However, there is some controversy surrounding the placement of the gigue.

The gigue can start on any beat of the bar and is easily recognized by its rhythmic feel.

At the start of the gigue he continued.

The final movement is a gigue, whose main theme unusually does not end the movement.

A gigue, like other Baroque dances, consists of two sections.

She braced herself in the doorway with her hands and legs as the earth began an insane gigue.

Many later suites included other movements placed between sarabande and gigue.

Then it moved into a triple-round of three circles of four, back in a gigue.

Keyboard suites from this time often conclude with a fugal gigue.

Rachmaninoff turns the Gigue into music of swirling colors and dizzying passage work.

The dirge-like first section, one of eight Bach excerpts, yielded to a fast gigue.

The third subject is lively and dancelike, resembling a gigue, again starting on the second beat of the bar.

It often has accents on the third beats in the bar, making the gigue a lively folk dance.

In early French theatre, it was customary to end a play's performance with a gigue, complete with music and dancing.

The gigue or giga is a lively baroque dance.

There was usually an allemande, a courante, a sarabande and a gigue, in that order.

There are also any number of courtly dances including a gavotte, a passepied, a gigue.

The gigue which originally accompanied the canon is a simple piece that uses strict fugal writing.

Like all the dances in the Baroque suite, the gigue is in binary form.

The last aria is a cheerful gigue.

Examples of dances include the French courante, sarabande, minuet and gigue.

The musician switched to a gigue.

The other gigue is in 2/2 time throughout and is virtually indistinguishable from an allemande.

All five contributed parts of their traditional-influenced songs in the La même gigue medley.

For example, a minuet would be characteristic of upper class status, while a gigue was representative of peasants.