The tonality follows a progression of C minor, B-flat major, and C minor. It does not modulate to the relative major, E-flat major. Normally, the left hand on the second beat of measure 6 should be B natural (H in German notation), which would strongly emphasize the tonality of C minor. However, what is actually written is B-flat, which suggests a possible modulation to E-flat major, but in reality, the C minor cadence concludes in measures 7-8 with a perfect authentic cadence.

B-flat is also used in measure 3, and since this B-flat would normally foreshadow E-flat major, it would be a natural progression for E-flat to appear in measure 3; however, it ends with an imperfect cadence in C minor.

As a result, the tonal implications change rapidly, and playing this minuet at a fast tempo would cause tonal confusion. By playing this minuet somewhat slowly and with a solid feel, the flow can be perceived naturally.