In the case of variations, normally the theme (subject) is the most easily understood, and one can build upon it. However, for this Air, observing Variations 2 and 3 makes the overall structure clearer. For example, in Variation 2, in measure 1, the four quarter notes in the right hand form a melodic line: D, C#, D, A. In the original Air, these notes are present precisely at the beginning of the beats in measure 1.

Therefore, in the original Air and each variation, the performer determines the dynamics; however, if D minor is generally played strongly and F major more softly, the piece will flow smoothly.

For instance, the first half consists of four measures. Measure 1 is in D minor, measure 2 in F major, and measure 3 returns to D minor. Since measure 4 contains a deceptive cadence in D minor, the tension remains elevated as the second half begins. For example, if the first half is divided into two 2-measure phrases, by gradually decreasing the volume from measure 1 and making a diminuendo until the end of measure 2, and then performing a crescendo from p over measures 3-4, one can smoothly transition into the second half.

Similarly, determine the dynamics in consideration of the preceding and succeeding musical context.