This is a Courante with several peak points and a desired sense of direction towards them. The tonality follows a progression of C major, G major, A minor, and C major, but let's first examine the first half. The first half consists of two keys: C major and G major.

Compared to the more subdued C major, G major is considered to have higher tension (this is merely one interpretation).

For C major, the first beat of measure 6 is considered the cadence, and G major is considered to begin from this point. The soprano line is considered to descend from D in measure 7, C in measure 8, B in measure 9, to A in measure 10, and from there, measures 10-11 are considered an ascending sequence, reaching the peak point G in measure 12.

The second half is in A minor until measure 20, but how this A minor key is interpreted (or felt) is left to the performer. In the subsequent C major section, the music progresses towards A in the soprano line in measure 25 as a peak point, thus, A minor can be somewhat subdued while still allowing the piece to progress smoothly.