This is a French dance in duple meter, but if one exercises a little imagination, for example, by envisioning it as a conversation among noble aristocrats, the music takes on a slightly different character. The author believes this piece requires a certain "dignity." In terms of gender, it is likely music with strong masculine elements. Therefore, a firm tone quality is desirable; a tone quality that might fade away, or excessively melodic shaping, is deemed unnecessary.

For instance, in the opening two measures, the music descends from D on the first beat of measure 2 to A on the third beat. While one might naturally wish to play A softer than D, care should be taken not to make it excessively soft. Alternatively, playing A at approximately the same volume as D would also be acceptable.

Compared to measures 1-2, measures 3-4, which constitute the latter half of the phrase, can be considered a subordinate section; thus, the volume might be lower than in measures 1-2.

Next, compare measures 5-8 with measures 1-4. Although it sounds as if it modulates to A minor, it actually concludes on the dominant of D minor. This means it forms a half cadence.

The preceding eight measures are serious, dignified, and earnest. However, from measures 10-18, it suddenly modulates to F major. Let's play this section with a sense of wit, humor, and elegance, enjoying the change.

From measure 18, a two-measure sequence begins. There are four such sequences. Each one gradually increases in intensity. And finally, at measure 26, the previous earnestness, seriousness, and dignity seem to return.

And finally, at measure 31, the highest A in the piece is reached. For this ascending high A, a slight prolongation might be permissible.

The piece should be played rhythmically, vividly, with clear marcato, yet without heaviness.