The following is an example. Please refer to this phrasing and apply dynamics.

Dividing the piece into units of 4-bar, 2-bar, or 8-bar phrases will facilitate performance.

First, consider measures 1-4 as one unit. This section can also be conceived as two 2-bar units. You may introduce variations between measures 1-2 and 3-4, or treat the entire 4-bar phrase as a single entity. Measure 4, while positioned at the lowest point in the melodic line within this 4-bar phrase, also functions as a dominant. Therefore, it may be considered to extend until the first beat of measure 5. In this case, treating it as a V-I progression leading to an imperfect cadence, the first beat of measure 5 should be played at the softest dynamic level in the first half of the piece.

Next, consider measures 5-8 as one unit. As the melodic figure is largely identical, apply an echo effect, such as forte followed by piano. Alternatively, a crescendo from piano is also permissible.

Next, consider measures 9-12 as one unit. As B natural appears and modulates to C major, increase the tension.

Next, for measures 13-16, further increase the tension. Measure 16 is the dominant of D minor.

Next, consider measures 17-24 (an 8-bar phrase) as one unit. While measures 17-20 constitute a descending sequence, measures 21-24 form a cadence in D minor. Therefore, you may choose to apply either a crescendo or a diminuendo to measures 17-20.

Next, consider measures 25-28 as one unit. As this is an ascending sequence, it is advisable to apply a crescendo in anticipation of what follows.

Finally, consider measures 29-32 as one unit, and conclude with a brilliant flourish.