This Allemande evokes a solemn mood. It is by no means optimistic, but possesses beauty. It primarily proceeds in two voices, occasionally expanding to three or more. The first half begins in C minor, reaches a cadence in E-flat major at measure 8, and concludes with a Picardy third in G minor at measure 16.

In this Allemande, it is crucial to vary the tone quality according to the key. In the first half, differentiate the tone quality for the austere sound of C minor, the soft section in E-flat major, and the tension-building section in G minor.

In the second half, a harmonic sequence begins, and the tonality changes rapidly without settling. From around measure 26, it begins to return to C minor, and an unstable mood reminiscent of a Neapolitan sixth persists from measures 28-29. Consider measure 30 as the peak point of the second half.

Even within the harmonic sequence, vary the color for each section. For example, measures 17-18 evoke the dominant of C minor, and measures 19-20 evoke F minor. Although there are no cadences here, strive to create changes in timbre and dynamics to make the performance clear to the listener.