This Gigue is one where the perception of the beat can easily be lost. If the performer does not first perceive the beat, the listener will also be unable to follow the meter, so attention must be paid to this aspect. While there is no such concern when the beat is marked by a dotted eighth note at the beginning of the beat, as in measures 21-25, attention should be paid to sections where only sixteenth notes are present, such as measures 33-37 or 49-54.

First, it is essentially imperative to perform at an accurate tempo, as close to a metronome as possible. This enables the listener to follow the beat. This does not mean that there should be no places to take time; it is permissible to take a little time when transitioning from one section to another, for example, from measure 40 to measure 41. In other words, attention should be paid to sections where the perception of the beat is easily disturbed.

In sections like measures 33-37 and 49-54, there are instances where the performer themselves rushes (becomes too fast) without perceiving the beat, in which case the listener will also be unable to follow the beat in those parts.

As one method, for example, in measures 49-51, a slight accent may be placed on the ascending notes F-sharp, G, and A. In measures 52-54, the downbeats of the first beat descend stepwise as D, C-sharp, B, and A respectively; therefore, in this section, by placing a slight accent on these downbeat notes, it becomes easier to listen to and perceive the beat.