The Italian-style corrente, unlike the French-style courante, proceeds at a fast tempo. This is unequivocal. This corrente possesses instrumental rather than lyrical qualities, and includes virtuosic passages, which should be kept in mind.

Consequently, the most significant atmospheric change arises from articulation. While this is the author's personal opinion, rendering the left-hand eighth notes with staccato rather than legato yields a more vibrant sound and, by distinguishing them from the soprano (right hand), offers the advantage of preserving polyphonic order.

Some performers intentionally sustain notes that function as the bass, such as the G on the first beat of measure 5 or the A on the first beat of measure 6, to emphasize the bass line. This approach is indeed both audibly pleasing and readily comprehensible.

Furthermore, given the considerable length of this corrente, it is essential to identify the locations of its cadences. For instance, in the first half, measures 17, 38, and 54 mark the cadential points. By treating each of these three cadences as a distinct point of arrival, and presenting them as three separate sections, the piece becomes more accessible to the listener than if it were perceived as one continuous, lengthy movement.