In order to understand the formal structure of the work, let us first list the variations in order, with the designations given to them by Bach and a few explanatory comments.

Goldberg Variations Structural Overview

Designations		Comments
Aria		3/4
Variatio 1.	a 1 Clav.	3/4
Variatio 2.	a 1 Clav.	2/4
Variatio 3.	Canone all’ Unisuono. a 1 Clav.	12/8
Variatio 4.	a 1 Clav.	3/8
Variatio 5.	a 1 ô vero 2 Clav.	3/4	t
Variatio 6.	Canone alla Seconda. a 1 Clav.	12/8
Variatio 7.	a 1 ô vero 2 Clav. al tempo di Giga	6/8
Variatio 8.	a 2 Clav.	3/4	t
Variatio 9.	Canone alla Terza. a 1 Clav.
Variatio 10.	Fughetta. a 1 Clav.
Variatio 11.	a 2 Clav.	12/16	t
Variatio 12.	Canone alla Quarta.	3/4		(a 1 Clav.)
Variatio 13.	a 2 Clav.	3/4		(solo voice)
Variatio 14.	a 2 Clav.	3/4	t
Variatio 15.	Canone alla Quinta. a 1 Clav. andante	2/4		(minor)
Variatio 16.	Ouverture. a 1 Clav.	, 3/8
Variatio 17.	a 2 Clav.	3/4	t
Variatio 18.	Canone alla Sesta. a 1 Clav.
Variatio 19.	a 1 Clav.	3/8
Variatio 20.	a 2 Clav.	3/4	t
Variatio 21.	Canone alla Settima.			(minor, a 1 Clav.)
Variatio 22.	a 1 Clav. alla breve
Variatio 23.	a 2 Clav.	3/4	t
Variatio 24.	Canone all’ Ottava. a 1 Clav.	9/8
Variatio 25.	a 2 Clav. adagio	3/4		(minor, solo voice)
Variatio 26.	a 2 Clav.	3/4	t	(18/16)
Variatio 27.	Canone alla Nona. a 2 Clav.	6/8
Variatio 28.	a 2 Clav.	3/4	t
Variatio 29.	a 1 ô vero 2 Clav.	3/4	t
Variatio 30.	Quodlibet. a 1 Clav.
Aria da capo e fine

A double structure is noticeable: aria, overture, and aria again divide the cycle into two halves and mark the beginning, middle, and end. In addition, every third variation is a canon, suggesting a further subdivision into groups of three. On closer inspection, it is noticeable that the first variation in such a group is usually a character variation (gigue, fughetta, overture, alla breve, adagio), while the second variations focus on a technical difficulty – marked with a “t” in the list[15] (from V 5: hand-crossing technique to V 28: single and double trills). However, Bach did not blindly follow this pattern when composing the work.

„The formation of the groups does not strictly follow a contrapuntal or rhythmic principle, but combines formal ideas from ‘prelude and fugue’ with those of the suite. This combination does not result in a group form that remains consistent throughout the work; rather, the internal structure of each individual group remains flexible. It shows formal shaping, but does not follow a standardized pattern.“[16]

The first and last groups, for example, are clear exceptions. The first group contains no variations that are demanding in terms of piano technique, while in the last group, the main focus in both variations is on virtuoso development. This undoubtedly creates a climax at the end. However, in his “concert version” of the Goldberg Variations, Ferruccio Busoni certainly oversteps the remit of an arranger when he unceremoniously sacrifices the implied closing character of the canon in the ninth for the sake of climax. Not only is the canon worth playing and listening to, but Busoni's abridgement also destroys the formal structure of the entire composition. However, Busoni's name should not be mentioned without at least pointing out that he made a significant contribution to the understanding and interpretation of Bach in the 20th century.[17]