Regarding Tonality

This is a truly peculiar Sarabande, one that makes you lose track of what key you are currently in. In the opening two measures, the dominant seventh chord of A-flat major is already impressed upon the listener. The feeling of returning to E-flat major in measures 3-4 is fleeting, as from measure 5, the piece modulates to B-flat major and concludes on the tonic chord of B-flat major.

While it should ideally be the dominant of E-flat major, the elements of B-flat major are so strong that it hardly feels like E-flat major.

In measure 10, it modulates to F minor. F minor continues until measure 16. From measure 17, A-flat major is again impressed, and only in the final four measures (21-24) can it finally be heard as E-flat major.

Let's vary the dynamics and timbre according to each key.

Regarding the Theme

The main melody of this Sarabande, the waveform in the right hand in measure 1, appears in the left hand in measures 3-4. It continues to appear alternately in the right and left hands thereafter. It is recommended to bring out the theme more than the other voices.