As this minuet has a sparse texture and falls into the technically easy category, one might be tempted to accelerate the tempo; however, it should fundamentally proceed at a "minuet tempo".

This minuet can be considered to have two types of progressions. One type involves sections where both left and right voices should be treated equally, characterized by movement in both voices, such as measures 1-4, 15-18, and 20-30.

The other type is sections where the left-hand voice functions as a pedal point, such as measures 5-13 and measure 19.

For the latter sections, the right-hand voice should be given priority in projection, while the former sections should be conceived as an interplay between both voices.

Although the highest note in this minuet is A, the A in measures 18-19, occurring during a modulation to C major, should not be played with significant volume. The A in measure 26, reached after an ascending sequence beginning in measure 23, has the highest tension and should be played with the greatest volume.

Despite being in A minor and featuring chromatic progressions, the piece itself is by no means profound or somber, and one should perceive glimpses of optimism within it.