Bach's works in A major often possess a character that is at times joyful, at times serene, and at times understated yet richly lyrical. The Prelude of this English Suite bears a strong resemblance in atmosphere to the Preludes from Book II of the Well-Tempered Clavier. Learners who have not yet played or heard this piece are strongly encouraged to listen to it.

The opening two measures of this Prelude require improvisation; they should be played freely and cadenza-like, rather than strictly according to the metronome. While the piece proceeds according to a regular tempo from the third measure onwards, the entire Prelude does not necessarily demand a strict adherence to tempo. Instead, it achieves its beauty through the incorporation of improvisatory elements.

Performers should feel free to take time in many places and emphasize the cadenza-like sections, as they deem appropriate.

A crucial point of attention in this Prelude is maintaining the order of the three (and sometimes four) voices. For instance, in the right hand at measure 23, the soprano voice is tied over to the next beat, while the alto voice enters on the beat. Failing to sustain the alto's note value or not seamlessly connecting the first beat of the soprano to the second beat will disrupt the polyphonic order. Always be mindful of the independence of each voice and exercise the utmost care.