First, it is crucial to remember that the minuet itself is a dance. When composing a piece based on a dance, rather than the concept of singing amply like an opera aria, one desires elements that are light, lively, and rhythmic. The conclusion drawn from such a perspective is that it is important not to be too slow. Furthermore, it is desirable to emphasize not only the horizontal flow but also the vertical lines.

Passages where two notes proceed in pairs, as seen in measure 6, can be interpreted with the image of violin bowing, suggesting an approach akin to a string quartet.

I mentioned "not only the horizontal flow," but directionality is also crucial. Identify the most important points to aim for in each section and phrase. For example, in measures 1-4, if you want to move towards measure 2, the three C notes in measure 1 should gradually increase in volume to reach the C in measure 2. Subsequently, once the highest note, A, in measure 2 is reached, gradually decrease the volume from there.

In measures 5-8, aim towards the C-sharp in measure 6. In measures 9-12, aim towards measure 11, and so on. While this is merely an example, adding such directionality brings clarity and emphasis to the piece.