Points of Caution for this Allemande

Rather than offering performance tips for this Allemande, I will provide several points of caution. First, regarding tempo, please set a tempo that never conveys a sense of speed or hurriedness.

Next, regarding legato. The right-hand sixteenth notes are written almost without breaks, and for these sixteenth notes, one should aim for a smooth, flowing legato rather than a marcato articulation. Ensure that sounds are always sustained in places other than rests. In that sense, the pedal may be used to ensure the line flows smoothly, but caution is advised here. Keep in mind that absolutely no muddiness should be produced. Pay particular attention to avoiding muddiness with minor second intervals.

If avoiding muddiness and breaks proves difficult, techniques such as finger pedaling may also be employed.

Author's Personal View on Pedaling

From this point, the following are the author's personal views. For example, the Prelude No. 1 from Book I of the Well-Tempered Clavier is in 4/4 time. Taking the first measure as an example, at least for two beats, the harmony remains the same and no non-harmonic tones are introduced, so no muddiness will occur even if the pedal is held down for two beats.

This Allemande also contains such passages. For instance, in the second beat of measure 1, the chord is E-flat G B D-flat, and there are no non-harmonic tones here, so no muddiness will occur even if the pedal is held down for this beat. However, if this is done, the right-hand G would be sustained for three sixteenth notes, and the following B would also be sustained for an eighth note.

As for the author, I would not unnecessarily sustain the pedal to preserve note values. However, if one is not concerned with such minute details, it is permissible to sustain the pedal in sections where no muddiness occurs. For example, the first beat of measure 2 is comprised of the chord D F A-flat, making the second right-hand sixteenth note, G, a non-harmonic tone. If the pedal is sustained continuously, this G will cause muddiness. Therefore, by sustaining the initial D with the finger, and then immediately releasing the finger after playing G and depressing the pedal, one can avoid the G (i.e., prevent it from entering the pedal's resonance). For your reference.

Maintaining Polyphonic Order

Another point of caution for this Allemande is to maintain the polyphonic order. From measure 6, the right hand becomes two voices, so please ensure voice independence. At that point, there is a very subtle but important point of caution. In measure 6, the inner voice has a sixteenth rest; therefore, it should be played as such. However, please observe the second beat of measure 7: there is no rest, and the F sustained from the previous beat is tied.

This tied F must absolutely not be broken until the next A-flat. This is because it would sound identical to the figure in the first beat of measure 6, which includes a sixteenth rest. This is what is meant by maintaining the polyphonic order.