No. 12 in F minor [Prelude]

It is perhaps rare to find a piece where the tempo varies so much among performers as in this 2/4 Prelude. Some play it quite slowly, while others play it quite fast. Generally, the 2/4 time signature became established as a relatively fast tempo in the Baroque era, so when the author performs this piece, it tends to be at a faster tempo. However, learners are free to decide the tempo based on their own judgment and sensibility.

This Prelude is clearly divided into two halves, the first and second, which is evident at a glance. Measures 1-28 constitute the first half, and measures 29-70 the second half. Consider the peak point of this Prelude to be somewhere in the second half, between measures 29-57. Your own inspiration is sufficient. If this Prelude were to be hypothetically divided into three sections, I believe it would be 1-28, 29-56, and 57-70. Let's first look at the first half.

First Half Analysis (Measures 1-28)

I don't feel there are any particularly prominent tension-building sections in the first half. Perhaps around measure 16, if I had to pick one, but even then, the emotional intensity doesn't rise significantly. Roughly speaking, it's safe to assume that a new phrase begins approximately every four measures in this Prelude. The same applies to the first half. Strictly speaking, there is a break from measure 1 to the first beat of measure 4. Within these four measures, there is one small phrase per measure, totaling four phrases. Extracting the highest voice yields the following four:

• 1. A♭ A♭ G
• 2. B♭ B♭ A♭
• 3. A♭ A♭ G
• 4. F F E

Each of these four phrases has a voice a third or a sixth below. All four also follow the form of a double suspension (double suspension = carrying over a chord tone from the previous measure into the next measure, occurring simultaneously with two notes, such as a third or a sixth, rather than a single note). That is, since measure 1 is composed of C-E-G, any notes other than C-G-E are non-harmonic tones. The non-harmonic tones entering on the downbeat of measure 1 are a result of carrying over the chord from the preceding anacrusis into measure 1. Therefore, in this case, the right-hand A♭ and F are notes from the previous measure and are non-harmonic tones, which then resolve to G and E on the upbeat. Consequently, the upbeat follows a diminuendo shape, and no accent is placed here.

Then, in measure 2, the G and B from the C-E-G-B chord on the second beat of measure 1 carry over into the next measure.

and resolve. This pattern repeats. Therefore, among the three notes of 1-4 (as listed above), the goal note is the middle note, and the resolution occurs on the third note, moving towards this middle note.

When comparing these four, the second is a second higher than the first, so the second should be played louder than the first. The third is a seventh higher, so one should build towards it. The fourth then drops by a second again, so its volume should be reduced compared to the third. Another reason for reducing the volume of the fourth is harmonic.

Articulation is free and will likely vary with the tempo. This completes the analysis of measures 1-4. The main point to note when playing this section is the balance in the right hand. When playing thirds or sixths with the right hand, the lower voice often falls to the thumb (finger 1). As a result, it can sound unnecessarily loud. Please ensure to relax the thumb (finger 1) and maintain a beautiful balance.

Next, we follow the melodic pattern from the second beat of measure 4 to the second beat of measure 8. The eighth notes with downward stems are played by the left hand. Extracting these yields E F D E G F D E. The three sixteenth notes appearing on the upbeat are played by the right hand. Extracting the right-hand intervals yields 5 6 4 5 7 6 4 5. The wider intervals indicate areas of increased tension, so aiming for the point where the right hand reaches a seventh will coincide with the highest note in the left hand, G. This strongly suggests that this is the intended goal.

Some performers may consider this section in two parts: E-F-D-E and G-F-D-E. This is certainly acceptable. When considered in two parts, the final E of both groups becomes weaker and unaccented, as it resolves harmonically. The next four measures are a repetition of the opening, but the latter half (measures 11-12) differs. It modulates to A♭ major, the relative major of F minor. From here until the first beat of measure 20, it remains in A♭ major and appears similar to the opening eight measures. However, from the second beat of measure 12, a new four-measure section is added that was not present in measures 1-8. These four measures serve as an extension of the new four measures that began from the second beat of measure 8, ultimately reaching A♭, the highest note in this section (right hand, measures 15-16).

Normally, A♭ major, as the relative major of F minor, would appear as a much softer key compared to F minor. Therefore, one might wish to change the timbre and play softly. However, from the second beat of measure 12 onwards, the tension continuously increases. It is appropriate to apply a crescendo from the second beat of measure 12, reaching its peak at the second beat of measure 15. The degree of this crescendo is left to the performer.

Then, from the second beat of measure 16, the same melodic pattern as from the second beat of measure 4 is repeated. Let's trace the eighth notes: G A♭ F G B♭ A♭ F G. This is very similar to the pattern from the second beat of measure 4 to the second beat of measure 8. However, what I want you to pay attention to are the right-hand intervals. Let's extract them: 5 6 4 5 7 6 7 8. In stark contrast to the pattern from the second beat of measure 4, the tension rapidly increases. It is appropriate to apply a crescendo as the intervals widen. After building tension with a crescendo, apply a diminuendo from the second beat of measure 20 to the second beat of measure 24, following a new melodic pattern.

Now, regarding the melodic pattern from the second beat of measure 20, this is a new pattern not seen before. Observing the flow in the left hand, it becomes clear that this is not vertically structured music but rather music that flows smoothly horizontally. This naturally makes one want to play the right-hand sixteenth notes legato. However, there is a challenge: the repeated notes in the right-hand sixteenth notes. G♭ A♭ C E♭ E♭ C A♭ F F G B♭ D♭ D♭ B♭ G E♭~ The fourth (last) note of each group of four sixteenth notes is the same as the first note of the next group of four. Similarly, the last note of the next group of four is also the same as the first note of the subsequent group of four.

This is where legato playing becomes difficult. Therefore, at the moment repeated notes like E♭ E♭ or F F occur, briefly depress the pedal. This allows the repeated notes to sound legato. Furthermore, the bass notes (C D♭ B♭ D♭~) also change at the same points as the repeated notes, allowing the bass line to proceed without interruption.

Additionally, this pattern is a descending sequence by seconds, so let's apply a diminuendo until the second beat of measure 24. From the second beat of measure 24 onwards, the melodic pattern from the second beat of measure 4 reappears. Since the hands gradually widen, apply a crescendo again towards measure 27, concluding with an abrupt diminuendo in measure 28.

Second Half Analysis (Measures 29-70)

From measure 29 onwards, the opening material is played in A♭ major, but it modulates to B♭ minor. Measures 31-32 conclude with a strong sense of compression, and the tension rapidly increases. Although it might initially feel like it ends in E♭ minor (measure 32), it is actually the subdominant of B♭ minor.

A common notation error made by learners is found in the tie in the right hand at measure 38. Since the F on the upbeat of beat 1 is tied to beat 2, learners often do not re-articulate the note on beat 2. However, the F on beat 2 has two stems, one pointing up and one pointing down. The tie should be considered to apply to the F in the upper voice, and the F in the lower voice should be considered a separate voice; therefore, this note should be played.

From measure 40, a descending sequence appears in two-measure units. From the second beat of measure 44, the tension rapidly increases. A break occurs at the first beat of measure 56. The dynamics up to this point are left to the performer. Many performers reduce the volume from the second beat of measure 52, but the author would feel strong tension there and would likely continue forte for a while; however, this is subjective and up to the performer's discretion.

From the second beat of measure 56, the opening material returns, and three different materials are compactly summarized, concluding at measure 70.