This sarabande is written for three voices; however, observing the bass line's movement, it appears to be dependent on the other voices rather than being entirely independent. The bass in measure 2 exhibits a progression of a seventh, which is not a typical harmonic progression.

Regarding the alto voice, it also abruptly ceases from the second beat of measure 7, indicating a lack of complete independence.

Consequently, the soprano functions as the principal melody, with the other two voices serving primarily as support. A notable characteristic of the principal melody is its distinctive descending melodic contour from A. This pattern is evident in measures 1, 3, and 7. While measure 1 maintains the tonality of F major, the melody from measure 3 either modulates to C major or should be interpreted as a temporary passage utilizing borrowed chords. By measure 7, it is reasonable to assert a modulation to D minor.

Thus, even these three seemingly identical phrases lead to entirely distinct harmonic destinations. Endeavor to articulate these distinctions through variations in timbre and dynamics.