This Gigue evokes the power of an ensemble. Characteristically, the piece features a simple theme that appears successively in either A minor or E minor. In the latter half, this theme appears in inversion. The theme itself contains no profound elements; rather, it is a simple material that even conveys brightness.

Both the first and second halves of this Gigue begin with one voice, then expand to two voices (m. 4 in the first half, m. 34 in the second half), then three voices (m. 8 in the first half, m. 38 in the second half), and finally four voices (m. 24 in the first half, m. 58 in the second half). Although there are exceptions, such as measures 12-13, the basic progression is as described above. Dynamically, it naturally begins p (piano), and as the number of voices increases, one should assume that the number of choir members or ensemble players has increased, gradually raising the volume. After the first half concludes f (forte), the volume should immediately be reduced to begin the second half, which, like the first half, should increase in volume as the number of voices grows.

In measures 28-30 and 59-60, slightly relaxing the tempo and adding a sense of weight can make the piece sound even grander in scale.