This sarabande can be interpreted as an expression of sorrow. Although it begins in G minor, it already receives inspiration from B-flat major by the 4th measure. In the 8th measure, F changes to F-sharp, and it returns to G minor, but in the 10th measure, it becomes a double dominant (borrowed chord) V/V, increasing the tension and resulting in the most dramatic descent in this sarabande.

Therefore, although the highest notes in the first half are B-flat in the 1st measure and B-flat in the 9th measure, the A in the 8th measure can be considered the peak point.

In the latter half, it begins in B-flat major, and in the 16th measure, it reaches a B-flat major cadence (final form). From there, it ascends, returns to G minor, reaches the highest note, B-flat, again in the 21st measure, and then descends.

G minor and B-flat major (including its inspiration) thus alternate. By softening the timbre of the major sections, a contrast with the minor sections is created.

As an aside, regarding the trill in the 2nd measure, the author finds G and F-sharp more fitting than G and F.