# Identification probe result

## Run metadata

- Analyst model: Claude (claude-fable-5)
- Case: CASE-6U43
- Date: 2026-07-19
- Access: dossier-only, as instructed; no external lookup performed or claimed.

Analysis summary: The dossier shows a two-voice keyboard-idiom movement in D major, 6/8 meter, compound-duple gigue character. The opening (E001–E002) presents an eighth-note descent D5–D4–C#4–B3–A3–G3–F#3 answered by an ascending tonic arpeggio over a D pedal-like bass, and the candidate window W3 restates this subject verbatim with the bass taking the descent in imitation — consistent with a thematic return roughly 63 of 147 quarter-notes into the second half of a binary-form movement. Chromatic touches (A#, E#, D#) indicate routine sequential tonicizations of B minor, F# minor, and E minor. All of this fits a late-Baroque gigue or gigue-like finale generically, but no melodic fingerprint uniquely matches a specific work I can defend. Naming a particular gigue by Bach, Handel, or a contemporary would be a low-confidence guess presented as recognition, which the protocol forbids.

## Machine-readable result

```json
{
  "schema_version": "2.1.0",
  "analyst_model": "claude-fable-5",
  "case_id": "CASE-6U43",
  "identification": {
    "recognition_level": "style_only",
    "composer": null,
    "work": null,
    "movement": null,
    "confidence": 0.15,
    "evidence_ids": ["E001", "E002", "E003", "E009", "E015", "E016"],
    "reason": "Two-voice D major 6/8 binary movement with imitative gigue texture, descending-scale subject returning mid-second-half, and sequential tonicizations typical of late-Baroque keyboard gigues; no fingerprint uniquely identifies a specific work."
  }
}
```

## Limitations

The dossier covers only four short windows, so distinctive material outside them (opening tempo/title, cadential formulas, full second-half structure) is unavailable. Symbolic encoding omits instrumentation and register conventions that could distinguish harpsichord, organ, or arrangement. The gigue idiom in D major is common across many Baroque composers, making false-positive identification from this excerpt likely; I therefore report stylistic resemblance only. The 0.15 confidence reflects certainty in the style class, not in any specific candidate work.
