In this Sarabande, with the exception of a part in the latter half, the left hand primarily serves the role of merely repeating the bass note (pedal point). In other words, the right hand is written in two voices, and it is these voices that are more prominent to the listener's ear.

Therefore, one tip for performing this Sarabande is to make the two voices in the right hand sound independent. For example, in measure 5, the soprano moves, and conversely, in measure 6, the alto moves. In such cases, care must be taken to ensure that the moving voices do not sound like a single voice.

In measure 7, both the alto and soprano have movement as a continuation of the motion in measure 6; even in such instances, the soprano and alto should be made to sound independent.

Fundamentally, independence can be achieved by playing the soprano with a brilliant timbre and volume, and the alto with a subdued timbre and volume. Thus, by bringing out the soprano in measure 5 and playing the alto quietly and gently in measure 6, the voices will sound independent.

Furthermore, in this Sarabande, ornaments may or may not be notated depending on the edition; I believe it is perfectly acceptable to improvise and add ornaments yourself. Please consult various editions. For instance, one method of repetition could be to play without ornaments initially and then add them during the repeat. It is better to have some variation like this rather than playing it exactly the same way.