Prelude No. 3 is in several ways a composition that is significantly distinct from the other five Preludes. It is the only Prelude in this work that is completely through composed, meaning that there are no definitive sections and each phrase is different while also exhibiting some commonalities. It also is the shortest Prelude, consisting of only 19 measures, and has the slowest tempo of the 6 Preludes, being played at a graceful and somewhat free Andante. In addition, it is in F# major, which has more sharps than any of the other keys used in this work. Unifying factors in this piece include the melody being either unaccompanied or very lightly accompanied, sometimes by a bass line and occasionally by chords, which for the most part tend to be placed at the end of phrases to give the piece a sense of momentum. Also, imitation between the melody and bass line or the bass line and melody occurs in measures 1-3, 8-9, and measure 15. Phrases 2 and 4 have a similar melodic contour, as well as phrases 3 and 5. Phrases 1, 3, and 5 are irregular, though phrases 2 and 4 are of the normal four-measure length. A brief modulation to the chromatic mediant bIII key occurs in measures 10-11, before quickly modulating back to the tonic. Measure 17 uses pantonality, which is the use of nonfunctional and chromatic harmonies, to set up an imperfect authentic cadence that ends the piece. See below for my analysis of Prelude No. 3 (as well as the first 13 measures of Prelude No. 4):


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