This etude features two main melodic lines, and these two thematic materials appear alternately. The opening indication, "Lamentoso con gran espressione" (with great sorrowful expression), suggests that even the major-key sections should be interpreted with an expression of sadness.

A common pitfall in performing this etude is the lack of proper melodic shaping, which often results in a rigid-sounding line. For instance, in measure 1, the opening melodic note F, a dotted half note, extends to E on the third beat. These are the two foundational notes of this etude. At this point, particular attention must be paid to the execution of this E. This E should absolutely not be played at the same volume as F, or louder than F. Similarly, in measure 2, the melodic note E on the third beat resolves to F on the fourth beat. This F should not be played at the same volume as the preceding E, or louder than E.

Likewise, in measure 5, the B-flat starting on the first beat resolves to A-flat on the third beat. In measure 14, the top note of the left-hand chord on the second beat, A-flat, descends and resolves to G on the third beat.

These resolving notes should be played with a reduction in volume, consistent with the preceding notes. From measures 1 to 14, these adjustments should be relatively straightforward. However, the challenge arises thereafter.

As more notes are added and the technical demands increase, performers often become preoccupied with the technical aspects, frequently neglecting to control the volume of the resolving notes. This applies not only to this piece but to any: regardless of how loud the dynamics become or how many notes are involved (e.g., measure 53), the fundamental shaping must be maintained. Please keep this point in mind.