Considering the overall flow of the piece, assign appropriate timbre and dynamics. In the first half, starting in E major, the highest note, E, is reached in measure 2 within measures 1-8. It then gradually descends, reaching an E an octave lower in measure 8. This point is designated as a cadential section, serving as a turning point.

From this point, there is an inspiration of F-sharp minor, reaching the highest note of the first half, F-sharp, in measure 9. As the left hand plays a weighty chord there, the tension increases. It then descends from there, modulating to B minor in measure 12. With a sequence, the soprano ascends chromatically, reaching the highest note, F-sharp, again in measure 16.

Although F-sharp was also present in measure 9, the F-sharp in measure 16, reached after a long sequence and chromatic ascent, is designated as the peak point of highest tension. The first half ultimately concludes in B major.

Using this method of analysis, similarly determine the peak points and distribute dynamics in the second half.