This Allemande proceeds almost entirely in two voices, with no particularly dense chords appearing.

As there are no distinct peak points, the performance tends to be flat; however, by understanding the positions of the cadences, one can segment the piece and apply dynamics.

There are two types of cadences in this Allemande. The first type is found from beat 4 of measure 5 to beat 1 of measure 6. Memorize this shape. This shape later appears at measure 14, beats 2-3. The other type of cadence is found from beats 1-3 of measure 10. Memorize this shape. This second shape later appears at measure 16 (beats 1-3) and measure 20 (beats 1-3), for a total of three occurrences. Combining the first and second types of cadences, there are a total of five cadence locations.

1. Measure 5, beat 4: F major
2. Measure 10, beats 1-3: A minor (Picardy third)
3. Measure 14, beats 2-3: F major
4. Measure 16, beats 1-3: G minor
5. Measure 20, beats 1-3: D minor

Performers should grasp each cadence, consider which cadences have higher or lower tension, and vary the dynamics and timbre according to the key.