This is a long prelude, spanning 164 measures. However, with modulations limited to closely related keys, no rapid changes in tonality, a predominant adherence to the original key, and a largely two-voice, unadorned progression, the prelude tends to result in a flat, undifferentiated texture.

In this type of music, it is crucial to identify the turning points, namely the cadences (cadential forms). Subsequently, the piece should be subdivided by these cadences. Broadly speaking, there are four cadences in this prelude.

Cadence Points

• 1st: Measure 47
• 2nd: Measure 87
• 3rd: Measure 110
• 4th: Measure 156

Only the second cadence at measure 87 is in E minor; all others are in A minor (the original key).

For instance, when examining the first 47 measures leading up to the first cadence, the ascending sequential passage starting from measure 31, spanning two octaves upwards, reaches its peak at measure 36. From measure 36 onwards, the music generally follows a descending trajectory, arriving at the first cadence at measure 47.

For each section, determine the peak point, recognize the direction leading up to it, and the direction from it to the cadence, in order to make these points audible to the listener.

For each cadence, employ some technique to ensure that its cadential function is clear to the listener. Slight adjustments in timing are permissible. By highlighting the cadences, the listener's perception of the piece will also be segmented, making the composition significantly easier to follow.