This Courante is primarily written in three voices. A key point is to choose a tempo that allows the trill + 32nd notes starting on the off-beat of beat 1 in measure 32 to be played comfortably. Once a comfortable tempo is chosen here, it should serve as the basis for determining the overall tempo.

Another aspect is the desired independence of voices, so the alto voice should be played more softly to create a distinction from the other voices.

This Courante modulates to F major and G minor, in addition to its original key of D minor. Regarding the application of tension, D minor should be set as the key with the highest tension, while other keys should be played more moderately than D minor to create contrast.

In the first half, the beginning and end are in D minor, while the middle section continues in F major. The end of the first half can be considered its peak point, so the tension should be increased in measures 18-20.

In the second half, starting with a gentle F major, the tension should gradually increase through the slightly more tense G minor, and then further increase when returning to D minor at the end.

In the author's score, 32nd notes are not written for the trills from measure 35 onwards, but Handel may have abbreviated them, implying they should be played similarly to measure 32.

Since all trills starting from measure 32 occur on the off-beat of beat 1, it is likely appropriate to use the same trill execution from measure 35 onwards.