Analysis of Tempo di Minuetta

This Tempo di Minuetta, although written in triple meter, is intentionally composed to be perceived in duple meter. Therefore, it is advisable to play it feeling it in duple meter, without being overly concerned about the triple meter, by placing a slight accent on the eighth notes with two flags. This can be interpreted as an example of Bach's humorous sensibility.

In this Tempo di Minuetta, the sections that revert to triple meter—specifically measures 4, 11-12, 16, 20, and so forth—are considered cadences. Consequently, when examining the piece up to measure 12, two distinct phrases emerge: measures 1-4 and measures 5-12. It is imperative that these two phrases be treated as separate entities, varying their dynamics and tone quality accordingly.

Furthermore, the subsequent phrases include measures 13-16, 17-20, 21-32, and 33-52, adding four more to comprise a total of six phrases throughout the entire piece.

While it is debatable whether this constitutes a true melody line, given that it comprises a series of arpeggios rather than stepwise motion, it is certainly appropriate to determine the dynamics based on the pitch contour. For instance, measures 1-4 could feature a crescendo leading to the cadence, while measures 5-12 could commence forte, descend with a diminuendo, and then arrive at the cadence.

However, although both measures 13-16 and 17-20 ascend to reach a cadence, the latter phrase introduces a diminished seventh chord, and measure 20 carries a nuance of modulating to A minor. Even with the same ascending contour, the tension varies depending on the underlying harmony and other contextual factors; thus, performers should apply dynamics according to their perception. It is crucial to ensure that these two phrases are never rendered identically.