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Analysis Prelude SUMMARY: Bars 1-48: Period I. Supertonic Pedal – i.e., Dominant of the Dominant of the original key (Bars 29-33), followed by a Dominant Pedal (Bars 33-37). Ending with a Perfect Cadence in the…
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Analysis Prelude SUMMARY: This Prelude is built on the characteristic figure as seen in the first three bars above. Bars 1-16: Period I. Starting in the Tonic, F major, it touches the…
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Analysis Prelude SUMMARY: Bars 1-28: Period I. Dominant Pedal (Bars 4-8). Dominant Pedal of Relative major (Bars 16-20). Ending with a Perfect Cadence in the key of the Relative Major, A flat,…
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Analysis Prelude SUMMARY: Two Themes are employed for the most important work in this Prelude: Theme 1 (Bars 1-4). Theme 2 (Bars 29-31). Bars 1-17: Period I. Ending with a Perfect Cadence…
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Analysis Prelude Bars 1-12: Period I. Starting in F sharp minor, it briefly touches the Dominant before ending in the Tonic. Ends with a Perfect Cadence in the key of the Dominant Minor,…
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Analysis Prelude SUMMARY: This Prelude is constructed upon the following figure seen above. Bars 1-16: Period I. Tonic Pedal in the Bass part, with the Dominant Pedal reiterated in semiquavers (sixteenth notes)…
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Analysis Prelude SUMMARY: This Prelude is built upon the figure seen in the first couple of bars above. Bars 1-9: Period I. Tonic Pedal, at once establishing the key (Bars 1-2). Touches…
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Analysis Prelude SUMMARY The employment of the four themes is notable throughout this Prelude, which is of unusual length and pretension. Theme I: Bars 1-4. Theme II: Bars 5-6: Theme…
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Analysis Prelude SUMMARY: This Period is constructed upon the figures seen in the above bars. Bars 1-24: Period I. Ending with a Perfect Cadence in Dominant Major, D sharp; double bar. Bars…
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Analysis Prelude SUMMARY: Bars 1-9: Period I. Starting in A major, it begins to work towards the Dominant at Bar 6. Ending with a Cadence in the key of the Dominant, E….
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