This piece begins on the second beat, which makes it somewhat challenging to describe, but each phrase spans two measures. The first phrase extends from the beginning to the first beat of the second measure. Phrases are divided in this manner; for example, the next phrase extends from the second beat of the second measure to the first beat of the fourth measure. This initial phrase serves as the theme, and as is typical, the theme undergoes various transformations. The theme progresses with the right hand maintaining sixths. With sixths, the inner voices often fall to fingers 1 or 2, which frequently leads to excessive tension, causing the top voice of the theme to become inaudible. It is crucial to relax the tension in fingers 1 and 2.

Next, this Gavotte features many consecutive eighth notes, particularly in the latter half. These eighth notes can overpower the volume of the theme, making it difficult to hear. Since relatively low registers are also employed, this makes it even harder to discern. Performers should endeavor to significantly reduce the volume of the eighth notes to maintain balance with the theme.

This Gavotte also includes repeats, and it is advisable to perform the first and second times with slight variations. For instance, from the second beat of measure 12 to the first beat of measure 16, one might try emphasizing the right hand in the first repeat and the left hand in the second.

The entire piece should never be played solemnly; instead, strive for an elegant and light performance.