This Courante is characterized by a high prevalence of chromatic progressions. The psychological depiction evoked by this Courante is subject to various interpretations. Personally, the author tends not to perceive this Courante as particularly optimistic, given the extensive chromaticism; however, this interpretation remains open to individual discretion.

The piece contains several cadences (final forms). For instance, at measure 14, a cadence is formed by two sixteenth notes followed by a dotted eighth note, a trill, and a single sixteenth note. This point serves as a significant turning or branching point within the composition.

This specific cadence also appears at measures 18, 34, and 53. In the case of the cadence at measure 34, an F would conventionally be expected at the beginning of the subsequent measure; however, it is absent. Nevertheless, it is understood to resolve to the F in the right hand on the second beat.

Several potential peak points exist, and performers are encouraged to identify and shape their own. The highest note in the first half is G. In the second half, it is H (B natural) at measure 48. While these locations are suitable as peak points, the G at measure 27 conveys a higher degree of tension to the author than the G observed within measures 4-5 of the first half.