Considering the inclusion of 32nd notes, such as on the fourth beat of measure 15, and the presence of single 16th notes on strong beats, as seen in measures 20-24, this prelude, though seemingly improvisatory, is meticulously written in 4/4 time. Therefore, it is desired that it be performed with a clear awareness of the beat.

While a certain degree of improvisatory freedom is necessary, the author does not endorse disrupting the tempo to the extent that bar lines become seemingly superfluous. Always maintain the order of 4/4 time.

Furthermore, the piece begins in D minor, hinting at F major, before returning to D minor in measure 18. The fundamental key of D minor should be played with a relatively clear timbre. In measure 11, the texture becomes three-voiced, forming a flowing melodic line. This section can be considered a temporary modulation to F major (although there is no clear cadence, it is distinctly not D minor). This part should be played with a relatively soft, gentle timbre. Since the return to D minor is marked by the C-sharp in measure 18, it is permissible to revert to the original, more austere timbre from this point.

From measure 23, the figuration becomes descending. When considering the cadence between measures 24 and 25, a crescendo during the descent is permissible.