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French composers of the 17th century experimented with the allemande, shifting to quadruple meter and ranging more widely in tempo.

The form of the allemande was used for the tombeau.

Other identifying features include an upbeat of one or occasionally three sixteenth notes, the absence of syncopation, its combination of short motivic scraps into larger units, and its tonal and motivic contrasts.

German composers like Froberger and Bach followed suit in their allemandes for keyboard instruments, although ensemble allemandes tended to stay in a more traditional form.

Italian and English composers were more free with the allemande, writing in counterpoint and using a variety of tempi ( Corelli wrote allemandes ranging from largo to presto ).