When Handel suddenly writes octaves or chords in the middle of a regular polyphonic piece, it is almost certainly safe to assume that the volume in that area is simply louder. In this Air, octaves appear in measures 3 and 4, which might suggest an awareness of ensemble playing.

If so, the instrumentation for measures 3-4 would differ from that of measures 1-2, allowing for a contrast in volume between measures 5-6 and 7-8, maintaining the same manner.

In the latter half, octaves and chords reappear. Additionally, long sequences emerge. While this is the author's unique interpretation, from the 4th beat of measure 12, please proceed with a sense of direction, aiming for the peak point at the 4th beat of measure 14. After passing this peak point, gradually apply a diminuendo over measures 15-16, returning to the G major theme (measure 17). A variety of timbres

makes the piece captivating.