This C major prelude is a pure, romantic prelude that does not evoke any of the intense, humorous, or solemn pieces that may follow. Essentially, consider it as "song and accompaniment." I have listened to many professional performances, but for some reason, some performers accelerate the tempo excessively in the first three measures. While the piece as a whole allows for improvisational rubato where appropriate, the basic tempo should remain consistent.

Although the character of the piece is not intensely expressive, it is important to sing generously. From measures 6 to 9, play

espressivo with some rubato, singing amply. In measure 7, on the third beat, when leaping to the octave above in the melodic line, take your time. Vocalists cannot easily reach high notes; emulate that vocal technique.

In measure 9, several pianists and students have played the rhythm incorrectly here. Proper notation would likely include an eighth rest on the first beat, followed by a sixteenth rest, but the eighth rest on the first beat is missing. Perhaps because of this, some performers play the final sixteenth note of the first beat at the speed of a thirty-second note. This is only half the speed of the left-hand eighth notes. Please be careful.

The tenuto markings written in the melodic line starting from measure 4 are important. Where these markings appear, take your time. In measure 14, on the third beat, there are two C's in the melodic line, and another C appears on the first beat of measure 15, resulting in three consecutive C's. Be especially careful not to play these sections flatly {when the same note repeats, extreme care must be taken in piano music, as it can sound stiff}.

Similarly, from the end of measure 15, sixths begin in the right hand. When playing sixths with the right hand, the lower note is often taken with finger 1 or 2, which tends to produce a loud sound, making this interval prone to imbalance. Relax the strength in fingers 1 and 2, and aim to bring out the upper note.

From the off-beat of the second beat in measure 19, imagine a male tenor singer appearing in the melodic line.