Phrases progress in two-bar units. For example, from bar 1 to the first beat of bar 3 (A) (deceptive cadence); similarly, from bar 7 to the first beat of bar 9 (A), from bar 9 to the first beat of bar 11 (F), and from bar 11 to the first beat of bar 13 (A). Consequently, all phrases progress in two-bar units, with one exception: the melody from the off-beat of the second beat of bar 3 (F) to the first beat of bar 7 (B). These four bars should be considered an appendage.

When progressing in two-bar units, determine the dynamics by considering each type of cadence (perfect, imperfect, deceptive, etc.) and the tonality (in this piece, a modulation to F major).

The piece itself is an optimistic and delightful sonatina, highly characteristic of Handel. Trills enhance its charm; fluent, light, and fast trills are desired.

The highest note in this sonatina is C in bar 9 of the middle section, but as this is a modulation to F major, the tension is not particularly high. Instead, it would be advisable to build tension from bar 11 towards B on the first beat of bar 16.