It may be debatable whether this Gigue is optimistic or not. As there is no single correct or incorrect interpretation, performers are free to play it as they perceive it.

The theme of this Gigue is a mountain-like waveform of GBDCBA, appearing in the first measure, beats 1-2. While it also appears in the left hand, when considering only the right hand, it appears in measure 1, beats 1-2; measure 2, beats 1-2; and in measure 4, doubled, in beats 1-2 and 3-4.

In this case, let us assume that the doubled theme in measure 4 may be played with the highest tension. Consequently, when comparing the themes in measure 1 and measure 2, the theme in measure 2 has a significantly wider register, so it should be played with greater volume than the theme in measure 1.

Following this principle, looking at the latter half, themes confined within a fifth appear in measure 7 and measure 9. However, there is a difference: measure 7 is in a major key, while measure 9 is in a minor key. As measure 9 is identified as D minor, it might have higher tension.

In measure 13, the theme reappears with a wide octave register. Since this is also quite high in pitch, it may be considered a peak point within this Gigue. In measure 17, the doubled theme appears again. Performers should differentiate each theme and introduce variations.