Analysis and Performance Notes

This prelude contains many non-harmonic tones, and identifying them will be helpful. For example, in measure 1, beats 1-2 are composed of C-E-G, the tonic triad of C major. Then, beats 3-4 are composed of G-B-D, the dominant triad of C major, but on beat 3, the right hand introduces a C, which is not a tone that should inherently be present. This is a non-harmonic tone called a suspension, where the C from beat 2 is carried over into beat 3. Non-harmonic tones are always resolved. The C on beat 3 resolves downwards to B on beat 4.

When non-harmonic tones resolve, it is common practice to play the resolution tone softer than the non-harmonic tone itself; therefore, beat 4 should be played softer than beat 3.

Next, in measure 2, beats 1-2 are composed of D-F-A, the supertonic triad of C major, but at the end of beat 1, a G is introduced. This is also a suspension, carrying over the G from beat 4 of the previous measure. Thus, beat 1 of measure 2 has a higher tension, and since this G resolves downwards to F on beat 2, beat 2 should be played softer than beat 1. In this manner, carefully observe the non-harmonic tones. Then, take a broader view of the overall flow, maintaining the order of non-harmonic tones and their resolutions, and aim for beat 1 of measure 9 as a goal, giving the music a sense of direction towards it.

One more point. The whole notes in the left hand, starting from measure 11, are tied and must be sustained for seven measures. While this is possible on an organ, sustaining a note for seven measures is virtually impossible even on a modern piano. Therefore, for example, it would be advisable to re-strike the octave G in measure 13 and measure 16.