This etude begins with the tempo marking Allegro di molto, meaning "very fast" or "as fast as possible." However, for this particular etude, slowing down the tempo does not significantly alter the atmosphere or make it feel heavy. It is entirely possible for learners at the junior high school level or above to play it beautifully even with a slightly reduced tempo.

While there are various approaches to performing this etude, an analysis can make it much clearer. The author's analysis is as follows:

Structural Analysis

• A: Measures 1-17
• B: Measures 18-41
• A: Measures 42-70

The final section, measures 42-70, contains a coda, but its boundaries are not entirely clear. This aspect is left to the performer's discretion. Considering measures 64-70 as the coda is also not incorrect.

In any case, Section A (measures 1-17) can be divided into two phrases: A1 (measures 1-8) and A2 (measures 9-17). Each of these two phrases has its own peak point. For A1, the peak can be either measure 6 or measure 7, which is left to the performer's judgment.

For A2, which begins in C-sharp minor, you may notice that measure 13, despite being in triple meter, only contains two beats. It is unclear whether this is an omitted time signature change or a misprint. The peak point of A2 is likely measures 13-14. In measures 15-16, the left hand plays a quarter note on the third beat. Whether to pause the flow here, as in a kind of cadence, or conversely, to apply an accelrando, is also left to the performer. For measure 17, it is acceptable to slightly broaden the tempo.

Regarding these A1 and A2 sections, which do you feel has higher tension? Try to vary the atmosphere between these two sections.

Section B is divided into three parts: B1 (measures 18-27), B2 (measures 28-33), and B3 (measures 34-41). B1 begins with a slow, lyrical passage (this refers to extracting only the important notes to be heard as a melody). From measure 25, the tension gradually increases, and this is also a suitable place for an accelerando. In Section B, the material from Section A reappears, transposed to B-flat minor.

B3 then resumes the slow, lyrical character of B1.

The second A section begins at measure 42, with measures 50-53 designated as the etude's overall peak point. From this peak, the pitch gradually descends, leading into the final coda.

Performance Notes

In this piece, for notes in the right-hand melody line that have two stems, ensure they are clearly brought out as the melodic line (the singing line). For the left hand, beyond just arpeggios, such as the quarter note in measure 2 or the secondary melody appearing from measure 48, you may also bring out melodic lines wherever they are felt.

Furthermore, this etude should not proceed precisely and monotonously like a metronome; the tempo varies considerably from place to place. For instance, in the lyrical sections, such as measures 18-21, the tempo should not be too fast. Conversely, in sections without a prominent melody, increasing the tempo is not inappropriate.

An improvisational approach can be a helpful hint.