First, in the score the author is consulting, "Andante tranquillo" was written at the beginning. It is highly doubtful whether such an indication would have been present in works by composers older than Bach. These performance tips will proceed on the premise of this "Andante tranquillo" marking.

Like a sonata by Domenico Scarlatti, this piece is in binary form. This aria's phrases progress in 4-bar units. Although it progresses very regularly, the total number of measures is 38. Since it progresses in 4-bar units, it should be a multiple of 4, but 38 is not perfectly divisible by 4. I will explain this step by step.

• Measures 1-4: The first phrase.
• Measures 5-8: An ascending sequence begins.
• Measures 9-12: A descending sequence begins.
• Measures 13-16: A cadential figure on the dominant chord. This is called a half cadence.

Now, please observe carefully.

Measures 17-20: Although the key changes to F major, this section is almost identical to measures 1-4.

Measures 21-24: This is a sequence. It uses the same material as measures 5-8, but this time it is descending.

Now, if that is the case, measures 25-28 should logically match measures 13-16, but something is different. The left-hand figuration in measure 15 appears in measure 29. Let's set this aside for now and return to it later.

Since the piece returns to D minor from measure 31, you will see that it can be neatly divided into 4-bar sections from here (measures 31-34) and (measures 35-38). What becomes odd then is measures 25-30, which means there are "2 extra measures." If this piece only had 36 measures, 4x9=36 would make the 4-bar units consistent. However, since it actually has 38 measures, we consider there to be 2 extra measures.

Measures 29-30 match measures 15-16, and measures 25-26 match measures 13-14. This means that only measures 27-28 are the anomalous element. Looking at it, it resembles a cadence.

This is the first time this cadence appears, and it is also used in measure 35.

Alternatively, if we assume that measures 27-30 match measures 35-38, one might be tempted to consider measures 25-26 as the anomalous element, but measures 25-26 in themselves match measures 13-14.

You are free to interpret this situation however you wish, but in my opinion, dividing it into sections makes the musical construction easier to grasp. For your reference.

Dynamics

Let's consider the dynamics based on these phrases that progress in 4-bar units. This is merely an example. For your reference.

Measures 1-4: Apply a crescendo and diminuendo to measures 1-2, but within the range of p. Measures 3-4 might be the loudest part within these four measures, but considering up to measure 16, there will be places where the peak is reached later, so measures 1-4 should not be made too loud.

Measures 5-8: Apply a crescendo to the ascending sequence. Make measure 7 the peak, and measure 8 slightly less than measure 7. There is a point to note when applying the crescendo. First, the first three notes of the right-hand eighth notes in measure 5, F E D, are a continuation from measure 4, with D considered the final note. Therefore, the first three notes must always have a diminuendo. The next phrase is the remaining D C D, which is considered to connect and end with B A G in measure 6. Consequently, B A G should naturally be treated with a diminuendo. Thereafter, apply the crescendo "while maintaining this order."

Measures 9-12: While maintaining the same order, apply a diminuendo to the descending sequence.

Measures 13-16: Apply a slight crescendo and diminuendo to measures 13-14, similar to measures 1-2, and return to p in measures 15-16.

Thereafter, measures 17-21 should have the same shaping as measures 1-4. The overall dynamic for measures 17-21 is flexible.

Subsequently, use sequences to increase or decrease dynamics.

Thereafter, including the cadences, dynamics can generally be applied freely.