This third movement clearly reveals Bach's cheerful disposition. It is interesting to note the opening of Bach's Toccata in the same key of G major. Similarly, Bach descends the scale with block chords. For Bach, G major must have been a key associated with such joy.

This movement should be regarded as a simply joyful one, without the need for overthinking its complexity. The tutti and solo sections should be contrasted with forte and piano.

And even when intricate 32nd notes appear, the tempo must never waver.

In measures 17-18, a Neapolitan sixth chord is used. This is a section of high tension; please perform it as if with a full orchestra.

The Coda section is full of playfulness, revealing Bach's sense of humor. From the upbeat of the third beat of the third-to-last measure until the third beat of the next measure, there is a succession of "parallel octaves," which were considered absolutely forbidden in this era. This is a compositional technique that would ordinarily be unthinkable.