Although allemandes tend to progress rather flatly, there are four cadences. Let's learn from this structure.

• The first cadence is in measure 6, spanning beats 1-3. The right-hand figure B-A♭-G-F-G-E♭-B-D-E♭ forms its shape. Meanwhile, the left hand plays four eighth notes, and of these four eighth notes, the last two form an octave.
• The second is in measure 13, which is the last measure of the first half. Although the right-hand figure differs, given that the last two eighth notes in the left hand form an octave and it is the final measure of the first half, this measure 13 is also considered a cadence.
• The third appears in measure 19, and the fourth in measure 26, which is the final measure. Both appear spanning beats 1-3.

Performers should consider cadences as structural divisions (breaks) in the piece, and vary the progression leading up to each of the four cadences in terms of dynamics, tone quality, mood, etc.

For example, the third cadence concludes in F minor. The second half, beginning from measure 14, becomes a high-tension section, with measures 16-19 serving as a peak point.

On the other hand, the section leading up to the first cadence in measure 6 can be considered relatively subdued and low in tension.

Please apply appropriate volume and tone quality to each.