Analysis of the Gigue

It is in the form of a three-voice fugue. Typically, a Gigue, deriving its name from the meaning 'to frolic,' is played at a fast tempo. However, playing this particular Gigue at such a speed would lead to numerous problems. The problems lie in the execution of the trills that appear in the latter half.

Let's take measure 33 as an example. Judging from this ornamental figure, regardless of the number of trills, it ascends from B to C# and D, then plays a trill between D and C#, concludes on C#, and then plays the 32nd notes B and C# before moving to the next beat.

From the figure, it seems that even if the trill is shortened, B-C#-B-C#-D-C#-D-C#-B-C# is desired for the first beat. Therefore, it is essential to first choose a tempo that is not technically challenging.

Furthermore, these trills involve a very high density of notes in a short span, posing a risk of overpowering the volume of other voices. For this reason, it is advisable not to choose too fast a tempo. Please choose a tempo where the listener does not feel rushed, where technical difficulty is not apparent, and where other voices are not obscured by these trills.

Additionally, this Gigue demands exceptional skill to maintain polyphonic clarity. For instance, in measures 15-17, the distinction between the soprano and alto voices must be maintained. In measures 23-25, the distinction between the alto and bass voices must be maintained. Such careful articulation is also necessary.