This Courante is the final movement in this HWV. Let's examine the potential peak points in both the first and second halves. Hypothetically, let's consider the B on the first beat of measure 12 as the peak point of the first half. Considering that the tension increases from measure 9, reaching this B through a modulation from G minor to D minor, and that a descending sequence follows, measure 12 can be considered a suitable peak point.

The second half, after a descending sequence, modulates to B-flat major, culminating in a B-flat major cadence (final form) at measure 30. The B-flat major section could be played with a relatively gentle timbre. From there, the left hand ascends, followed by the right hand ascending from measure 32, with the right-hand B in measure 33 again serving as a peak point.

Conversely, both the first and second halves conclude with a weighty chord. These cadences could also hypothetically be considered peak points. This would entail a performance where the volume increases as it approaches the cadence.

For example, when repeating, continuous trills could be added to the right hand between measures 31 and 32. This would significantly heighten the tension.