This is a compositional style in the mournful key of F minor that one cannot help but feel influenced Handel. It contains many dramatic elements such as numerous chromatic progressions, Neapolitan sixths, and imperfect cadences, making it a prelude that can be interpreted as an expression of sorrow. Since it proceeds almost entirely in four voices, it can sometimes be difficult to discern which melody is the main one.

A useful tip is to focus on the voices with smaller note values that are in motion, and balance them by keeping the other voices, especially those with larger note values or those undergoing chromatic progressions, more subdued.

For example, from the second to fourth beats of measure 3, the soprano exhibits the motion F-G-F E-C-D E-flat. Exactly the same pattern then enters in the tenor from the second beat of measure 4, also with F-G-F E-C-D E-flat, and then in the bass from the second beat of measure 5, again with F-G-F E-C-D E-flat.

In measure 4, what happens in the soprano is that it undergoes a chromatic progression from the final E-flat of the previous measure, moving D, D-flat, C, while the bass remains on F. In measure 5, it is the tenor that enters into a chromatic progression with D, D-flat, C.

Thus, by keeping the volume of chromatic progressions and pedal points subdued, and giving more volume to the notes that are in motion, the piece becomes clearer.