Twenty Four Preludes for Piano

The Twenty Four Preludes for Piano were written over the course of six years. The compositions generally alternate between major and minor, and they have been arranged so that they contrast with each other in terms of speed, style, length, and complexity.

Although each piece has its key signature as a title, the music frequently changes away from the stated key. In some pieces, the initial key is only treated as a starting point for an exploration of modal and chromatic material.


No. 1 is a fast and excitable prelude, which has a lightness of articulation throughout. The composition has a short main theme that is harmonically altered each time it is heard. At times, both hands play in the upper registers of the instrument, giving the music a bright and sparkling quality.

No. 2 consists of a lyrical main theme with intricate sequences of broken chords and arpeggios beneath it. As well as the sonority throughout, there are also jazz influences, which can be heard in the introduction and in the slightly more fragmented central section of the piece.

No. 3 is a flowing waltz. It consists of a simple melody, with broken chords split between the hands. By contrast, the middle section has more static rhythms. The chords here cover wide intervals, but they are played quietly.

No. 4 contains two opposing styles; the first is decisive, loud, and rhythmically complex, while the second is slower and four-square. The music has many chromatic patterns, and a number of virtuosic passages.

No. 5 is a short and pleasant piece. It is driven by it’s basic, yet catchy melody. The middle section introduces a more advanced harmonisation, which compensates for the simplicity of the theme.

No. 6 has a left hand ostinato that provides the basis of the piece, with a melody that revolves around a two note phrase. The music is minimalist, and it uses repetition to create a monotonously laid back atmosphere.

No. 7 uses swung, bouncy rhythms, and the 5/4 time signature gives the music an extra lilt. Parts of the piece only have two part harmony. This shifts the emphasis to the melody, and the bass line.

No. 8 is in the style of a sea song. The music switches between various compound time signatures, and the broken chords create wave-like movements. Although the piece is in a minor key, it creates a lively, and often merry spirit.

No. 9 is the simplest prelude, yet it creates a sweet and delicate mood. It was inspired by watching snowflakes falling slowly to the ground, and then melting. The composition starts with an eight bar accompaniment pattern that underpins the whole piece. There are moments when the music comes to a complete halt, as if to digest the beauty of the snowfall, and like the snow, the final notes fade away slowly.

No. 10 is the second waltz, again with a flowing melody and broken chord accompaniment pattern. The accent usually falls on the second beat, and in the middle section, an extra swing is obtained by using quaver upbeats in the bass.

No. 11 is the longest prelude, and it has the most complex structure. At it’s heart are two themes; a dark, minor key theme, and another more emotional theme in a major key. Between these opposites are rapid moments of virtuosity, including an expressive cadenza.

No. 12 is minimalist in style. The piece begins in the higher registers of the piano, and it has a mysterious quality. Subsequent repeats hear the theme played by both hands in a lower register, followed finally by hands split across wider intervals.

No. 13 was inspired by a painting of a forest. The painting has a golden river, and the sky is purple. This unusual colouring is reflected in the music by a mix of beautifully florid piano writing, along with agitated and disturbing textures.

No. 14 is the shortest prelude. It is majestic in style, and is sustained and expressive throughout. The melody is tied in with the busy accompaniment pattern, and the left hand often crosses the right, as it plays both the bass and the upper melody parts.

No. 15 is a ballad with a moderate tempo, and jazz inspired harmony. The central theme uses a triplet motif, largely played in sixths. A short version of this theme is echoed at the end of the piece, this time in octaves.

No. 16 has a minimalist introduction, followed by a whimsical theme in 6/8 time. The music alternates between these two styles throughout it’s duration. Much like the previous prelude, this piece has jazz influences.

No. 17 is a boisterous composition, with lots of fast passages and wide jumps. A galloping rhythmic pattern forms the basis of the music. The melody is complex and fragmented, and in places it is played in the left hand, with the right hand providing the accompaniment.

No. 18 is calm, sustained, and lyrical. The rhythm of the melody creates a quick-slow, quick-slow effect. The music has a simple ABA structure, finishing with a faded repeat of a two bar loop.

No. 19 is a slow, sustained, and lyrical piece. It is firmly rooted in the key of B minor, and has a sombre yet reflective mood. The melody is largely unaltered throughout the piece, and this familiarity enhances the reflective nature. The accompaniment style, on the other hand, alters significantly; from subtle arpeggios, to thunderous chords.

No. 20 is one of the more difficult preludes to play. It is lively, and often uses rapidly repeated notes. The piece has an advanced harmonic style that includes many modulations away from the home key of F minor. However, the music always manages to wind it’s way back to the original key.

No. 21 sets the scene of a tranquil ocean. The melody is very simple, and is initially characterised by a ‘cuckoo’ effect at the end of each phrase. There is a prominent semiquaver accompaniment, with the exception of the middle section, which triumphant quavers and crotchets instead.

No. 22 is a minimalist composition, with a focus on rhythm. The piece begins without any chords, and the melodic line is developed with alterations to the articulation and dynamics. By contrast, the second theme is harmonically and melodically richer. Frequent changes of key signature are found in both themes.

No. 23 could be described as happy and lighthearted. Like many of the previous preludes, there are two main themes. The first is a march in strict time, and the second is more broad and expressive. Near the end of the piece, vamping is used, adding a comical edge to the music.

No. 24 is the fastest and most ferocious of the all the preludes. It is heavily chromatic, and has many extended passages of semiquavers over the top of shifting harmonies below. Despite this, the composition repeatedly returns to the syncopated main phrase, which is first heard after the opening arpeggios. Over its duration, the music expands outwards in range and dynamic level, leading to a finale of great energy.

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