suggests starting this piece with the wrist up and the thumb pulled back as if the hand is "coming from above." This helps make the pinky flexible. Do not grip or grab. Keep fingers loose and flexible.

If you use a "key click" on the G Key to help articulate the Low C at the beginning make sure that you use it lightly and be subtle.

For measures 22-24 Syring suggests to blow through before getting to the high G flat, and pull back the embouchure on the high G flat.

She also suggests to stay as loose and flexible as possible on this section, and to think of having puffy cheeks.

suggests that this piece should start as if you are catching a train.

Move into the low C. "catch a ride on the train"

She also suggests using a G "key click" when starting the piece.

The piece should be thought as "swirls and swoops" of sound

For measures 22-24 Dr. Fairbanks suggests that everything in the embouchureshould feel as if it is forward. Move the air faster ahead of time so that the high G flat sounds. She also suggests that the performer should feel as if their lips and cheeks are made of "marshmallow"

Through out the whole piece Dr. Fairbanks suggests to breathe more so that you can play more

Although this piece is Appasionato, try not to take to much liberties with rubato