When this score is rewritten for an ensemble, for example, and each voice is assigned to a different instrument, each voice becomes independent. However, when all voices are played on the same instrument, such as a piano or harpsichord, differentiating the independence of each voice becomes an extremely difficult technique. For instance, in the second beat of measure 2, the melodic line inevitably sounds like G#, C#, E, and in the next beat, D#, B, D#, making it sound like a sequence. Since such instances occur frequently throughout the piece, it may not be necessary to be overly sensitive about the independence of each voice.

The aim of this Air and Variations is the process of building tension. As the variations progress, the note values gradually become finer, from eighth notes to sixteenth notes, then triplets, and thirty-second notes, with the tension continuously rising. Push forward vigorously to ensure that the listeners' tension never drops.

This piece also requires highly virtuosic technique. For instance, Variation 4 is designed to showcase the left-hand technique, so do not hesitate to display a fast and vigorous left hand.

Another point is how to handle instances where the same musical idea occurs twice. For example, measures 35, beats 1-2 and 3-4 are identical in notes, so aim to create a difference.