Bach’s Prelude No. 11, BWV 935 is a short Baroque keyboard prelude in D minor, marked Allegro and written in 3/8 time. The music has a quick, flowing character, with steady sixteenth-note patterns, short imitative entries between the hands, repeated sections, and a clear two-part structure. Instead of a simple melody with accompaniment, the piece often passes small figures from one hand to the other, giving students practice with evenness, hand coordination, and Baroque-style phrase direction.

Measures 1–4 introduce the main musical idea. The right hand begins with a rising sixteenth-note figure, and the left hand answers with a similar moving pattern a few measures later. The hands alternate between quick motion and longer held tones, creating a clean two-voice texture.

Measures 5–12 continue the same active style. The right hand uses broken patterns and short scale-like figures, while the left hand supports with bass notes and moving sixteenth-note lines. The music grows slightly in energy and moves through changing harmonies while keeping the same steady 3/8 pulse.

Measures 13–24 complete the first repeated section. The left hand becomes more active in places, while the right hand continues with small melodic shapes and repeated sixteenth-note motion. A crescendo leads into a stronger passage, and the section ends with a clear cadence and repeat sign.

Measures 25–32 begin the second repeated section. The texture remains light and quick, but the harmony moves farther away from the opening key area. The hands continue to share the running motion, with one hand often carrying the sixteenth notes while the other supports with longer notes or simple bass tones.

Measures 33–40 build toward the strongest part of the piece. The music becomes more directed, with repeated patterns, accidentals, a crescendo, and a return to a louder f dynamic. This gives the second half more drive than the opening.

Measures 41–48 form the closing passage. The upper voice holds longer tones while the lower voice continues moving underneath, then both hands work toward the final cadence. The piece ends with a strong final chord and a short closing figure in the left hand.

Interesting fact: BWV 935 is part of Bach’s group of Six Little Preludes, BWV 933–938. These short preludes are often used for teaching because they combine clear musical character with practical Baroque keyboard skills such as imitation, even fingerwork, and two-voice independence.