Melody. The piece consists of sections A and B. The melody in section A is cantabile. In this section the right hand plays the melody and the left hand plays an accompaniment using the dominant pedal (Ab). The melody lines in section A are long with ornamentation such as turns. It is sometimes chromatic. The melody in section B begins in the base. The and is narrower in range. It opens with a rising sequence. It is based on four or eight bar phrases.
Harmony and tonality. The piece is in Db major however through an enharmonic modulation it changes to C# minor in part B. The harmony is diatonic with occasional chromatism. Sections A and B both finnish with imperfect cadences however the piece ends on a perfect cadence. A dominant pedal is played through out the piece to emphasise the key.
Tempo and metre. The time signature of the piece is 4/4. The recording is rubato. Septuplets are played (b. 4 and 32) and a decuplet is also played (b. 79). In section A regular quavers are played in the left hand and the right hand melody includes dotted rhythms and syncopation. In section B the melody consists of mostly crotchets and longer bite values in the bass meaning it feels slower, while the quaver pedal is transferred to the right hand.
Instrumentation. The piece is written for the piano. It uses the middle and lower ranges of the piano. The sustain pedal is used to give the piece a legato tone.
Texture. The texture is mostly melody dominated homophony apart from to monophonic bars in the coda. Section A has a lighter texture and section B has a thicker chordal texture.
Structure. The structure of this piece is ternary. It begins with section A then goes into section B before returning to section A and finishing with a short coda. The middle section is longer than it is normally in preludes.
Dynamics. A lot of crescendos and diminuendos are used. A wide range of dynamics are used however there are no sudden dynamic changes. Section A is quieter...