It is precisely because this is a simple two-part minuet that it becomes challenging. There are two main points to consider when playing this piece. One is the control of dynamics; be careful not to make it sound flat. The other is direction. While there are various possibilities, let's explore them together.

The key to successfully performing Bach's works lies in thorough analysis. It is important to understand the structure; this piece is in three-part form.

Form

• A: Measures 1-16
• B: Measures 17-32
• A: Measures 33-40

Section A (measures 1-16) can be divided into two parts: measures 1-8 and measures 9-16. Let's call these 'a' and 'b' respectively.

Sections 'a' and 'b' differ in their last four measures, but their first four measures are identical.

First, let's consider measures 1-4 of section 'a'. The phrase in measures 1-4 can be thought of as two sub-phrases: measures 1-2 and measures 3-4. When considering measures 1-2, the direction should lead towards the quarter note G in the right hand on the first beat of measure 2. In other words, you can consider measure 2's G as the peak, with a crescendo leading up to it and a diminuendo following it.

Next, for measures 3-4, it is up to the performer whether to differentiate them from measures 1-2. You may choose to make a slight dynamic difference in measures 3-4, such as playing them slightly softer. Alternatively, you may repeat the same dynamics as measures 1-2.

Next, for measures 5-8, the direction should lead towards measure 7. Therefore, you can gradually increase the volume from measure 5, reaching a peak at measure 7. Once you reach the C in the right hand of measure 7, apply a diminuendo towards measure 8.

Next is section 'b'. For measures 9-12, refer to measures 1-4 of section 'a'. For measures 13-16, apply a crescendo towards measure 15 and a diminuendo towards measure 16.

B Section

Consider measures 17-18 as a single unit. Begin measures 17-18 with mezzo forte, for example, and apply a diminuendo.

Consider measures 19-20 as a single unit. Here, use subito forte, playing these two measures forte.

Consider measures 21-24 in units of four measures. Start with p, apply a crescendo towards measure 23, and a diminuendo towards measure 24.

For measures 25-28, start with p, and this time apply a crescendo towards measure 28. Therefore, measure 28, despite being the final measure of the phrase, ends with a crescendo.

For measures 29-32, start suddenly with p at measure 29, apply a crescendo towards measure 31, and a diminuendo towards measure 32.

For measures 33-36, refer to measures 1-4. For measures 37-40, begin with a larger dynamic at measure 37 and apply a diminuendo towards measure 40.

These are merely examples for your reference. These dynamics are intended to prevent the performance from sounding flat, but care must be taken to avoid unnaturalness. While the terms 'crescendo' and 'diminuendo' were used for clarity and convenience, you should think of them as creating such phrase lines.

Articulation

Regarding the articulation of this minuet, I feel it would be good to play the quarter notes semi-staccato. When quarter notes appear, be careful not to play them too short or too long, and ensure their volume does not become too large.

Musical Interpretation

Understand that this minuet possesses humor, anticipation, optimism, and is indeed a very cheerful minuet. Strive to play it with such a joyful feeling. Like a noble conversation, it should have elegance, and even in the minor sections, it should never become overly serious.