The work on this piece is focused on the rhythm and tempo. Karl-Heinz Steffens compares this piece with the cubism in Picasso's paintings, and highlights the importance of achieving well-formed music. He mentions the author and talks about just doing what is written in the score, with no personal additions or rhythmic fluctuations. The professor also does some corrections on the length of the notes and the appoggiaturas, the termination of sound, tuning, dynamics, articulations, expressiveness, etc.
The character must be as that of his work The Rite of Spring. The student must play with rigor and rhythmic clarity, keeping the air under control. The professor suggests some 'legato exercises' to train the air release during the final high notes and the jump from a bass to a high note: use more air and less pressure on the embouchure, and lay on the high notes without fear.
Finally, Karl-Heinz Steffens advises the student to try to relax, the more difficult and quick the music is, the more the performer should be calm thinking slowly and with control. It is important to anticipate and think calmly during the difficult passages.