Throughout the piece, detailed dynamic (loudness/softness) markings are indicated, and adhering to them is both challenging and essential for performing this piece. While it is important to follow the detailed dynamic instructions, the challenge lies in repeated notes (the same pitch). For example, in measures 3-4, a mezzo forte is indicated on the first beat of measure 3, from which a diminuendo follows. Performing these four identical notes—G-sharp in the right hand and B in the left hand—with different dynamics becomes an extremely difficult task.

Students who cannot practice on a grand piano should, whenever possible, create an environment where they can practice on one to produce subtle dynamic differences. However, these differences must remain within the specified dynamic range. For instance, the first beat of measure 3 is mezzo forte, not forte, so the volume should gradually decrease from that point.

Measures 1-2 at the beginning also involve a crescendo, but it should be played legato. Measures 5-6 lead towards the C-sharp in measure 6. Since this C-sharp resolves to the D in the left hand in measure 8, ensure that the C-sharp is not played louder than the resolving D.

Regarding measures 11-12, the B in the treble clef is likely the melodic line. The dotted half note C-sharp in the right hand of measure 14 resolves to D in measure 15, so the volume of the D should be reduced.

In measure 16, the two D's seem intended to create a surprising effect, so they may be played forte; however, be very careful that the staccato is not prolonged excessively.