I download the midi file from http://www.jsbach.net/midi/midi_goldbergvariations.html. The file name is Variatio 10 a 1 Clav. Fughetta -  988-v10.mid. 

At first, there are four tracks of all smokey Clavier. It sounds narrow without any sense of space. I changed the instrumentation with the following list: Classical Acoustic Guitar, Smokey Clavier (High voice), Smokey Clavier (Low voice), and Tight Synth Bass. I adjusted individual pan position, master dynamic, master EQ setting to Hi-Fi, and master Compression to Classical Warm.

The result is 95% satisfactory to me. There is one problem with the Classical Acoustic Guitar. When it plays fast trills, it is accompanied with some high-pitched rubbing sound. I don't know how to eliminate that sound. So I left it there. If I have more time, I may add some background sound, like wind or bird chirping sound, to cover that high-pitched rubbing noise. 

Please click this link to get its sound track. 

My new attempts on Groove Pizza app using the African Drumming concepts and borrowing the instrumentation of Hip Hop and Techno, combining the Jazzy swing, to increase the pan-genre senses of variety. Please click this link to enjoy. 

I created a loop using Garageband. I call it  Crazy Hours , because it sounds very busy. 

To layer up the groove, I first use only one track: the Conga Groove 01, as an intro to set up the beats. At the fifth measure (Time 00:04), I pull in the 80s Dance Bass Synth 01 to build up the bass foundation. Then the main melody is played using the Exotic Sarod 01 for 8 measures, and consecutively I use the Exotic Sarod 02 for another 8 measures. Later, I deliberately juxtapose the two Sarod melodies together to create a polyphonic groove.

From the 32nd second, I keep the Conga Groove 01, change the 80s Dance Bass Synth 01 to its sibling 80s Dance Bass Synth 02, and replace the melody using the Acoustic Guitar (the Acoustic Noodling 02) for 8 measure. Then I pull in the 80s Dance Bass Synth 09. Its eminent sound quality and syncopated rhythm make the Bass protagonist and the Guitar, supporting role. 

Later on, I raise the 80s Dance Bass Synth 09 for one octave, making it sound like saxophone. I also add another kits: 80s Pop Beat 09, and eliminate the Conga Groove 01 to create some rhythmic varieties. 

From the 56th second, I create a contrasting section by using the Funky Electric Guitar 05, only keep the 80s Pop Beat 09 as a connecting rhythm to held the integrity of the piece. After 8 measures, I raise the pitch of the Funky Electric Guitar 05 by Major fourth but make it softer, to harmonize its original groove. However, at the very end of the interval, I truncate partial grooves in every track, and make the second parts one beat late to create a hiccup effect. 

It ensues another Funky Electric Guitar 07, which has been edited later to accompany the recap melody of the Exotic Sarod 01, by taking out the middle beat. The recap melody then is accompanied by all the tracks of percussion, kits, and grooves previously used. I change the pitch of three tracks ( the Acoustic Noodling 02, the 80s Dance Bass Synth 01, and the 80s Dance Bass Synth 05) to make the groove one whole step higher at time 02:12, and resume their original pitch at time 02:16. 

Another recap coming back at time 02:28, with all other tracks to accompany, followed by the Coda starting from time 02:52. I change the pitch on the Exotic Sarod 01 twice. The first time I raise it 5 degree higher, the second time one octave higher. So in the coda the groove of music repeats with varieties. From time 02:58 it starts to fade away. 

I also adjust their pan positions to create a sense of space between different E-instruments.  

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​"Love Me like You Do" is a mid-tempo electropop power ballad, with instrumentation backed in massive synths and crushing drums consistently. It is segmented mostly in eight measures. The exceptions are the Intro Retro (IR) bearing only four measures, the Outtro, and the Break (the orange block), which starts with a pause and slows down a bit. I counted the Break as two measures with ritardando. The Verse 1, 2, 3 shares the same melody but uses different lyrics. The Choir 1 and 2 are very similar. The whole piece has a lot of repetition, and it gradually build up emotion to the second Bridge, and surprisingly continues with a pause like an exclamation mark. The final two segments of the Choir 2 resumes its excitement, using syncopated rhythmic drumming. Then the whole piece ends with a lyrical Outtro.