As this Gigue features chromatic progressions and the Neapolitan sixth appearing twice, it is certainly not a subdued piece. This Gigue changes dramatically depending on the tempo. From here on, this is the author's personal advice: this Gigue ideally requires a tempo of at least dotted quarter note = 75.

Although primarily written in a three-part texture, it is characterized by conversational exchanges (e.g., in measures 6 and 11).

Dynamic changes are also important. In the first half, the highest note is C in the soprano, appearing on the first beat of measure 7. While this point can be considered the peak of the first half, as it is the dominant of the relative key and has a bright character, other points could also serve as the peak of the first half.

Conversely, the highest note in the second half is also C in the soprano, appearing on the second beat of measure 16 and the second beat of measure 18. The C in measure 16 is rather prepared for the beginning of a descending sequence, whereas the C in measure 18, appearing with a Neapolitan sixth at the end of a long sequence, is more dramatic. Measure 18 can be considered the peak point.