nˈuːmɚɹəs pˈiːsᵻz kəntˈeɪn hˈaɪli ɚɹˈɪdʒɪnəl tɹˈiːtmənts ʌvðə fˈɔːɹm: mˈuːvmənts ʌvðə bˈaɪndɚ dʒˈiːɡ fɹʌm ɐn ɐ mˈaɪnɚ swˈiːt bɪɡˈɪn wɪð ɹᵻpˈiːɾᵻd kˈɔːɹdz ænd ɪŋklˈuːd ˈɑːktɪv tɹˈɪplɪts ɪnðə lˈɛft hˈænd; ðə təkˈɑːɾəz æz wˈɛl æz ˌɛni ˈʌðɚ pˈiːs mˈeɪ fˈiːtʃɚ ɹˈæpɪd mˌɑːdʒuːlˈeɪʃənz tə kəmplˈiːtli fˈɔːɹən kˈiːz, hˈaɪli kəntɹˈæstɪŋ sˈɛkʃənz ænd sˈɛkʃənz bˈɪlt ˌɔn vˈɛɹiəs kˈaɪndz ʌv ɹˌɛpətˈɪʃən.
Numerous pieces contain highly original treatments of the form: movements of the Binder Gigue from an A minor suite begin with repeated chords and include octave triplets in the left hand; the toccatas as well as any other piece may feature rapid modulations to completely foreign keys, highly contrasting sections and sections built on various kinds of repetition.