This is an allemande primarily in two voices. The interplay between the voices is characteristic. It is important to maintain the directionality of this allemande. The first half begins in G minor, and while one might mistakenly perceive F major in measure 5, there is no E-sharp, so this can be considered the dominant of B-flat major. In any case, play measure 5 with a tone quality that contrasts with the severe atmosphere of G minor. Subsequently, from measure 7, gradually increase the volume towards the highest note B in measure 10.

In the second half, a D minor cadence (final form) occurs in measure 16, but there are also many other sequences and harmonic sequences, leading to a dizzying and unstable tonality. Around measure 22, the piece returns to the original key of G minor. The peak point or destination in the second half can be considered the highest note D in measure 24.

Based on this information, performers should strive to maintain directionality, vary the color according to the key, and ensure that sequences and the like do not sound flat or monotonous.