Please consider this as two voices written in polyphony. The peak points of the respective phrases in these two voices show almost no deviation. That is, where the right hand reaches its peak, the left hand also largely reaches its peak.

Measures 1-2

The right hand starts from G and reaches D on the 4th beat of measure 1. Once D is reached, it descends as HHAAG in measure 2, so apply a diminuendo. Meanwhile, the left hand's peak point is D on the 1st beat of measure 2. In measure 1, the G on the 3rd beat descends through H and A on the 2nd beat, so apply a slight diminuendo, but from there, it moves towards H on the 4th beat, reaching D on the 1st beat of measure 2. Once D is reached, it descends as D C H G, so apply a diminuendo.

Measures 3-4

For measures 3-4, the right hand's peak point is E on the 1st beat of measure 4, and from there, it gradually descends. Meanwhile, for the left hand, the half note H on the 3rd beat of measure 3 is where the eighth notes DC from the previous beat descend, so do not emphasize H, but the half note C on the 1st beat of the next measure becomes the peak point.

Apply a certain amount of force to this C, and then decrease the volume for the next 3-4 beats.

Thus, although there are slight deviations, you may consider the peak points of the left and right hands to be largely in the same location. In that sense, despite being polyphony, dynamic control (control of dynamics) should be easier (as you can apply crescendo and diminuendo at the same locations for both hands, and there will be no instances where one hand crescendos while the other diminuendos at the same location).

In that case, the first thing to be careful about is never to place an accent on the first and last notes of a phrase. Perhaps the G in the right hand of measure 5 might have its peak on the 1st beat, so in such places, apply force from the first note of the phrase. However, for example, the left hand's CDEF#G in measure 6, beats 1-3, despite ascending, should have a diminuendo applied. This is because the final G is the end of the phrase.

There are actually three noticeable spots at the end of phrases:

• The left hand G on the 4th beat of measure 2
• The left hand G on the 4th beat of measure 4
• The left hand G on the 4th beat of measure 8

The right hand is absent here. Although the note in measure 8 is a half note, the right hand does not play on the 4th beat.

Therefore, the left hand becomes prominent in these places, and if these Gs are too loud, they will stand out significantly. It is highly recommended to play these Gs truly pp.