In this prelude, the right hand is almost entirely filled with eighth notes, and once the eighth notes begin, they continue for a considerable number of measures without stopping or rests. The left hand, on the other hand, functions merely as a walking bass, with no fugal elements.

Pieces of this nature tend to become mechanical if the dynamics are flat. We will begin by addressing this point.

The first half includes sequences and clear ascending/descending patterns, making it relatively easy to play. Therefore, we will take measures 21-31 as an example. What follows is merely an analysis of one such example.

At measure 20, it sounds as if the music settles in E-flat major to any listener, so measure 21 begins softly (p) with the timbre of E-flat major. However, an E natural appears in measure 22. From measures 23-24, D-flat also appears, creating an impression of F minor. However, this also shows a return to C minor in measures 25-26. Immediately, measures 27-28 evoke G minor. Finally, in measures 29-31, it modulates completely to G minor, and measure 32 becomes a G minor cadence.

Thus, the tonality shifts every few measures. However, one may consider these multi-measure units on a larger scale and refer to them as harmonic sequences. In that case, one could consider them as two sequences of four measures each: one from measures 21-24, and another from measures 25-28.

In any case, performers should choose the analysis they agree with from these options and vary the timbre and volume for each section or sequence.

The goal is to avoid a flat performance at all costs.

Please analyze the tonality in all other sections as well.