One of the joys of Bach's music is its puzzle-like pleasure, where familiar motifs appear successively or overlap in many keys or in many different patterns. This prelude, a long one spanning 83 measures, tends to become monotonous as there are no distinct climactic points, and beautiful melodies seem to flow horizontally one after another. In sections where familiar material is absent, it often becomes unclear what direction the music is taking.

Consider that this prelude has two important motifs. Although I intended to explain from measure 1, for reasons related to the material, I will begin the explanation from measure 8. The first motif starts with A-flat in the soprano voice in measure 8 and extends to the second beat of measure 10, that is, up to F.

The other motif begins on the third beat of measure 10, also from F in the soprano, and is the motif F F F E-flat F G G G F G A-flat A-flat ~.

First, identify all occurrences of these two motifs throughout the piece and mark them. When either of these two motifs appears, prioritize making them clearly audible.

Now, what do we do in sections where these two motifs do not appear? We devise strategies based on the specific context. For example, measure 13 is where the second motif concludes; however, the second motif ascends, reaching A-flat, and then attempts to rise further to B-flat. In measure 14, once it reaches B-flat, it modulates to F minor in measure 16, so we conclude it here as a cadential figure (cadence). (To conclude does not mean to slow down the tempo or stop.)

For instance, beyond that point: in measure 16, make the bass eighth notes audible; in measure 17, make the alto of the same motif audible; in measure 18, the bass; and in measure 19, the soprano—a dialogue can be created.

Since the next main motif appears in measure 25 (bass), until then, we should always maintain a sense of direction, connecting to the next motif by varying dynamics using sequences and other means.