In this Allemande, the left hand's eighth notes, much like a walking bass, tend to mark the beat with a constant rhythm, often resulting in a vertically segmented musical texture. Two important techniques are required to achieve a more flowing, horizontal musical line in this Allemande.

• Firstly, by reducing the volume of the left hand's eighth notes, which tend to emphasize the beat, and allowing the right-hand voices to be heard, the music becomes less angular.
  Furthermore, most notes in the left hand, apart from sixteenth notes, are eighth notes. Even in sections where the bass and tenor voices intertwine, such as measures 9, beats 1-2, they tend to sound like four distinct eighth notes (e.g., D-D-F-D). In such passages, by balancing and differentiating the voices, the sense of a rigid beat can be reduced.
• Secondly, it is crucial to skillfully use the pedal and avoid producing a dry sound. For instance, when a note leading to the next beat is the same as the preceding note, as in the soprano voice in measure 6, it is possible to connect the repeated note solely with the fingers. However, by briefly applying the pedal in such sections, the repeated notes can be made legato. This, in turn, helps the music flow horizontally.