According to Phillip Spitta the English Suites must be regarded as Bach's most deliberate and developed excursions in the suite form. J. Matheson says that they give'the picture of a contented and satisfied mind delighting in order and repose' In these Bach combines elements of the French tradition with the south German suite type which Johann Jacob Froberger had originated. He also assimilates some Italian influences.
His ability though, to give varied forms to pieces of the same species makes the Suites easily recognizable as his own works. Generally in the Suites, the allemande prepares the way for the courante and they both form a whole. The allemande in Suite No 3 is a fine example of the grace and emotionally versatility that Bach can show on the keyboard. It consists of two sections, equal as to length, of twelve bars each. With afirst look we can see that the harmonies are broad and both parts have various figures.
The piece begins commonly with a short note, a semiquaver before thefirst bar and it is followed by an arpeggiation of the tonic chord in the left hand. We have two part texture with semiquavers against semiquavers that share the melodic sequence until bar 3. The harmony is mostly straightforward but interesting if we accept the second chord with the F sharp in the bass as a VII leading to a V7 in the next beat. The second bar continues with an arpeggiation of chord i as the passing bass sequence sets up a V chord in the third beat and resolves back to the tonic in the beginning of bar 3. Up to here the harmony seems fairly simple and we can not really see any specific mood being portrayed.
In bar 3 though, a clear sequence begins in the bass and a series of arpeggiated chords lead to afirst modulation in bar 6. Already, the F natural in the start of the bar produces a richer feeling for the melody. The sequence, that starts with the tonic, descents gradually to VII, then to v and climbs to V.