This Courante is written in simple triple meter, 3/4 time, and at first glance, one might assume it is a fast-tempo Courante. However, considering the 32nd notes written after continuous trills, as seen for example in measures 4-5, it might not be a Courante with such a fast tempo.

Of note are two types of cadential forms. One is a cadence where three quarter notes appear, shifted by a half-beat, as seen in measures 9, 21, and 48. When this occurs, the following measure becomes the cadence. Indeed, measure 9 leads to an A major cadence in measure 10, measure 21 to an E major cadence in measure 22, and measure 48 to an A major cadence in measure 49, respectively.

The other type is a weighty chord of four or more voices, found in two places: measures 20 and 33. The appearance of this chord halts the rhythmic flow, and it functions as a dominant chord, determining the key, which means it is later recognized as a cadence. Indeed, measure 20 is the dominant of E major, leading to an E major cadence in measure 23. Measure 33 is the dominant chord of F-sharp minor; normally, measure 35 would be the tonic chord, but here Handel further leads towards an association with B minor. In any case, these two chords are crucial points for recognizing the tonality.

Performers should recognize these cadences (cadential forms) and segment the piece to make it easily comprehensible to the listener.