Bach’s Prelude No. 14, BWV 938 is a short Baroque keyboard prelude in E minor, marked Allegro and written in 3/8 time. The music has a quick, lively character, with broken sixteenth-note figures, short rests, ornaments, repeated sections, and clear two-hand imitation. Instead of a simple melody with accompaniment, the hands often answer each other with small patterns, giving the piece a bright, active texture that requires steady rhythm and careful coordination.

Measures 1–6 introduce the main idea. The right hand begins with quick broken figures and short separated gestures, while the left hand answers below with small moving patterns and ornaments. The rests help make the entries clear, so the opening sounds light and conversational rather than continuous.

Measures 7–12 continue the same Allegro character. The right hand uses more running sixteenth notes and small melodic shapes, while the left hand keeps the motion active underneath. The music moves through short sequences and begins to grow toward the next section.

Measures 13–20 build the first half of the prelude. The left hand becomes more steady with repeated moving figures, while the right hand adds ornaments, slurred notes, and quick scale-like patterns. A crescendo leads to a stronger ending, and the first section closes with first and second endings.

Measures 21–29 begin the second large section. The music starts again with similar short gestures and imitation between the hands, but the harmony moves into new areas. The right hand often carries the upper moving line while the left hand answers with bass figures and broken motion.

Measures 30–35 bring a more chordal and dramatic texture. The right hand uses thicker note groupings and repeated patterns, while the left hand briefly rests or supports with lower motion. This creates a stronger contrast before the music returns to lighter running figures.

Measures 36–45 continue with steady sixteenth-note movement in both hands. The left hand provides a moving foundation while the right hand shapes the upper line with short sequences, ornaments, and small dynamic changes. The music gradually works its way back toward a final cadence.

Measures 46–50 form the closing passage. The hands continue the active Baroque texture, then the music builds through a final crescendo into a strong cadence. The first and second endings give the repeated section a clear finish, ending the prelude firmly in E minor.

Interesting fact: BWV 938 is the final piece in Bach’s group of Six Little Preludes, BWV 933–938. These short preludes are often used in piano study because they teach important Baroque skills, including imitation, ornaments, hand independence, and even sixteenth-note playing.