This Minuet also features various key changes throughout the piece. Let's choose the appropriate dynamics and tone quality for each key. Let's examine the cadences. This Minuet has three cadences:

1. Bar 8

2. Bar 16

3. Bar 32

Regarding the cadence in bar 8, it undeniably feels like a modulation to E-flat major. If a repeat is taken, the music returns to C minor. Therefore, although bar 8 ends softly, one might consider using the six eighth notes in the left hand to create a crescendo, leading back to C minor. However, when playing the second time through the repeat, or if there is no repeat, the music proceeds into E-flat major from bar 9 onwards. In this case, it would be appropriate to enter E-flat major smoothly without a crescendo.

The cadence in bar 16 concludes in F minor. It would be beneficial to let the student decide whether F minor feels stronger or weaker than C minor compared to C minor. Looking ahead, there is a long sequence, and the highest note of this Minuet, B natural, awaits in bar 28. Considering this, even if the sequence descends, should there be a crescendo? Taking this into account, the F minor cadence in bar 16 could end softly and still lead smoothly.

Pay attention to the long trill between bars 25 and 26. When Bach writes such trills, it is typically when the tension is building. This two-bar trill should convey a sense of direction leading towards the B natural in bar 28.