This Gigue, compared to other Gigues in the French Suites, is influenced by the "French Overture." It is characterized by a duple meter and sharp dotted rhythms. Although written as a dotted eighth note plus a sixteenth note for one beat, it is permissible to perform it as a double-dotted eighth note plus a thirty-second note for approximately one beat. In fact, that performance style is closer to that of a French Overture.

The number of voices is basically three.

The theme begins in the alto voice at the opening. For now, it is probably easier for later analysis to consider the theme extending up to F, the first note of measure 2. The soprano enters in measure 2, and the bass enters in measure 3. Measures 5-7 constitute a sequence; this ascending sequence serves to increase the volume while simultaneously modulating to A minor. Measure 10 can be considered the peak point of this first half. The first half ends in A minor, concluding on the tonic chord, but with a Picardy third (a minor key ending on a major tonic chord). In this case, it is A C# E.

The second half then begins on the dominant (V) of D minor, and it is Bach's magic that ending the first half with a Picardy third makes the entry into the second half remarkably smooth. Furthermore, this second half begins with the theme from measure 1 of the first half, inverted.

Now, regarding the second half, where would the point of highest tension be? There are three possibilities:

• From beat 3-4 of measure 21 to beat 1 of measure 22.
• From beat 3-4 of measure 24 to beat 1 of measure 23.
• From beat 3-4 of measure 26 to beat 1 of measure 27.

The performer should choose the peak they feel and control the dynamics accordingly. The author might choose option 2.

This is a Gigue of great dignity. Instead of playing it softly and flowing horizontally, adhere strictly to the discipline, feel the beat, maintain high pride, and perform it majestically.