Although this prelude is marked 4/4 time, it is in fact written so improvisationally that time signatures and bar lines are almost unnecessary, and there is no need to feel the beat. Indeed, since it is not strictly notated in 4/4 time, there is no need to adhere rigidly to the time signature.

The initial 11 chords can be segmented after the seventh, allowing the performer to commence the eighth with a renewed sense of intention. This effectively divides the opening 11 chords into two sections. However, this is merely one example; the performer is at liberty to divide them in any manner they deem appropriate.

Alternatively, one might consider the seventh chord as a peak point, playing through without division and concluding on the tonic (root chord). Such interpretive decisions are left to the performer.

The overall atmosphere of the piece is solemn and evokes a sense of sorrow; it is certainly not optimistic. Sixteenth notes appear midway through the piece; by matching the tempo of the 11th arpeggio among the initial 11 chords with that of the subsequent sixteenth notes, a smooth flow can be achieved. Furthermore, the tempo of the final sixteenth notes should be aligned with the arpeggio of the concluding chord.

Alternatively, one could intentionally avoid matching these tempos to emphasize the emergence of the sixteenth notes. However, since the sixteenth notes constitute a 'scale,' listeners will in any case perceive them as a distinct musical figure from what has preceded.