This prelude was subsequently superseded by the C major prelude in Book II of the Well-Tempered Clavier, but it represents a considerably abridged version in comparison. Although the modulations are confined to closely related keys, considering the rapid modulations within a brief span, a slower tempo is considered to facilitate a more natural musical flow. Consequently, while such an approach might be desired, the whole note C written in the bass clef at the beginning is tied into the second measure and further extended by a tie into the third measure.

In Book II of the Well-Tempered Clavier, the pedal point (a technique involving the sustainment of a single note) in this section is replaced by an octave. Even with an octave, sustaining a note on a harpsichord is challenging, suggesting that it was likely performed on an organ during that period. When performing this piece on a modern piano, a single-line bass (C in measures 1-3) presents a considerable challenge. This is due to the inherent difficulty in maintaining continuous auditory engagement with the sustained C.

The author, when performing this piece, would at minimum augment the sustained C in the initial three measures with an octave above (even if not explicitly notated in the score). For your reference.