This Gavotte is remarkably profound and engaging. A key characteristic of this piece is its notably polyphonic, rather than homophonic, compositional style.

From measures 1 to 4, the accompaniment, along with the melodic line, appears to exhibit a homophonic motion at first glance. Within each beat, following the bass note, an ascending motion leads to a chord on the off-beat. In measure 4, on the off-beat of the first beat, a counter-melody emerges at mezzo-forte. Such passages warrant emphasis.

Next, in measure 5, the accompaniment pattern shifts from ascending to descending. Then, from measures 6 to 8, a single melodic line appears. While it is not always necessary to emphasize the left-hand line to achieve the same volume level as the right, it is occasionally beneficial to practice playing only the left-hand line.

Further on, from measures 12 to 16 and from 22 to 30, the left hand develops into a completely independent melodic line.

The intrinsic interest of this Gavotte lies in the emergence of such polyphonic lines. Consequently, even if these lines are not overtly emphasized, an awareness of their presence will, I believe, transform one's approach to the piece's structure.

For instance, measures 22-23 and 24-25 form a sequence. In this context, I suggest that measures 24-25 should be played with a softer dynamic. However, since the final note of the left hand in measures 22-23 concludes on A (the second scale degree), it may be permissible to give some prominence to this final A. Conversely, in measures 24-25, the final note of the left hand resolves to the tonic G. As this is a resolution, it should be played with less intensity than, for instance, the F-sharp in the preceding measure.