This piece contains ethnic elements. While "Tambourin" can refer to a tambourine or a percussion instrument, it is uncertain to what extent the composer was aware of this meaning. However, although the score contains many detailed instructions, there are no tempo-related markings. It should likely proceed at a precise and constant tempo, similar to a metronome, without applying rubato or stretching the timing.  

Dynamic markings generally change every eight measures, but even if measures 1-8 are marked forte, there should still be dynamic variations within that section. Care should be taken to avoid a flat, uniform forte throughout the entire eight measures.  

Since the dynamics in this piece change in 8-measure units, we will analyze each 8-measure section as a single unit.  

For example, looking at the first eight measures, specifically the left-hand accompaniment, we can consider the notes to be G in m. 1, F-sharp in m. 2, E in m. 3, and D in m. 4, in sequence. Although only E is actually written in measure 1, an analysis of this measure reveals it is composed of an E-G-B chord. Therefore, we can assume that G is present in measure 1 (it is also possible to consider that G is not written in the left hand to avoid collision with the G in the right hand's 16th note on beat 1).  

Following this logic, if the accompaniment gradually descends with G, F-sharp, E, D up to measure 4, then measures 5-8, as a continuation of measures 1-4, can be considered C, B, A, G. This reveals that the accompaniment descends along an octave scale. Although G is not written in measure 8, this is a type of cadence called an "Empty 5th" (空っぽの5度), a compositional technique that creates a unique atmosphere by omitting the third of a triad. Of course, an analysis of measure 8 also shows it is composed of an E-G-B chord.  

Now, while the accompaniment in measures 1-8 descends with G, F-sharp, E, D, C, B, A, G, what about the melody line? The highest note in measures 1-4 is E in the treble clef, written on the off-beat of beat 2 in measure 1. The phrase ends in measure 8 with an E an octave lower. Therefore, although the right-hand melody line does not follow a stepwise progression like the left hand, a comparison of measures 1-4 and 5-8 shows that measures 5-8 have a lower pitch, implying a decrease in tension.

Consequently, the dynamics in measures 1-8 should decrease as they approach measure 8. Therefore, measures 1-4 should be a diminuendo, and measures 5-8 should also be a diminuendo. However, a continuous diminuendo for eight measures can be difficult to execute. Thus, after decreasing the volume up to measure 4, it is advisable to slightly restore the volume at measure 5 and then apply a diminuendo until measure 8.  

Measures 9-16 are a variation of measures 1-8, marked p, leggiero, and staccato. This evokes the image of a small woodwind ensemble playing softly. Perhaps the accompaniment could even be string pizzicato. In any case, there doesn't need to be a significant dynamic difference in measures 9-16. Consider it an echo of measures 1-8.

The next eight measures, 17-24, are marked forte. Sequentially, measures 21-24 show an increase in pitch and tension compared to measures 17-20, leading to the climax of the piece in measures 25-31. Since measures 21-24 should be louder than measures 17-20, plan accordingly to ensure that measures 17-20 do not start excessively loud.  

Now, let's backtrack a bit to discuss the left-hand D, the last note of measure 16. I do not believe measure 17 should be subito forte. Instead, using the D from the previous measure, the left hand in measure 16 should crescendo through E, B, D, leading into measure 17. Conversely, the right hand in measure 16 should end with a diminuendo, without a crescendo. Consider the left-hand D in measure 16 as a leading tone into the new section. Although there are only three notes in the left hand in measure 16, apply a maximum crescendo with these three notes to enter measure 17.  

From measure 17, the melody shifts to the left hand; therefore, consider the left hand as the melody and the right hand as the accompaniment. The crucial difference between measures 17-20 and 21-24 lies in the left-hand movement at the end of each section, specifically in measures 20 and 24. In measure 20, the left-hand note ascends to A and then descends to E, the first note of the next section. However, in measure 24, the note does not descend but remains on B. If it followed the sequence of measure 20, the note in measure 24 should also descend like in measure 20, becoming B, C, B, A. However, contrary to expectation, it does not descend from B. This signifies an increase in tension. Naturally, enter measure 25 forte without any diminuendo.  

In measure 25, if the inner voice G in the right hand is difficult to play, it is permissible to take this G with the left hand. And likely, measure 30 is where the tension is highest in this section, so direct your focus there.  

Measures 32-39 see the return of the initial section, but the crucial difference from before is the chord in measure 39. This is a very surprising and shocking moment, so instead of abruptly entering this chord, it is advisable to hesitate and dramatize it.