A common pitfall in this prelude is that the dynamics can become flat. What follows is a guideline for controlling dynamics.

In measure 1, the hands are relatively far apart, so start with a certain degree of forte or mezzo-forte. Another reason to begin forte is that the notes descend from measures 1 to 3, necessitating a diminuendo in each measure.

Entering measure 4, the number of bass notes doubles, increasing the tension; the dynamics in measures 4-5 can be a diminuendo, a crescendo, or a subtle combination thereof, but it also depends on how the performer perceives the B-flat major in measure 6 compared to the opening E-flat major.

It is acceptable to enter B-flat major smoothly with a diminuendo. Now, upon entering B-flat major, the notes descend again from measures 6 to 8, so apply a diminuendo.

Again, the number of bass notes doubles in measures 8-9. Up to this point, it's the same as before.

What changes is that from measures 11-13, the number of bass notes doubles even further. Although the melodic contour is descending, the C minor in measure 14 can have high tension, making it possible to apply a crescendo despite the descending sequence.

These are just a few examples, but since the piece modulates through E-flat major, B-flat major, and C minor, the performer should determine the dynamics they feel for each key, and apply changes in volume accordingly, or leading towards them.