This piece is characteristic of Bach's E minor. However, it is a sarabande characterized by sudden, unpredictable harmonic shifts. The first half begins in E minor, and from measure 5 to the beginning of measure 6, it suggests G major, but this quickly returns to E minor. Therefore, the harmony between beats 2 and 3 of measure 5 is considered a temporary borrowed chord (D F# A C) / iii.

The first half concludes on the dominant of E minor. The second half gives the impression of suddenly beginning in B minor, but the C-E-G between beats 2 and 3 of measure 10 does not sound like a Neapolitan sixth, likely due to the pre-existing inspiration of G major on beat 1. In measure 12, an impression of G major is perceived.

In measure 13, it abruptly modulates to B minor, forming a cadence in B minor in measure 16. This section evokes the sensation of a Picardy third in B minor occurring mid-phrase. Measures 17-18 and 19-20 present ascending sequences in two-measure units, and in measure 21, the D# on beat 3 leads to a return to E minor.

Performers are encouraged to imbue each key with distinct color and dynamic levels to achieve a dramatic rendition.