Sarabande 1 Analysis

A close look at Sarabande 1 reveals clear differences in the number of notes and ensemble texture between bars 1-4 and bars 5-8. If the opening four bars were hypothetically played by a solo instrument, bars 5-8 would feature a heavier texture with the addition of more instruments.

Similarly, in bars 9-16, bars 13-16 have more voices than bars 9-12. Therefore, one approach is to change the mood in four-bar units, such as bars 5-8 in relation to bars 1-4, and bars 13-16 in relation to bars 9-12.

If we designate the group with fewer notes as A and the group with more notes as B, the piece proceeds A B A B from the beginning, then changes to B A in bars 17-24.

Performers should experiment with dynamics and timbre for these different groups.

Sarabande 2 Analysis

Sarabande 2, on the other hand, does not show differences in voices or number of notes in four-bar units, but the key changes every four bars:

• Bars 1-4: D minor
• Bars 5-8: F major
• Bars 9-12: F major
• Bars 13-16: A minor
• Bars 17-20: Sequence
• Bars 21-24: D minor

Consider this as a basis and apply appropriate timbre and dynamics.