This is a long Gigue, spanning 143 measures. For a piece of such length, it is crucial to analyze it, divide it into several sections, and make it easier for the listener to follow. The turning point of this piece is the B-flat major cadence in measure 65. Up to this point, it is possible to divide the piece into a first half and a second half.

It is important to convey to the audience what is currently happening, and broadly speaking, we consider there to be two main elements: themes and sequences.

The theme of this Gigue spans measures 1-4, concluding with the B in the right hand on the fourth beat of measure 4. However, pairs like this, featuring G minor (measures 1-2) and B-flat major (measures 3-4), appear only a few times throughout the piece. All other instances appear as two-measure themes in various keys.

On the other hand, sequences, such as those found in measures 13-15, appear frequently. For instance, descending sequences, like those in measures 13-15, typically involve a diminuendo, while ascending sequences change dynamics with a crescendo (of course, a crescendo in a descending sequence or a diminuendo in an ascending sequence is also common).

The performer must clearly convey to the audience whether a theme or a sequence is currently being played, and consider the process leading to the next theme to determine its dynamics.

For example, measures 13-15 are a descending passage, gradually continuing downwards until measure 19. From there, it begins to ascend, and at measure 21, with a significant increase in tension, the theme emerges from the third beat. Considering the preceding long sequence, this theme has a considerably high tension, making forte an appropriate dynamic.