This Allemande presents a challenge: how to play the sections where sixteenth notes proceed alone (e.g., measures 1-6, 18-19) smoothly and with a sense of horizontal flow. Playing these mentioned sections smoothly is difficult without a somewhat fast tempo. It is possible that this Allemande might be played at a slightly faster tempo than other Allemandes written by Bach.

The sixteenth notes written in measures 1-6 and 18-19 show differing stem directions for sections played by the right hand and those by the left hand. However, these should be considered as a single voice, not two, and the stem directions merely as performance suggestions.

The peak points in the first half are considered to be in two places: measure 9 and measure 16 (either one is acceptable). Both are points reached as a result of gradually increasing dynamics. After gradually increasing the dynamics from measure 1 to reach measure 9, the dynamics should then gradually decrease through the descending sequence. Measure 12, in this sense, would be p (piano). Measures 12-13 can also be considered as two sequences. In that case, it is acceptable to reduce the dynamics once at measure 14.

In measure 17, many notes are written in four-part harmony; be careful not to let this section become rough or crude.

In the second half, measures 24, 34, and 37 (or any of them) become peak points. The highest notes in this second half are the C's in the right hand in measures 34 and 37. Which of these two C's do you perceive as having higher tension? Since measures 34 and 37 are relatively close, it would be better to choose only one of them as the peak point in this case.