Gigue Analysis

This is an optimistic Gigue, though it is short in terms of measures, consisting of only 4 measures in the first half and 8 measures in the second half. When considering phrasing, for example, the first half can be thought of in 1-measure or 2-measure units.

First Half (Measures 1-4)

• Measure 1: Ends on the dominant.
• Measure 2: Ends on the tonic.
• Measure 3: Ends on the dominant, but since the left-hand movement is considered to 'continue leading' into Measure 4, Measures 3-4 can be treated as a single phrase.
• Measure 4: Can be considered a modulation to D major, or a double dominant.

As an example, when observing these first four measures, the volume can be increased towards the fourth beat in Measure 1, and decreased towards the fourth beat in Measure 2. In Measure 3, the volume can be increased towards the fourth beat, and in Measure 4, decreased towards the fourth beat. This is merely an example; performers should apply a certain degree of dynamics based on their judgment to avoid a flat performance.

Second Half (Measures 5-10)

In the second half, for instance, Measures 5-6 can be considered a single phrase. In that case, observing only the soprano melody line, it ascends H C D E in Measure 5 and descends E D C# A in Measure 6, suggesting a crescendo followed by a diminuendo.

Measure 7 features an ascending sequence, leading to a modulation to E minor and a cadence in Measure 8. The tension in this section is high. Measure 9 descends, but in Measure 10, it becomes three-voiced, creating a thicker texture, which can be treated as a peak point.