This Air appears to contain many sequences, but to clearly understand the piece, it is important to grasp the positions of the cadences and their moods.

The first cadence occurs in measure 4, on the third beat of the first ending, where E-flat appears in the right hand. Naturally, the second ending is the same. However, the difference between the first and second endings is that the first ending attempts to return to C minor, while the second ending settles in E-flat major.

The second cadence is in measure 8, on the third beat, where G is in the right hand. In the preceding measure, the right hand reaches its highest note, C, and this section can be interpreted as G minor, suggesting it is a high-tension passage.

The third cadence is in the final measure. The approach to the third cadence begins from measure 9, with many sequences appearing. Pay attention to the left hand in measures 13-14. This corresponds to the right-hand theme from measures 1-2. Although the final cadence concludes on C, the tonic of this key, considering the continuous sixteenth notes without any breaks and the hands moving apart, it seems appropriate to end with a crescendo.