This piece features a bass line known as a "walking bass," a style popular in this era, with two or three voices superimposed above it. As the name "walking bass" suggests, it should be played at a tempo similar to a walking pace.

Distinction between the two voices in the right hand is desired; in other words, aim for voice independence. Especially when playing repetitions, you may consider changing which voice is emphasized. For instance, emphasize the soprano voice in the first repetition, and the alto voice in the second.

In this movement, there are two points where the walking bass stops: measures 9-10 and 23-24. Since these sections are cadential, stop counting the 3/4 meter and play freely, taking your time, as if the right hand is improvising spontaneously. Feel free to add numerous ornaments. It is acceptable to imagine a fermata extending over these two measures.