This is a highly circuitous minuet. Even in the first 8 measures, measures 5-8 are more conventional than measures 1-4. Handel deliberately wrote a dotted half note C in measure 2. This measure is not constructed from an inversion of the tonic chord, but rather from the major triad of III (FAC), which creates a strong impact.

Furthermore, the trill + sixteenth note figure appears only in measure 3. Consequently, measures 5-8 exhibit a more conventional harmonic progression when compared to measures 1-4.

In the latter half, the progression begins clearly in F major. However, in measure 12, a new voice suddenly enters on the off-beat in the left hand. Measures 13-14 feature the same melodic line as measures 9-10, but at this point, the music returns to D minor, resulting in a more austere timbre. The highest notes in this minuet are B in measure 9 and B in measure 15; however, compared to the B in F major in measure 9, the B in measure 15, having returned to D minor, possesses a higher tension. This area can be considered the peak point of this minuet.

In measure 19, the minor v chord (ACE) appears, which is another measure with a strong impact. Furthermore, on the third beat of measure 23, a trill combined with a dotted eighth note + sixteenth note rhythm appears, and this rhythm is also unique to this measure.

There are many convoluted elements; for such passages, try emphasizing them with dynamics.