This is a gigue that can change from elegant to wild through articulation and dynamics. Since notes appear on almost every beat, it is natural to emphasize the beat. Therefore, rather than aiming for a smooth horizontal flow, consider creating rhythmic music with a vertical emphasis.

The directionality can also be applied quite freely. For example, a chord suddenly appears on the first beat of measure 7. If one considers the pitch, and imagines a gradual descent from the E on the third beat of measure 3 as the apex, leading to that chord, then the chord should be played softly and lightly.

Conversely, if one considers applying a crescendo from measure 4 onwards, despite the descending motion, to reach the chord in measure 7, then the chord should be played with an appropriate volume.

Thereafter, identify cadences in all phrases and either build tension towards them or let it subside. Cadences do not necessarily involve chords or rests. For instance, the first beat of measure 34 can be considered a suitable location for a G-major cadence.

Please divide the piece into several sections using this method of segmentation and apply directionality.