Considering the long trill markings and the subsequent 32nd notes in the two Passepieds, it becomes clear that these are not particularly fast-tempo pieces. Rather, emphasizing (making prominent) these trills is a characteristic feature of Passepied 1.

Passepied 1 only modulates to closely related keys such as D major and E minor, so it does not feel like a drastic departure from B minor. However, Passepied 2 begins in the parallel major, B major, and modulates to G-sharp minor. At this point, our minds completely depart from B minor.

Passepied 2 should evoke a fantastical world, with soft tone quality and subdued volume, creating an unreal mood. Passepied 1, in contrast, should be played clearly with emphasized trills, yet lightly. For both Passepieds, avoid pressing towards peak points; rather, let the music flow unassumingly.