This Allemande is primarily written in three voices, but the soprano and alto move quite closely to each other. Furthermore, there are many instances (e.g., treble clef in m. 3) where the alto moves when the soprano's note sustains, and the soprano moves when the alto's note sustains. Therefore, to successfully perform this Allemande, it is crucial to make the soprano and alto voices sound completely independent.

For example, when playing only the right hand in the treble clef of the aforementioned measure 3, it is necessary to devise a balance of volume and timbre such that the sustained notes do not interfere with each other.

Fundamentally, voice independence can be achieved by making the soprano prominent and giving it volume, while keeping the alto subdued and restraining its volume.

Similarly, in measures 1-2 of the treble clef section in measure 21 (the final measure), try to make the soprano sound as FGFEs and the alto as DEsDA, achieving complete voice independence.

Although this is an Allemande in B-flat major, it modulates to G minor and C minor along the way. Try to vary the timbre and volume each time the key changes.

Fundamentally, this Allemande has a sacred mood, but occasionally a Neapolitan sixth chord appears (m. 8, beats 3-4). In sections in keys other than B-flat major, it would be appropriate to slightly increase the tension.