Sarabande and Gigue from Partita in D

This is one of the most popular types of keyboard composition in the late Baroque period was a set of dance movements know as a suite.  They are not intended for dancing, but to be played at home, usually on the harpsichord.  The Sarabande and the Gigue are the forth and seventh movement of a suite respectively. There is no musical directions such as dynamic marks of articulation in these pieces as they are rarely seen in Baroque period.  It would have been assumed that musicians would know from experience that all the dynamics and tempos are adjusted by themselves.  Performers would also added a few ornaments to the music when they repeat the music for the second time.
As in most Baroque suites,  all the dances are in the same key (D major) and each is in binary form.  They consist of two section, the first one ends in dominant(In this piece of music, the A major) and the second one passing through other related keys and end in the tonic key.  

In the Sarabande,  the first section consist of three four-bar phrases, the first one ends with a perfect cadence in D, the second with imperfect cadence in A and the third one with perfect cadence in A.  Besides the G sharp, all the accidentals indicate chromatic notes.  The longer second section begins in the relative minor (B minor) and E minor before returning to the tonic key in the last ten bars.  Recapitulation appears in the last part of the Sarabande, the most of the materials in the first section are appeared again at nearly the end.  This is described as 'rounded binary form'.  The texture of this piece is homophonic, with melody in the treble part and harmony in the bass part.  Chords are appeared in more important places such as cadences. 


In the Gigue, the first 21 bras are in a fugal texture.  The opening melody is known as the fugal subject and is followed by fugal answer in dominant key in the bass part.  Counterpoint is used in the middle part of the piece, and subjects and counter-suubjects can be heard continuously in this passage.  Subjects is reappeared in the remaining bars, while sometimes it evaporate only after it appears one bar long and sometimes the opening arpeggio is inverted.  The first section of this piece ends with a perfect cadence in the dominant key (A major), and the second section ends in the tonic key (D major).