Although in a minor key, this piece is by no means a dark minor; rather, it has become an optimistic and joyful composition. As with the fugue, please follow the theme. Next, regarding the secondary subject, it is the right-hand sixteenth notes beginning from measure 6. This secondary subject, in most cases, progresses in an ascending form. Therefore, it provides a very convenient pretext for varying the dynamics. It begins p from measure 6 and gradually ascends, necessitating a crescendo, and culminates in a cadence in measure 8.

Similarly, starting from the third beat of measure 26, it begins its ascent, leading to a G minor cadence in measure 28. Finally, beginning from the third beat of measure 42, it reaches the final C minor cadence in measure 44.

Therefore, it is crucial to make both the theme and the secondary subject clearly audible, regardless of their note values. However, generally, sixteenth notes, which have smaller note values, should be played with restrained volume as much as possible, while eighth notes, quarter notes, half notes, and other notes with larger note values should be given more volume as their duration increases. This approach results in a very well-balanced and easily audible performance. Material other than the theme and secondary subject should be treated in this manner.