This Allemande consists of 22 measures in the first half and 26 measures in the second half, and it does not follow a clear form progressing in 4-measure or 8-measure units.

A key characteristic of this Allemande is the importance of its horizontal flow, to the extent that bar lines seem almost unnecessary. The lines should be played with such a horizontal flow that one might describe it as an “eternal current that one would not wish to interrupt.” To achieve this, avoiding flat dynamics and playing the sixteenth notes legato are key hints.

There are several peak points within the piece; B is the highest note in the first half, and C in the second half. However, these are by no means profound or strong expressions that exert pressure. Rather, it is important to cherish the beautiful, horizontally flowing, gentle current, avoiding harsh, sharp, or dry expressions.

To facilitate the smooth progression of these flows, the pedal should be used momentarily, striving to avoid any blurring of the sixteenth notes as much as possible.