Here is a simple figured bass realisation of the same bass line and harmony - even from just three bars there is a lot we can learn about this sort of keyboard writing.

If we are trying to producing melodic writing from a figured bass, there are two methods demonstrated in this example (the page of Examples of Figured Bass Embellishment has more detail):

• bars 1 & 2: here the melody is essentially made up of arpeggios that are (mostly) filled in with passing notes. The opening of the melody, for example, is basically G C E G C decorated by a passing note and an octave leap. Using arpeggiation as the basis for a melodic fragments helps give it some shape.
• bar 3: here the harmony is decorated by semiquaver passage work

The other main lesson to be learnt concerns rhythm and motif. The baroque style is one of addition and extension - it takes a short fragment and spins it out. The fragment in this case is the anacrusic quaver followed by a quaver and two semiquavers. Notice how Handel immediately expands on this idea in the second bar.

information and orientation as you browse around TonalityGUIDE.com chord identification understanding voice-leading style awareness