It is evident that this first movement requires improvisation. However, it is advisable to first thoroughly grasp and understand the rhythm, and only then attempt to play with some rhythmic freedom and improvisation. Being overly faithful to the rhythm can result in a dry and uninspired performance.

Now, from this point on, these are truly the author's personal observations, but there are several passages in this score that the author finds peculiar.

Peculiar Passages

• Measures 6, beats 1-2
• Measures 10, beats 1-2
• Measures 19, beats 3-4
• Measures 22, beats 1-2

These are the four locations. Although a detailed analysis of why they feel peculiar has not been conducted, these are passages where notes that should be resolved are left unresolved, or there are notes that shouldn't be there, or the chord progressions are difficult to comprehend, leaving a sense of unease.

For instance, taking the example of measure 6, the first beat is an HDF chord. If the intention is to move to the F-major tonic (root chord) on the third beat, then the second beat should ideally be a CEG chord. This would allow H to move to C, D to descend to C, and F to descend to E, resulting in a smooth progression. However, Bach uses a BDF chord on the second beat.

The downbeat of the second beat is a rest, but if a FAC chord were hypothetically present here and it happened to be a rest, then the situation would be more understandable.

As for performance practice, if one starts from the first beat and pauses briefly on F, which is the first note of the second beat, and then, after a short delay, begins the C-B-A thirty-second notes, the unnatural feeling disappears. Of course, there may be dissenting opinions regarding these views, but please consider them as one perspective.