Continuous eighth notes, similar to a walking bass, are written in the bass part, but it is questionable whether they should proceed with a sense of dynamism. Since the Allemande itself is a relatively slow dance, the author would suggest playing it legato, taking care not to emphasize the beats too much.

There are some differences between the first and second halves. In the first half, there are five instances of the motif 'descending by a third and then leaping significantly upwards' (measures 3, beats 1-2; measure 4, beats 1-2; measure 6, beats 1-2; measure 8, beats 1-2; measure 10, beats 1-2). Among these, measure 3 has the highest tension, ascending by a tenth in this case. Measures 4 and 6 are relatively calm, while the leap in measure 8, occurring during a modulation to D minor, also has high tension.

Considering pitch height, B is at the highest position in the first half, appearing in measures 3, 6, and 9. In the case of measure 6, since B occurs after a modulation to a major key, it can be played with a somewhat softer touch. Given this, the B in measure 9 might have higher tension than those in measures 6 or 3.

The second half begins in G minor, with rapid key changes to F major and C minor. Subsequently, it ascends via a harmonic sequence between measures 16 and 17, returning to G minor. The author personally perceives high tension in the C minor section, but this is left to the performer. Performers should experiment with varying the mood, considering which key sections have the highest tension or are the most tranquil.