Let the theme (subject) be from the opening anacrusis to the third beat of the first measure. This theme reappears later in varied forms, and while it should be emphasized each time, a high register does not necessarily imply high tension; tonality and other factors must also be considered. For example, in measure 5, a modulation to G major occurs, resulting in a softer sonority compared to the original key of E minor. Consequently, even when the soprano reaches G, its highest note thus far, the tension does not significantly increase.

Incidentally, by taking the tenor's B (H in German notation) with the right hand on the third beat of measure 8, the B can be sustained even when the bass descends to G on the fourth beat.

When Handel suddenly writes a dense chord, the tension is high, and these are often cadential passages. Therefore, for instance, on the third beat of measure 16, despite the soprano descending from measure 15, one possibility is to apply a crescendo to reach the chord on the third beat of measure 16.