Let us assume that the theme (subject) begins in the soprano voice in measure 1 and concludes with a cadential figure on the first beat of measure 3. Considering this, this Gigue contains two additional themes: one beginning in the soprano voice in measure 6 in G major and ending in A minor on the first beat of measure 8, and another beginning in the soprano voice on the second beat of measure 8 in C major.

When comparing the three themes, the opening C major theme is positioned an octave lower than the C major theme beginning on the second beat of measure 8. When comparing these two, the theme from the second beat of measure 8 is an octave higher and has greater tension, so it should be emphasized more. The second theme, starting in G major and ending in A minor, is a dramatic theme; therefore, if the latter two themes have high tension, it would be effective to begin the first theme more subtly.

Incidentally, there is no theme from the second beat of measure 3 to the first beat of measure 6. The point of highest tension in this section is E on the second beat of measure 4; this should be treated as the peak point. After this, a gradual diminuendo should be applied to conclude the first half.

Although the second theme also descends in measure 7, since it is an unusual theme that ends in A minor, it is also acceptable to consider applying a crescendo from measure 7 instead.

In any case, these three themes should differ in atmosphere, and you should consider which theme should be the most prominent and which the least.