A slightly faster tempo than a typical minuet allows the music to progress without dragging. However, the tempo should allow sufficient time for the long trill written in measure 6.

In the first half, there are two highest notes, B in measure 17 and B in measure 23, both at the same pitch. However, measures 19-26 are the only section in this minuet where the left-hand octaves become single notes. From an ensemble perspective, it is more logical to reduce the volume in measures 19-26. Based on this conclusion, measure 17 can be considered the peak point of the first half.

This highest note B also appears in measures 46-48 of the second half. In this instance, as the tension rises with an ascending harmonic sequence, increasing the volume is certainly acceptable. However, in the second half, an even higher note, D, appears in measure 91. Since this D is also reached via an ascending sequence, this point should be considered the peak of the second half.