This is a prelude that tends to result in a flat performance. Recognition of the key and the theme (subject) is essential. The theme is considered to begin in the right hand in measure 1 and extend to the first beat E in measure 3. The next appearance is the theme in the left hand, starting from the upbeat of the first beat in measure 3. Subsequently, similarly, be careful not to miss the theme.

Although some instances are not complete themes (their melodic shape has changed), they can be considered themes if they are very close to the original.

First, make these themes clearly audible. Play them clearly so that anyone can recognize them.

Furthermore, the next challenge concerns the key. Although it is stated to be in C major, the sections truly in C major are quite few, with most of the piece being dominated by other keys. The appearance of F-sharp suggests the anticipation of G major, and by measure 16, one can feel a complete modulation to G major. From there, measures 17-20 impress upon the listener D minor.

And from that point onward, F-sharp and B-flat are constantly scattered throughout, and a complete return to C major can only be perceived at measure 47. When wandering through these keys other than C major, the performer should try to vary the "color" by using different timbres and dynamics compared to C major.

Regarding other peak points, the highest note in this prelude, C, is reached in measure 51, and this point may be considered a peak.