted by the sixteenth notes in measure 10 and looking back. Furthermore, the half rests written on both sides in measure 13 also indicate the cessation of the sixteenth-note movement in measure 12, and likely contain a breath that prepares for the abrupt conclusion awaiting from the third beat. The melody in the right hand appearing from measure 9 onwards resembles the melody from the middle section of "Genji Gakuchō" chapter, and there is likely a joy in freely singing the tranquil and elegant melody of the Japanese scale. Additionally, the chromatic scale in thirds from measure 15 also appears in Genji Gakuchō's "The Festival of the Cherry Blossoms" chapter, and there is likely a joy in freely singing the tranquil and elegant melody of the Japanese scale. Additionally, the chromatic scale in thirds from measure 15 also appears in Genji Gakuchō's "The Safflower" chapter, creating a comical effect. Using the meticulously marked hairpin crescendos and decrescendos, it would be good to perform it with a scherzando atmosphere.