Overview

This prelude is to be performed improvisationally, with all chords played as arpeggios. Understanding the overall structure reveals the musical flow. If we divide it into a first half and a second half, measures 1-10 constitute the first half, and everything thereafter forms the second half (while other divisions are certainly possible, let's adopt this one for the sake of analysis).

Analysis of the First Half

Focus solely on the chords in the first half and try playing only them. Beginning in measure 3, the soprano line ascends stepwise: A, B natural in measure 4, C-sharp in measure 5, and D in measure 7, indicating a gradual increase in tension. Subsequently, in measure 9, while the soprano remains on D, the inner voices descend, leading back to the tonic (root chord) in measure 10.

Analysis of the Second Half

Beyond that point, the piece modulates to E major, and by measure 14, the appearance of E-sharp leads to a modulation to F-sharp minor. In this sense, the second half introduces unexpected chords, and the tension escalates sharply, accompanied by a sense of surprise.

Performance Suggestions

Considering these chords and tonalities, observe the overall structure, apply dynamics, and for sections where tension increases, experiment with techniques such as accelerating the arpeggio speed or increasing the volume.