# Identification probe result

The dossier presents a two-voice movement in 6/8, notated with the material transposed to a common tonic of D major. The melodic incipit (an octave drop from D5 to D4 followed by a stepwise descent through C#–B–A–G to F#) is answered imitatively in the bass, the harmony moves through chains of applied dominants (A#, G#, E#, D# inflections), and the metadata describes a binary structure with a tonic-key return of the opening subject partway through the second half, in invertible counterpoint. All of this is idiomatic of a late-Baroque gigue in the German keyboard tradition, strongly reminiscent of J. S. Bach or his circle. However, the transposition to a common tonic removes the original key as a discriminator, and the incipit is a generic gigue formula shared by many binary gigues; I could not match it to a specific catalogued work with defensible confidence. I therefore report a style-level resemblance only.

## Run metadata

- Analyst model: Claude Fable 5 (claude-fable-5)
- Case: CASE-6U43
- Condition: symbolic dossier only; no external lookup performed or available
- Date of run: 2026-07-19

## 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": 0.25,
    "evidence_ids": ["E001", "E002", "E004", "E005", "E006", "E015", "E016", "E025", "E026"],
    "reason": "Two-voice 6/8 binary gigue with imitative octave-drop scalar subject, applied-dominant sequences, and inverted-counterpoint tonic return strongly suggests a late-Baroque German (Bach-circle) keyboard gigue, but the transposed encoding and generic incipit prevent naming a specific work."
  }
}
```

## Limitations

The encoding transposes everything to a common tonic of D, eliminating original key as an identifying feature. Only four short windows are provided, without tempo, instrumentation, or original measure numbers. The opening gesture is a widespread gigue formula, so several composers (Bach, Handel, Telemann, Graupner) fit the profile. My confidence value reflects the strength of the stylistic attribution, not recognition of a specific piece; no external verification was possible or attempted.
