The type of arpeggios used (straight bottom to top, perhaps open handed; broken chord with no hand crossing, such as d–a–f–d) might be varied, depending on the context. For many players, the latter offers a more defined accent, such as in m. 33, and the former accommodates a more "understated" effect, useful in places like m. 72. Ultimately, the responsiveness of the instrument and how either type of arpeggio works for the player should be the overriding factors. In all cases, though, the arpeggios should commence ahead of the beat, with the final, top note coinciding with the bass note, on the beat. The wavy line at measure 87 is intended to be a "poco rallentando," along the same lines as Ronald Barnes often used in his scores.