Analysis of the Prelude in A-flat Major

This is a very long prelude in A-flat major. A-flat major can be rightly perceived as an optimistic key. It possesses a certain elegance and shows no profound aspects. This prelude, spanning 77 measures, is challenging to summarize, but it becomes clearer by analyzing and dividing the piece into several sections.

First, in measure 1, the left hand descends with a weighty chord. This can be considered a "tutti" section (henceforth referred to as "tutti"). Then, measure 2 presents a section that can be considered "solo," followed by another "tutti" section in measure 3, and again a "solo" section in measure 4. Please consider measures 1-2 and 3-4 as appearing in pairs. The point where these opening four measures reappear serves as a structural division in the piece.

This occurs in measure 17, in E-flat major. Measures 18 ("solo"), 19 ("tutti"), and 20 ("solo") show the same pattern as measures 1-4. Now, let's consider what we have so far.

Within measures 1-16, where does the piece reach its peak? The ascending sequence beginning in measure 12 gradually rises, reaching its peak at the B in the soprano on the first beat of measure 16. Conversely, from measure 5, the music reaches B once in measure 6, but then descends in a descending sequence. And around measure 10, it begins to ascend again.

Even this alone should make it considerably easier to understand the dynamics and structure. From this point, we will continue the analysis in the same manner.

A "tutti" section begins in measure 52, but this time it is slightly different. Though occurring every other measure, the "tutti" sections are interspersed with "solo" sections, continuing until measure 59. This signifies a gradual increase in tension. The area around measures 68-69 might be the next peak point.

Thus, by focusing on the "tutti" sections and dividing the piece accordingly, analysis becomes significantly easier.