Recalling Bach's G major works such as the French Suites, Inventions, Sinfonias, and The Well-Tempered Clavier, it becomes evident that G major is a key that is both powerful and joyful, and at the same time, dignified.

First, when performing this Praeludium, there is one crucial aspect that must be strictly observed: the "recognition of the beat." Always proceed by feeling where the first beat is, where the second beat is, and where the third beat is, ensuring that the timing progresses with absolute precision.

For instance, in measures 1-2, there is a chord on the second beat of measure 2, and the third beat is a rest. Therefore, ensure that the first beat of measure 3 enters with absolute precision. Neither linger nor rush.

From measure 5 onwards, where sixteenth notes appear continuously, also maintain a clear recognition of the beat. In places like measure 21, where the left hand plays an accompanying role, marking the beat, stability is relatively easier to maintain. However, in measures consisting solely of sixteenth notes, there is a risk that the tempo may tend to rush if not careful, so please be mindful.

The character of this Praeludium unfolds like a joyful, witty conversation. For example, the theme of this Praeludium is the opening four measures. A contrast is desired, such as measures 1-2 played softly (like a small voice) and measures 3-4 played loudly (like a big voice). When this theme appears, on the first beat of measure 4, there is an F-sharp in the right hand and a G in the left hand, creating a clash. Such clashes should not be played smoothly; rather, it is better to express them intentionally as clashes, so set them to a stronger dynamic.

The theme turns to minor for the first time in measure 41. Here too, on the first beat of measure 44, the chord clashes, but since it is in a minor key, the tension is further heightened.