This Allemande is meticulously composed. Bach clearly distinguishes between notes that should be sustained and those that should not. For example, in the upper voice of measure 12, beat 4, a dotted eighth note and a sixteenth note are written. However, in measure 11, beats 1 and 4, this rhythm is not used; instead, an eighth note + sixteenth rest + sixteenth note is written.

Furthermore, for notes intended to be sustained as part of a chord, Bach uses ties to extend them, as seen in the left hand of measures 1-2, ultimately forming a chord. Many such instances can be observed.

Therefore, when performing this Allemande, avoid excessive use of the pedal. And try to faithfully adhere to the written note values. Minimize pedal usage except where voice leading might be interrupted due to fingering.

Specifically, using the pedal in places like measure 8 will create muddiness, as this is a scale passage. Furthermore, in measure 16, beats 1-2, the notes E, G, and B form the tonic chord of E minor, so pedal usage might be acceptable here. However, using the pedal in places like beats 3-4 will cause C and C# to clash, resulting in muddiness.

Aim to minimize pedal usage and achieve independence of the intricate voices. For instance, measure 4 is in three voices: the soprano plays B D C B E, the alto plays F# G B C D C B A G, and the bass plays G B E B C D C. Try to differentiate the timbre and volume of each voice to achieve voice independence.