Although a simple minuet, this piece effectively distinguishes players' skill levels. Its form is binary (two-part form), with each half comprising eight measures. Throughout measures 1-8, phrases are structured in two-measure units. This can be interpreted as 1-2, 3-4, 5-8, or alternatively as 1-2, 3-4, 5-6, 7-8. Within these eight measures, the peak of tension is reached in measures 5-6. Measures 3-4 should be played with greater dynamic intensity than 1-2, and 5-6 with greater intensity than 3-4. Measures 7-8 should be slightly less intense than 5-6. The melodic line of this piece frequently features repeated notes. For example, the right hand in measures 1-2 plays GGGG, and in measures 3-4, AAAA. It is crucial to ensure that these repeated notes are not played with uniform dynamic levels. From the author's perspective, the fourth G in the right hand on the first beat of measure 2 should be played with greater dynamic emphasis than the preceding three Gs, leading this fourth G to serve as a musical goal. Similarly, the A in measure 4 also functions as a goal. The left hand should also be shaped accordingly. It should be played smoothly, as if on a cello, ensuring that the final note of the phrase does not receive an accent. In the second half, the mood shifts. Each unit possesses a distinct mood, which should be expressed. For instance, measures 9-10 convey a subdued character, 11-12 a slightly more energetic one, and 13-16 depict a complete recovery of vitality.