Analysis of the Sarabande

This Sarabande features numerous rapid notes and is to be performed with an improvisatory character. While the abundance of rapid notes can sometimes obscure the formal structure, viewing it from a broader perspective reveals its simplicity and clarity.

Fundamentally, the main melody consists of three repeated notes, such as D-D-D (measures 1, beats 1-2). At first glance, this main melody of three repeated notes appears only in measures 1-2 of the first half; however, please observe measures 8, beats 1-2. Although it is buried under numerous rapid notes, this is also the main melody, G-G-G.

From an analytical perspective, it is a melody with a characteristic tendency to move towards the second beat. In that sense, although C is not written on the downbeat of measure 5, beat 1, the rest is similar to the main melody pattern. The interpretation of this section is flexible.

In the first half, consider measure 8 as the peak point. If the main melody in measure 1 is D-D-D, then in measure 2, the main melody descends by a fourth to A♭-A♭-A♭. In measure 3, if you extract only the first note on the downbeat of the right hand, you will notice a stepwise descent: G, F, E♭. And the final E♭ in this measure descends to D on the second beat of the next measure. This means it has descended from the D in measure 1 to the D an octave lower.

From this point on, starting from measure 5, the key changes, attempting to shift to G minor. Reaching measure 8 is the peak, after which the first half concludes in measure 12, remaining in F major. On the first beat of measure 10, the highest note of the first half, A, appears, but harmonically and mood-wise, this is not a strong point.

Using the above analysis as a reference, please try to analyze the second half as well.