When comprehensively considering elements such as the trills and dotted rhythms found in the first measure, and the arpeggios seen in the last four measures, it is not necessarily required to perform strictly to a metronome. Rather, this prelude can be considered one that benefits from the inclusion of improvisation and a free performance style.

For example, in sections where the key suddenly modulates and the color changes, it is acceptable to take ample time to provide the audience with a "startling moment."

The challenging aspect of this prelude lies in the independence of voices. One should always aim to play imagining a duet or trio. When two or more voices are in distant positions, the performance becomes relatively easier, and they can be heard as two or three distinct voices. The problem arises when two moving voices are in close proximity.

For instance, in measures 13-17, the soprano and alto are in the same treble clef and quite close in position, raising concerns about voice confusion. In such cases, it is desirable to vary the timbre and volume of the soprano and alto, performing in a way that makes it clear to any listener that they are entirely separate voices, and this is how it should be played.