Bars 1-14: Period I. C minor, at Bar 4 it moves by degrees away from the original key to its relative Major, E flat Major, by Bar 14. Ends in the Relative Major. Tonic Pedal at Bars 1-6.
Bars 14-28: Period II. Moving gently back to C minor, moves to Dominant Pedal, and further clenches the original key. Ends on the Dominant.
Bars 28-38: Period III. Built upon the Dominant and Tonic Pedals. Dominant Pedal from Bars 28-33, followed by Tonic Pedal at Bars 34-38.
This Prelude is constructed on chords of a simple nature, which underline the constant reiteration of the figure seen in the first two beats of Bar 1. This figure, which is persistent throughout the Prelude, till five bars from the end, takes its distinctive character from the Passing note, which almost always forms the third note in each group of four.
In Period I, there is a Sectional division at Bar 4, and in Period II at Bar 18.
In Period III, there is not division in the strict sense of the word, though there are differences of “tempo” at Bars 34 and 35.
The artistic method of the Prelude is akin to that of the first, though much more animated and energetic, owing to the use of the dissonant passing notes in each characteristic figure.
Bars 1-3: Subject in Alto [C minor].
Bars 3-5: Tonal Answer in Treble, with Couter-subject in Alto [G minor].
Bars 5-7: Codetta formed from the first limb of the Subject in the Treble, and from the first few notes of the Counter-subject in contrary motion in the Alto, both moving in an ascending sequence. It modulates from G minor to C minor.
Bars 7-9: Subject in Bass. Counter-subject in Treble [C minor].
Bars 9-11: Episode I, modulating from C minor to E flat Major.
Bars 11-13: Subject in Treble. Counter-subject in Bass [E flat Major].
Bars 13-14: Episode II, modulating from E flat Major to C minor.
Bars 15-17: Answer in Alto. Counter-subject in Treble [G minor].
Bars 17-20: Episode III, modulating fro G minor to C minor.
Bars 20-22: Subject in Treble. Counter-subject in Alto [C minor].
Bars 22-26: Episode IV, modulating from C minor to E flat Major and back to C minor.
Bars 26-28: Subject in Bass. Counter-subject divided between the Treble and Alto [C minor].
Bars 29-31: Tonic Pedal and Coda [C minor].
Bars 29-31: Subject in Treble. Couter-subject absent, the inner parts being independent. Final chord major, called Tierce de Picardie [C minor].
Exposition: Bars 1-9.
Codetta: One (Bars 5-6).
Coda, Tonic Pedal: Bars 29-31.
- This Fugue has a “tonal” Answer, and would be styled as a “tonal” Fugue. The fourth note of the Answer is altered for the sake of tonality.
- It has a Counter-subject. This is constructed according according to the rules of Double Counterpoint in the octave, so that when used above, and when used below the Subject and Answer, it may produce good harmony.
- The material upon which the four Episodes are constructed is as follows
- Episode I is constructed from the first limb of the Subject in the Treble and Alto, the latter imitating the Treble at the 5th below. The running Bass part is built upon the first limb of the Counter-subject. All three parts move in a descending sequence.
- Episode II. The Treble has a running Counterpoint formed from the first limb of the Counter-subject taken here in an ascending direction. The two underparts (formed from the quaver (eighth note) portion of the same) move in 3rds with each other.
- Episode III. The Bass is formed from the first limb of the Subject, the Alto from the first limb of the Counter-subject taken in an ascending direction, the Treble having a detached figure.
- The Treble and Alto are formed from the first limb of the Subject, the latter imitating the Treble at the 5th below, the running Bass part being taken from the first limb of the Counter-subject. All three parts move in a descending sequence.