This is a subdued Allemande. Despite being in F minor, it lacks intensity and possesses a refined, even lighthearted, quality. Harmonic sequences appear frequently in this Allemande. There are also modulations, and opinions differ on their precise interpretation.

The first half begins in F minor and modulates to A-flat major in the middle section. The third beat of measure 9 marks a cadence in A-flat major. From here, the music follows an ascending line, concluding the first half. Between measures 11 and 13, D becomes natural, suggesting C minor, but simultaneously implying the dominant of F minor. In any case, this can be considered a section of high tension (the final part of the first half).

The second half gives the impression of beginning on the dominant of F minor, but whether measure 17 feels like B-flat minor and measure 19 like A-flat major, or if these are merely regarded as harmonic sequences, is a point of differing opinion. From here, there are again smaller-scale harmonic sequences, settling on the dominant of F minor in measure 25.

Performers should, if they interpret these as modulations, imbue each key with an appropriate color and vary the tone quality according to the key.

This is not a particularly dramatic piece. Another point of caution is the importance of maintaining a smooth horizontal flow of the music, always paying attention to dynamics to avoid any flat sections.