This is a virtuosic piece, written to showcase technical skill, a toccata-like prelude. As seen in measure 7, the arpeggios are written with alternating hands, suggesting that the piece can be played at the fastest possible tempo.

In this piece, too, bar lines are almost non-existent, but from around measure 8, it is clearly written in 4/4 time, and this section, up to measure 14, is presumably a place for settling down. In measure 10, the bass marks the beat, so this middle section (measures 8-19) is a good place to slightly relax the tempo and feel the pulse.

Proceed at a fast tempo from the beginning, and enter measure 8 with the tempo slightly relaxed before reaching it. Enter naturally, so that the tempo does not suddenly slow down.

And then, it returns to a fast passage, but listening to an endless succession of notes can become confusing and indistinguishable. There should ideally be a section that brings this flow to a temporary halt.

These are the pairs of dotted eighth notes, or dotted sixteenth notes, and trills found in measure 4 and measures 19-20. There are three such instances in measures 19-20 and one in measure 4. When the performer reaches these points, they should take a little time with the trill, as if applying a fermata. Also try to take time with the opening quarter-note chord in measure 22.