The author speculates that this Sarabande was likely performed at a considerably slow tempo. The reasons are as follows: While measures 1-8 can be played at a moderate tempo, measures 9-16 feature a profusion of keys and chords, creating a dramatic latter half that even gives the impression of incorporating a Neapolitan sixth.

The excessively rapid harmonic changes are difficult to follow aurally. A somewhat slower tempo would therefore be more logical.

While this is one approach, the first eight measures (mm. 1-8) can be conceived as two 4-measure units, with phrasing taken in 4-measure increments. Conversely, for the latter eight measures (mm. 9-16), it becomes easier to perform if conceived in 2-measure units.

In measures 9-10, it is clearly in C-sharp minor, and given the I-V-I progression, dynamics such as p-mp-p should be applied. In measures 11-12, the tension increases in B minor. Although the chord progression is V-I-V-I, since the melodic notes in measure 11 are higher, measure 12 should be played softer as a resolution chord.

Measure 13 strongly suggests A minor. While it could simply be considered a harmonic sequence, a slower tempo further enhances the impression of modulation, leading one to inevitably associate the third beat of measure 14 with a Neapolitan sixth. Measure 15 proceeds to the double dominant of A major, and measure 16 to A major. Please consider applying appropriate dynamics for each.