The Analysis:

In a series of broken chords through 22 measures, the composer artfully departs from the home key of E minor to C Major, G Major, D Major, and A minor, before settling back to E minor, while enlisting the Picardy Third in the final measure. (E minor transforms at cadence to E Major)

In this short musical journey, J.S. Bach uses Secondary Dominants of each new Key with natural resolutions to tonics. (Organically, the player “feels” a relaxed resolution from these Dominants to tonics) In this cosmos of harmonic analysis the player devises ways of altering arm weight delivery of energy to the hand/fingers in order to acquire a smooth, tapered resolution with an infused singing tone. (A pliant wrist helps avoid percussive landings)

Naturally, there are many more analytical ingredients that contribute to phrasing decisions. These include understanding the basic broken chord Subject and how it meanders from Treble to Bass with a consideration of Alto voicing as well. (In addition, Choreographies become embedded into the woven shapes of spun out broken chords throughout this Little Prelude)

To this end, a flat, finger punching approach with one dynamic will not provide a satisfying tapestry.

Lately I’ve been revisiting the J.S. Bach Little Preludes and some of the Two Part Inventions as this video demonstrates.