Minuet in G Major, BWV 822-7

This Minuet contains sections written in three voices. Therefore, a performance style that respects its polyphony is desirable. To make these three voices audible, ingenuity in articulation is required. Let's go through them in order. Please note that this is merely an example for your reference.

Bar-by-bar instructions:

• All notes should be staccato.
• The right hand should be legato, with the last note played briefly. The left hand should sustain the dotted half note for three beats, and both quarter notes should be staccato.
• All notes in the right hand should be staccato. The first-beat quarter note in the left hand can be either long or short.
• The right hand should be legato, with only the third beat played briefly. The left hand should be staccato for beats 1-2, and legato for beat 3, connecting to the next bar.
• All notes in the right hand should be legato. The left hand should sustain notes for their full duration and observe the rests. The reason the left hand is not staccato here is because the quarter note appears alone.
• Same as bar 5.
• The right hand should be legato, with only the third beat staccato. The left hand should sustain notes for their full duration.
• All notes should be legato, with only the third beat in the left hand played briefly.
• Play according to the note values.
• The quarter notes in the right hand should be staccato, and the half note should be sustained for its full duration. The left hand should play beats 1-2 for their full duration, and beat 3 should be staccato.

Continue to observe articulation similarly for the following bars. The key to this articulation is, for example, in bar 2, by sustaining the dotted half note in the left hand while playing the other voice staccato, you can clearly make it sound like two voices. In bar 13, by sustaining the dotted half note in the left hand and then playing the second beat staccato and the third beat legato, you can distinctly make it sound like two voices. Please try it.  

Regarding dynamics, the piece modulates to D major partway through. Since D major has higher tension than the original key of G major, it would be good to slightly increase the volume in D major.  

This is a minor detail, but please look at the right-hand material in bars 5-6. For the pattern D CHAG E CHAG, always play the latter bar (in this case, bar 6) just slightly louder than the preceding bar (in this case, bar 5). The same pattern appears in bars 14-15 and 22-23, so apply the same treatment. Be careful not to play these pairs of bars at the same volume.