No. 6 in D minor [Prelude]

The primary focus in this prelude is dynamic variation. The performer must first conduct a thorough analysis to grasp the musical direction of each section, and then determine the dynamics accordingly.

Let us assume that from bar 1, the music progresses towards the F on the first beat of bar 5. In this prelude, it might be better to consider increasing the volume towards a goal, rather than simply applying a crescendo for ascending passages and a diminuendo for descending ones. Whether the F on the first beat of bar 5 is louder or softer than the notes in bar 4 is debatable. Theoretically, since bar 4 beat 3 is a V7 chord and bar 5 is I, one might consider the point of harmonic resolution as a diminuendo. However, it is also acceptable to assume that the F in bar 5 is the loudest note. If we adopt this perspective, the tension progressively increases from bar 1 to bar 2, from bar 2 to bar 3, and from bar 3 to bar 4. Similarly, from bar 6, a new section begins, leading towards bar 9. Bars 9-10 and 11-12 are sequences; the performer may decide which of these should be louder. Subsequently, bars 13-14 and 15-16 are also two-bar sequences. Now, from bar 18, a long crescendo begins, aiming for bar 26. Therefore, p is desirable at bar 18. Consider how to achieve p at bar 18, for instance, by applying a diminuendo in bar 17.

Thereafter, continue to apply constant dynamic control, referencing the preceding flow. Bar 42, with its B, is likely the bar where the tension reaches its peak. Finally, as expected, conclude with a diminuendo.