The role that the human body plays in the listening process has gained a great deal of traction over the past few decades. Cognitive linguists George Lakoff (1987) and Mark Johnson (1987) have developed a theory of embodiment that has revealed the ways in which our perception of the world is mediated through the human body. Music theorists such as Robert Hatten (2004), David Lidov (2005), and Alexandra Pierce (2007) have applied this approach to music, each contributing to a theory that views music as a corporeal experience that is heard as mimetic of physical human gestures. In this paper, I propose that musical gestures can also be mimetic of indexical somatic movements, that is, bodily movements of pointing, looking, and reaching. I expound this theory with an analysis of Chopin's Prelude in B Minor, Op. 28, no. 6. In examining this work, I place my focus primarily on the thematic arch gesture that occurs throughout the piece and explore the way in which an indexical view of this contour contributes to a richer and more articulate reading of the prelude.