Although a short minuet, it can become a very beautiful piece depending on the performance. First, we will conduct a general analysis.

General Analysis

• A 1-8
• B 9-16
• A 17-24

Phrases appear in two-measure units at the beginning. In measures 1-2, check the balance of the right-hand thirds in measure 2. Ensure the top note is prominent. In measures 3-4, a sixth appears in measure 4; similarly, restrain the first finger and bring out the top note. In measures 1-4, phrases appear in two-measure units, and the left hand settles on a quarter note on the third beat of the last measure of each (third beat of measure 2 and third beat of measure 4). However, in measure 6, the left hand's third beat does not have a quarter note. The eighth notes create a sense of connection to the next measure, so the third phrase is considered to be the four measures from 5-8.

Exactly the same phenomenon occurs in the B section. Two phrases occur in measures 9-10 and 11-12, and the third phrase is in measures 13-16. Then, at measure 17, it returns to the A section, but the feeling is slightly different.

The left-hand accompaniment (measure 18) ends on B. This means it ends on the dominant of E major. Comparing measures 1-2 with measures 17-18, doesn't measures 17-18 feel less settled? Since it ends on the dominant, there's a sense of wanting to move forward (that it's not the end). The truly settled part is the tonic chord, which returns to the original key (E major) for the first time in measure 24.

Based on the above, in the first half, make measures 3-4 slightly louder than measures 1-2, and make measures 5-8 the loudest.

The development section also uses the same layering method, but considering the pitch range, measures 11-12 could perhaps be considered the peak point.