This gigue can achieve a very high level of tension depending on the performance approach. First, regarding what to avoid, do not set a slow tempo. A tempo that fails to evoke the characteristic spirit of a gigue is inappropriate.

To create a lively and rhythmic piece, consider devising various articulations. For instance, in a triplet of three eighth notes:

• The first two eighth notes can be played legato, with the second shortened, and the third also staccato.
• Conversely, the first eighth note can be played staccato, connecting the subsequent two eighth notes legato.
• Alternatively, all three eighth notes can be performed staccato.

The first half sounds denser with more voices than the second half, yet it lacks a distinct peak point. If one were to identify a moment of heightened tension, it would be in measures 5-6.

In the second half, the trill commencing on the third beat of measure 16 serves as a peak point, and the B reached in measure 18 represents the highest note of this gigue. However, just as the tension appears to recede, the B reappears in measure 21. Given that these B's do not occur prior to measure 17, it is suggested that measures 18-24—the final seven measures—be performed without any reduction in tension until the very end.