It is evident from numerous compositional techniques that this prelude, without modulating from beginning to end, expresses the unique sorrow characteristic of F minor.

1. First, the prevalence of chromatic progressions. This was a somewhat circuitous expression, not commonly employed in this era.

2. The sudden transition to a shocking augmented triad from measure 9 to measure 10.

3. The appearance of a Neapolitan sixth in measure 22.

4. The ending with a half cadence.

Considering these points, realizing that the psychological state is not ordinary and expressing it dramatically provides a hint for performing this prelude.

Midway through the piece, there are passages where two half notes appear, specifically in measure 6 and between measures 19 and 21. In these sections, somehow make the listener aware that two half notes are written.

At the beginning, "arpeggio" is written, and while it is free to use any type of arpeggio, the author personally believes that it is acceptable to include sections played as ordinary chords without arpeggiation.