In measures 1-2, the soprano's AGFEFD serves as the theme, which appears in inversions, canons, and various other forms and keys. The voice parts are fundamentally written in four-part texture. In the first half, from measures 1-10, the tension peaks between measures 3-4, ascending from measure 2, beat 3, in a style close to a sequence, reaching an A one octave higher than the opening. Thereafter, the harmony becomes calmer (measures 6-7), and in measure 10, it returns to the same A as at the beginning. Therefore, it would be effective to have the flow reach its peak between measures 3-4, and then gradually decrease in tension towards measure 10.

In the latter half, starting from measure 11 with an inversion of the theme, the tension slightly increases at measure 13, but then gradually decreases, reaching measure 16. This point forms a cadence (a concluding section), ending on the tonic of G minor. From there, it follows an ascending sequence, reaching its highest tension around measures 19-20, then descending to conclude. The dynamic flow takes this shape.

When handling the theme, there is a point to note: avoid accentuating the final note of the theme. For instance, if we assume the theme from measure 1 is "AGFEFDBBA", the final note, A, falls on the first beat of measure 2. To avoid accentuating this note, play it softer than the preceding B.

Similarly, be careful not to accentuate the soprano D on the first beat of measure 7, or the soprano A on the first beat of measure 10, among others. Considering this, the dotted half note A in the bass on the first beat of measure 3 is the final note of the left-hand theme that begins in measure 2. While it would naturally be a fading note, considering the flow, measure 3 is a section where tension increases, so one could also argue that it is by no means a weak note when viewed in the context of the overall flow. This aspect is left to the discretion of the performer.

Since the piece inherently possesses a flowing, horizontal character, please be very careful not to play the eighth notes in this Courante too rigidly.