This Allemande transforms significantly depending on the tempo and articulation. The choice of tempo and articulation (especially regarding the repeated notes) is ultimately left to the performer.

It primarily proceeds in two or three voices, but when in three voices, the alto and soprano are in close proximity, thus requiring clear voice independence.

In any case, the level of tension is not particularly high. While the highest note in this Allemande is B in measure 16, it does not arrive through a gradual ascent; this section can be considered a temporary modulation to F major, and a relatively soft sound would be appropriate. Overall, the tension is not high, and a performance seeking calm elegance may be desirable.

In the first half, it modulates from D minor to F major, then from F major to A minor, and can be considered to conclude with a Picardy third in A minor. The second half begins in D minor, moves to F major, and then returns to D minor to conclude, making it a simple piece.

From the author's personal perspective, a performance that flows softly and horizontally is preferable to one that proceeds with vigorous motion.