This minuet extracts the elegant parts of G major. The extremely sparse number of notes makes it proportionally more difficult to play. If performed by children, assume they have sufficient muscle development to execute trills smoothly and effortlessly.

The first half is divided into two sections: measures 1-8 and measures 9-12. When comparing these two, the clear difference lies not in the right hand, but in the left hand. The left hand in measures 9-12 becomes more active compared to measures 1-8.

Therefore, as an example, for measures 1-8, imagine string instruments playing smoothly and perform them legato. The left hand should also be played legato, without breaks, as if a cello were performing.

For measures 9-12, the aim is to be slightly more rhythmic. Therefore, shorten the notes in the left hand of measures 9-12 that are not half notes (i.e., quarter notes and eighth notes). This creates a contrast with measures 1-8.

Measures 17-24 modulate to D major, representing the most climactic section of this minuet. Play rhythmically and with a slightly louder dynamic.

Then, for measures 25-32, return to a subdued G major.

While these performance suggestions are merely examples, the worst approach would be to play the entire piece flatly from beginning to end. When performing this minuet, try to vary the atmosphere for each section.