The scarcity of ornaments and the predominant use of eighth, sixteenth, and quarter notes are reasons why the beat is easily maintained, often resulting in a Sarabande performance that is overly precise, like a metronome, or mechanical.

Consider that there is no worse example of performance than playing this piece as described above, adhering strictly to a metronomic tempo, with a flat timbre and dynamics. Therefore, perform in the opposite direction: by introducing variations in timbre, applying dynamics, and deviating from a strict tempo, the piece will transform into something entirely different.

For example, in measures 1-2, increase the volume towards the soprano C on the second beat of measure 1, then gradually decrease it until the third beat of measure 2. In measures 2-4, as the key modulates to G major, change the timbre. Regarding dynamics, similar to measures 1-2, build towards the E on the third beat of measure 3; however, since the phrase itself has a gentle character, do not create too much tension.

Thereafter, similarly, considering the character of the chords, the pitch, and the direction of the sound, perform with ample expressiveness, improvisation, and freedom, as if singing.