This Sarabande tends to be played very rigidly. One possible reason is the frequent appearance of 6ths and 10ths, but it might also be due to the melody itself, which moves less by 2nds and instead ascends or descends abruptly.

The interval of a 6th is a peculiar interval for the piano, as the inner voices inevitably fall to fingers 1 or 2, and the outer voices to fingers 4 or 5. As a result, the inner voices tend to become too prominent, which simultaneously causes the beat to be emphasized vertically, leading to a rigid and mechanical sound.

When 6th or 10th progressions appear, it is advisable to exercise extreme caution and subdue the inner voices.

The melody line is in the soprano; be mindful of this and play with a sense of lyricism. The key to playing this Sarabande is to allow the music to flow horizontally, rather than emphasizing the beat vertically.

In the latter half, as the piece progresses, the number of notes increases, leading to a considerably rich and weighty sound between measures 24 and 25. Even then, do not forget the sense of lyricism.