This gigue allows for a remarkable range of interpretive possibilities. The left-hand trill is played simultaneously with the right hand while maintaining a 10th interval, so it is crucial to ensure that this left-hand trill can be executed precisely (e.g., the second beat of measure 2). The original key is F-sharp minor, but it modulates to keys such as A major, so please change the tonal color each time a modulation occurs.

For example, the theme in measure 1 should be played at a relatively soft dynamic level; the theme in measure 2, being two-voiced simultaneously, should have an increased dynamic level; and in measure 3, as it modulates to A major, the dynamic level should be restrained, and the tonal color altered. In essence, since each theme presents a different situation, try to vary the expressive character accordingly.

Furthermore, let us consider the peak points of this gigue. The highest note in this piece (the note at the highest pitch) is the B natural found on the first beat of measure 33, but this note does not appear in the first half. It appears for the first time in the second half, in measure 33.

While measure 33 also exhibits high tension, the B natural in measure 38, which occurs after a significant increase in tension due to the long ascending sequence beginning on the third beat of measure 35, can be considered dynamically larger.