Let's begin by understanding the structure of this piece. It is overwhelmingly common for new phrases to begin on the upbeat.

We will define the first half as measures 1 to 10, and the second half as measures 11 to 20. Each half is precisely 10 measures long.

From this point on, please write the respective phrase numbers in your own score. This will make it quicker and easier to locate them.

• Phrase 1: Measures 1 to the downbeat of beat 2 in measure 4

• Phrase 2: From the upbeat of measure 4 to the downbeat of beat 2 in measure 6
• Phrase 3: From the upbeat of beat 2 in measure 6 to the downbeat of beat 2 in measure 8
• Phrase 4: From the upbeat of beat 2 in measure 8 to the end of measure 10

• Phrase 5: Measures 11 to the downbeat of beat 2 in measure 12
• Phrase 6: From the upbeat of beat 2 in measure 12 to the downbeat of beat 2 in measure 14

• Phrase 7: From the upbeat of beat 2 in measure 14 to the downbeat of beat 2 in measure 16
• Phrase 8: From the upbeat of beat 2 in measure 16 to the downbeat of beat 2 in measure 18
• Phrase 9: From the upbeat of beat 2 in measure 18 to the end of measure 20

Here, Phrase 1 is the only phrase that is four measures long. It is a phrase that evokes a sense of dignity. In fact, in the second half, Phrases 5 and 6 serve precisely as a substitute for Phrase 1. The reason is that it can be observed that Phrases 2-3-4 and Phrases 7-8-9 use exactly the same material. That is, it can be seen that 2 and 7, 3 and 8, and 4 and 9 use the same material.

Regarding Phrases 2 and 7

Phrase 2 can be considered to modulate. Let's assume it modulates to D major. Since Phrase 7 is in the original G major, it feels more settled despite using the same material.

Regarding Phrases 3 and 8

Both are ascending phrases that build towards a peak. While Phrase 3 concludes with a scale, Phrase 8 ends with an arpeggio. This makes the G major tonality feel stronger.

Regarding Phrases 4 and 9

As expected, Phrase 4 feels unsettled due to the key change, whereas Phrase 9 is already the concluding section and gives no impression of moving from G major to any other key.

Based on these observations, let's shape the music. For instance, you may consider this as a conversation between two characters, or as an ensemble of many instruments. Conceiving your own preferred drama or ensemble, determining the dynamics, deciding on the tone quality, and making each phrase "distinct" will provide clues for performing this piece.