While this prelude calls for improvisational elements, given that the composer has specified a 4/4 time signature, it is important to grasp the beat accordingly and adhere to the time signature as much as possible. For instance, in measure 7, the notation consists of a quarter note on beat 1, two eighth notes on beat 2, and a half note spanning beats 3 and 4; therefore, perform it in a manner that clearly conveys this to the audience.

While the aim is to perform with correct note values, for example, in measure 1, it is extremely difficult to sustain the duration of a whole note when arpeggiating from the bass B to the top F and back. Even if this were achievable, the arpeggio's speed would inevitably become considerably slow.

Therefore, endeavor to gain the duration of a whole note by traversing these seven notes back and forth, or by repeating them. Alternatively, try devising methods such as sustaining only the initial bass note for a longer period before commencing the arpeggio.

If measures 1-6 become easier to execute with a faster tempo for the arpeggios, then for measure 7, try performing it quickly (with the vertical notes almost simultaneously) in a single upward direction only.

From measure 8 onwards, some sections are notated in 4/4, while others are not. For sections not notated in 4/4, at least grasp the first beat. Doing so will enable you to unify the overall tempo.