This is a gigue characterized by numerous descending sequences in both its first and second halves. A distinctive feature is the point where the left hand, previously engaged in polyphonic motion, suddenly shifts to chords.

The first half proceeds in G minor from measures 1 to 3. Consider the G on the fourth beat of measure 1 as the peak, from which the music descends, reaching a cadence on the third beat of measure 3. From there, the highest note of this gigue, B-flat, is reached on the third beat of measure 4.

At this point, the dynamics should be restrained. While this is partly due to the key relationship of B-flat major against G minor, the left hand shifts to chords from the third beat of measure 5, and the tension increases with each beat thereafter. Therefore, measures 4-5 should remain reserved and subdued.

From measures 6 to 7, the tension builds. In measure 8, although it is a B-flat major cadential figure, the first half concludes without releasing the tension, partly due to the octaves in the left hand.

In the second half, the music moves from B-flat major to D minor, returning to G minor from measure 16. From the fourth beat, the left hand again shifts to chords, increasing the tension with each beat. Try to build the volume so that measure 19 (the final measure) becomes the peak point, similar to the first half.