When performing this Gigue, it is essential to grasp its constituent materials. There are primarily three such materials, which should be understood first.

Materials

• Theme A: Measures 1-2
• Theme B: Measures 3-4, right hand
• Theme C: Measures 5-6, right hand

Occurrences of Themes

• Measures 1-2: Theme A
• Measures 3-4: Theme B (right hand), Theme A (left hand)
• Measures 5-6: Theme C (right hand)
• Measures 8-9: Theme B (right hand), Theme A (left hand)
• Measures 13 (beat 3) - 15 (beat 3): Theme B (right hand inner voice), Theme A (left hand)
• Measures 15 (beat 3) - 17 (beat 3): Theme C (right hand inner voice)
• Measures 20-22: Theme A (right hand)

Occurrences of Inverted Theme A

• Measures 25-26: Inverted form of Theme A (left hand)
• Measures 27-28: Inverted form of Theme A (right hand)
• Measures 34-35: Inverted form of Theme A (right hand)
• Measures 44-45: Inverted form of Theme A (right and left hands)
• Measures 46-47: Inverted form of Theme A (left hand)

Beyond these primary occurrences, numerous instances exist where fragments of these themes are utilized in sequences and other developmental passages. As a performance guideline, clearly identifying and articulating these themes will significantly enhance the interpretative interest of this Gigue.

Based on this analytical understanding, the overall dynamic scheme should be determined.