The biggest feature of this work is the control of rhythm. Laro used "Molto Ritmico" at the beginning of the first movement to emphasize the key points of rhythm control. Speed change is naturally an important factor to determine the rhythm, but excessive speed change will also destroy the stable change of the rhythm. In addition, the speed control in the first movement is also very important. I think the sense of rhythm generated when maintaining a relatively stable speed is satisfactory, and I can appreciate the enthusiasm and liveliness of music from it. At the beginning of the second movement, the violin's song-like solo accompanied by a rhythmic band is soft and lyrical. After a period of Spanish Bolero dance music produced by the band, the alternation between the band and the solo is quite dramatic. Only three bars of cadenza were lightly brushed by Laro, and then the music entered the first part of the trilogy and ended in silence. The third movement, which is often omitted, is a movement with strong Spanish style (including recordings of this movement omitted by Francesca, Heifetz and Ferras). Although there are no special technical arrangements for the violin in the whole movement, many performers frequently use kneading in this movement in order to achieve a fiery emotion and contrast. The fourth movement is a very beautiful slow movement. The solo violin is lyrical and rhythmic with the support of a stable band. The string part of the band is more calm when a mute is used. Huacai music section is also quite frugal, and there is no special feeling of showing mountains and dew. The fifth movement is a distorted Rondo. I remember that Francesca's performance requirement for this movement is "whether it can give music a cheerful and complacent mood". For colorful dance music, finger work is naturally important, but it is more complicated to deal with the theme of triplet melody on G string and A string between technical passages. In particular, we must maintain a certain sense of rhythm.