Structure

The Prelude has the following structure:

Exposition

The piece opens with a tonic pedal and makes use of the tonic chord exclusively for the first 17 bars.

• Measures 1 and 2: the first motive (red) is made using a neighbour note on the tonic, followed by a tonic arpeggio. This is then repeated in the second bar, one octave lower and connected by an F#.
• Measure 3: a second motive (blue), moves by ascending steps (from E to A), alternating with a B pedal tone.
• Measure 4: the movement is now descending (E–D–C–B). The green motive is repeated several times.
• Measures 5 to 6: repetition of measures 3 and 4.
• Measures 7 to 8: an ascending variation of the blue motive is repeated in bar 8. This introduces two new variations of the motive..
• Measures 9 to 12: a varied blue motive alternates with a variation of the green motive. Bars 11 and 12 are a repetition of bars 9 and 10.

Conclusion of the exposition and beginning of the arpeggios: measures 13–20

• Measures 13 to 16: we remain in the tonic key. In measures 13 and 14, the upper voice repeats the blue motive in inverted form over a double tonic pedal. Bars 15 and 16 are a repeat.
• Measures 17 to 20: the arpeggio section begins. Starting in measure 18, the arpeggios, played on several strings of the lute, create a harmony that changes note by note.

Motifs in the opening bars

Before we continue, let's take a look at the different motives and how they vary.

• The blue and green motives in measures 3 and 4 have received the most attention so far.
• The green motive in measure 4 is the transformed, diminished version of the blue motive's final notes.
• Measure 7: two variations on the blue motive. The opening notes are transformed by diminution.
• Measure 9: it uses the last four notes of the blue motive.
• Measure 10: the green motive reappears before returning to the blue motive.
• Measure 13: the second variation of measure 7, transformed by augmentation and inversion.
• The other variants will appear in the development sections.

Arpeggios: measures 21 to 28

The harmony develops over an internal tonic pedal, resolving to a seventh degree in measure 28:

First development: measures 29 to 40

• Measures 29 to 32: variation of the blue motive. Its notes 3 through 6, transformed by diminution and inversion.
• Measures 33 to 36: we modulate to F-sharp minor, and the thematic material from the previous measures is repeated.
• Measures 37 to 40: we modulate to C-sharp minor. A variation of the red motive from measures 1 and 2 is used.

First development: measures 41 to 52

• Measure 41: we continue with the red motive.
• Measure 42: a new variation on the blue motive from measure 3.
• Measures 43 to 50: a variation on the red motive. The key of C-sharp minor is established.
• Measures 51 to 52: repeat of the green pattern.

First development: measures 53 to 63.

• Measures 53 to 54: the red motive continues over the dominant chord of B major.
• Measures 55 to 56: the green motive reappears in B major.
• Measures 57 to 63: variations of the red, blue, and green motives in A major.

First development and arpeggio section: measures 64 to 71.

• Measures 64 to 66: blue motive (variation of measure 13).
• Measures 67 to 71: an arpeggio section similar to measures 17 through 29, but in A major.

Arpeggio section and second development: measures 72–79.

The A major arpeggio section ends in measure 78. The second development begins with the blue motive (measure 29 variation).

Second development: measures 80 to 91.

The blue motive is developed in the keys of A major, B minor, and F-sharp minor.

Second development: measures 92 to 103.

The key of F-sharp minor is established. We find the blue, green, and red motives.

Second development: measures 104 to 115.

We remain in F-sharp minor. In measure 110, we return to E major.

Second development: measures 116 to 127.

The key of E major is established in preparation for the final coda.

Final of the second exposition and final coda (measure 130).

Complete Prelude