This is a light, fast, and joyful Italian-style Courante.

From here, this is a personal note from the author, but for example, in measure 1, notes with stems extending upwards and notes with stems extending downwards are interpreted as belonging to different voices. Consequently, if the left hand in the lower voice ends on A, and the right hand then takes over with H, it would sound like a simple scale. However, I have a policy that if notes are written as separate voices, they must sound as separate voices. What I do is extend the first note of the second beat, the sixteenth note A, for longer than its actual duration—approximately an eighth note's worth. This way, while A is sustained, the next H begins, allowing it to be heard as a separate voice. The same applies to the third beat of measure 2. It can become quite obsessive to go to such lengths, so please take this as merely an example of how some people approach it.

In measure 10, the tied note starting on the off-beat of beat 1 extends to the downbeat of beat 2. Some performers press the pedal on the first beat here, which I do not necessarily disapprove of. However, caution is advised when non-harmonic tones such as D# enter a chord like E G# B, as in measure 11. This is because continuous pedaling can create muddiness. In such passages, it is advisable to use finger pedaling.

Measures 17-24 modulate to C-sharp minor. For this section alone, change the timbre and dynamics to alter the mood itself.