Structure

• Exposition A: [a (measures 1-4) + b (measures 5-8)]
• Development B: [c (measures 9-12) + d (measures 13-16)]
• Recapitulation A1: [a1 (measures 17-20) + a2 (measures 21-24)]

The main key is F major. The theme itself spans measures 1-4. Although the theme develops in various forms thereafter, the central motif consists of two eighth notes in the opening measure ascending by a third (F→A), then descending by a sixth (A→C), followed by a repeated quarter note C. This motif is highly characteristic of a minuet, with the two quarter notes on the second and third beats emphasizing the triple meter, evoking the dance movements of a minuet. If it were a waltz, the second beat would likely be a half note extending for two beats until the third beat, which would be more expressive for a waltz.

Measures 1-4 generally exhibit a descending melodic line, while measures 5-8, in contrast, ascend, leading to a half cadence. In Development B, measures 9-12 modulate to G minor. In G minor, it is an imperfect authentic cadence starting with the dominant chord. Subsequently, from measure 13, it begins with the dominant seventh chord of the tonic key, F major. Both small phrases are imperfect authentic cadences starting with the dominant chord; structurally, from harmonic progression to melodic movement, they are identical, but the first half is in G minor, and the second half is in F major, differing in key.

From measure 17, the theme is recapitulated. The difference between measure 1 and measure 19 is that in measure 1, the tonic is placed in the bass, whereas in measure 19, the third of the chord is placed, making it harmonically a first inversion. In fact, placing a first inversion in the recapitulation of the theme in this manner is often seen in Bach's Inventions. A deceptive cadence occurs at measure 20. Subsequently, the theme is presented again, leading to the conclusion.

One point to note is the presence of non-harmonic tones, which appear in six places throughout the piece. All of them are suspensions. They occur on the first beat, half note, of measures 4, 8, 12, 16, 20, and 24. The third beat of these non-harmonic tones is the resolution, written as a quarter note. What must absolutely be avoided is for the resolution to be louder than the non-harmonic tone, or for both the non-harmonic tone and the resolution to be played at the same dynamic level. For these non-harmonic tones, with the exception of measure 20, the left hand descends, so the dynamics should be reduced, similar to the right hand.

Additionally, please vary the expression in measures 9-12 and 13-16. Furthermore, if possible, also vary the expression in measures 17-20 and 21-24. The crucial difference between these two phrases lies in their respective cadences. Regarding measure 20, some editions include a fermata while others do not; however, the non-harmonic tone in measure 20 is a point of very high tension, so it might be appropriate to play measures 17-20 slightly louder and measures 21-24 slightly softer.