Although it initially appears to be a modest, simple minuet, there are two instances of borrowed chords. The first instance is in the third beat of bar 3, which becomes a vii°/V, and the inclusion of A# makes it a vii chord. A similar occurrence takes place in the latter half. In bar 11, the chord here is either F# A# C# E or, as before, A# C# E. In any case, it remains a borrowed chord.

Following this, in bar 5 and bar 13 respectively, an A appears in the right hand, creating a sense of relief as it returns to E major.

Performers can heighten the tension in the two sections with borrowed chords, and then, by playing the descending E-major passage from A softly, they can achieve a strong sense of tonality.

In the section from bars 1 to 8, the highest note in the right hand occurs precisely at the borrowed chord, so it should be played forte. While many might play the A in the subsequent bar 5 softer than bar 3, as it is a second lower than B, in the latter half, the A in bar 13 is at the highest position, and one might be tempted to play it loudly; however, since this is a resolution, it should rather be played softly, and bar 11 should be played loudly.