This Allemande does not feature any distinct peak points within the piece, and the left and right hands remain in largely the same register without separating. From around measure 21, the hands begin to diverge, and measures 22-23 might potentially mark the peak of this Allemande. Nevertheless, until that point, it is a remarkably subdued Allemande that flows smoothly and unassumingly.  

This Allemande, however, exhibits considerable variation through the manipulation of articulation. For example, the two eighth notes in the left hand on beat 2 of measure 1, and the two eighth notes in the right hand on beat 3, can be executed either staccato or legato. The same applies to the eight eighth notes in the left hand of measure 2. In more extreme interpretations, it is even possible to perform the opening sixteenth notes with a dry, marcato articulation.  

While there are no specific points of caution, it is important to remember that the three sixteenth notes Fis H Ais at the beginning of the piece mark the start of a phrase. For example, in measure 6, beat 1, with the notes D Fis H Ais in the right hand, the initial D should be considered as the resolution of the Cis from the preceding measure, while the subsequent Fis should be regarded as the beginning of a new phrase, analogous to the opening. Consequently, avoid accentuating the first D of beat 1.  

In the latter half of the piece, the Fis H Ais pattern develops into an expanded form, appearing as Cis Gis H in the right hand at the beginning of the second half. Consequently, in measure 13, beat 2, with the notes Fis Fis Cis E in the right hand, the first Fis should similarly be considered the final note of Ais Cis from beat 1, and the second Fis should be regarded as the beginning of the subsequent phrase.