This sarabande does not strongly feature polyphonic elements; rather, homophonic elements are discernible. It can be considered as having two voices: soprano and bass. Furthermore, many of the inner voices are written as arpeggios, and the notes are sustained for the full duration of the measure. From this, one can imagine the piece as being accompanied by a guitar-like instrument such as a lute, with a vocal part layered above it.

The melodic line resides in the soprano, and following this soprano line will make musical sense. Pay close attention to the note values of the soprano, and be aware that there are also notes with upward stems that enter within this line, belonging to a different voice part than the soprano (e.g., in measure 7, beat 2, the A in the treble clef is not part of the soprano).

The piece itself contains expressions of sorrow (Bach's A minor itself is a key with such a mood). Therefore, a somewhat stronger expression would be appropriate.

Furthermore, clearly differentiating between the melodic line and the inner voices will enhance listenability.