In the opening two measures, the tonic triad of the home key is clearly established by a sustained C in the bass and arpeggiated chords in the upper voices. However, thereafter, the upper voices consistently avoid tonic resolution on the strong beat through appoggiaturas. While the harmonic progression is clear due to the simple bass progression, the absence of a simultaneous tonic resolution by both hands on the strong beat until the decisive point in measure 29, where the dominant key of G major is established, raises the question of whether this was an intentional differentiation, mindful of the overall tonal plan. Furthermore, the term "trillo" indicated on the G note in measure 86 in the 17th century encompassed both the modern meanings of trill and tremolo, and its usage varied among composers.