Although the piece is in E minor, it modulates to G major and then returns to E minor. How the performer handles this contrast between E minor and G major significantly alters the interpretation of this piece.

For the author, E minor feels like a high-tension, severe key. For instance, the opening four measures, the E minor section, are played rather forte, while the G major section from measures 5 to 8 is played with a soft sound, changing the color. Since G major continues for measures 9 to 12, the sound quality remains soft, but as the D-sharp in measure 12 becomes the leading tone of E minor, the playing should lead towards this D-sharp. Then, as E minor returns for measures 13 to 16, the forte dynamic should be resumed, returning to the opening atmosphere.

In the G major section, further changes in color can be achieved by lengthening the trill in measure 7 and playing the ornaments in measure 10 lightly. In the E minor section, it may be effective to play with a sense of dignity rather than merely as a minuet (dance). The final two measures may be played with a slight tempo reduction.