First, the phrases are written in 4-bar units, with a total of eight phrases. The performer should discern the expression and psychological state of each individual phrase from the melodic lines and chords, and differentiate them accordingly.

Up to this point, it is similar to other minuets, but this minuet is a bit more complex.

Please consider this minuet to be fundamentally written in three voices. However, these three voices are not entirely independent, which is where the difficulty lies. For instance, from measures 1 to 4, the tenor line written in the bass clef is very melodic. This should also be considered a duet with the upper melody and sung accordingly.

However, looking at measures 5 to 6, the line appears to be only one voice. In this case, consider the bass as C H A H A G, and treat this line melodically, while the G and Fis written above should be considered pedal points.

Furthermore, at measure 17, both the bass and tenor in the bass clef become independent melodic lines. However, it is not always appropriate to treat these lines as completely independent. For example, the Ais written on the first beat of measure 22 is a tenor note, which should ideally resolve to H (as it is a section in h-moll), but the tenor line ends here.

In such a case, it resolves to H, the last note of the bass in measure 22. If one were to play only the bass line in this measure, there would be an impulse to crescendo towards H, but considering the Ais, H should be played weaker than Ais.

Such considerations are necessary.