Eighth-note scales, arpeggios, dotted quarter notes (a rhythmic motif appearing from the first measure), and rapid ascending scales in thirty-second and sixteenth notes serve as primary motifs. The entire work is constructed through variations and various combinations of these motifs. In the two-measure sequences from measure 26, the densest chords and most concentrated trills in the work, the longest two-octave scales in the work, and ascending bass lines elevate the music. This section is also formally unique, as phrases with a one-measure periodicity dominate most of the work.