Minuet II is merely Minuet I with the soprano and bass parts inverted. Here are a few suggestions. To make these two minuets engaging for the listener, balancing the left and right hands is one approach, and another is articulation.

For instance, if you perform the soprano of Minuet I legato and the bass staccato (or vice versa), then when transitioning to Minuet II, maintaining the same articulation as Minuet I will greatly enhance clarity. Specifically, if the soprano G-A-B-A-D-G in Minuet I is played legato, then playing the corresponding bass G-A-B-A-D-G legato in Minuet II will make the inversion even more pronounced.

Minuet III possesses a distinctly different character. For the initial 8 measures, the dynamic peak should be placed at measure 6. In the middle D major section, it is advisable to elevate the overall tension compared to the G major section. In this instance, the peak should be positioned at measure 14.