A crucial point in this piece lies in the shaping (phrasing) of the melody. For instance, when considering only measures 1-4, one must determine which notes are weaker or stronger than others. At the beginning, the anacrusis melody, DCH, enters from the dominant to the tonic, so DCH should be played with a diminuendo.

When moving from the last melody note H in measure 1 to C in measure 2, the line ascends, and measure 2 is again a dominant, so the volume for HC should be increased. From the end of measure 2 to measure 3, although measure 3 is again a dominant, the melody CHA descends, so a diminuendo should be applied. From the last A in measure 3 to H in measure 4, the music returns from the dominant to the tonic in measure 4; this should be considered a "resolution of the chord," so AH should be played with a diminuendo to avoid accenting H.

Thus, it's not merely about whether the melody notes ascend or descend; the tension also changes depending on the type of chords used, which must also be taken into account.

Furthermore, for example, in measure 15, beats 1-2, there is a second inversion of the tonic chord (I), from which it moves to the dominant in beats 3-4, and then to the tonic chord (I) in the next measure. This is a typical progression of a second inversion, known as a "cadential 6/4." As a rule for this progression, the H in the I6/4 chord descends to A in the next chord, and G descends to F# (Fis) in the next chord, fulfilling the condition of 6th degree → 5th degree and 4th degree → 3rd degree. Therefore, in this case, when moving from the tonic to the dominant, the volume of the dominant should be suppressed, and then further reduced as it descends to the tonic in the next measure.