This prelude is built on broken chords played as eighth notes. Both hands share these figurations, and the left hand frequently crosses over the right hand. The overall character is soothing and the dynamics are generally subdued. Like the third prelude in this collection, there is one climactic moment that is reached by a crescendo. Students may want to sometimes practice this piece without using pedal to make sure that they are achieving a true legato touch and not simply relying on pedal. A few ritardandos further increase the gentleness of the mood.
Caroline Krause, Iowa Center for Research by Undergraduates Fellow