The opening of the sarabande slowly moves a line up from ^1 to ^3, giving more emphasis to the earlier notes rather than the ^3 that ends the line. Similarly to Book 2, suite 4, second courante, the long ending line here meanders a bit from an uncertain starting point (G4 in bar 18? F4 in bar 19? Perhaps even the eighth note D4 in bar 18, to make the line an octave?). The play of ^7 and ^#7 is also found in D minor/Dorian mode courantes by Elizabeth Jacquet de la Guerre.
By contrast, the sixth line ending the gigue is much simpler and more direct.
