The main motives, including the three-note rhythmic motive in m. 1, the syncopation in m. 2, the motive in m. 3 consisting of an ascending leap, a step-wise ascent (2nd degree), and a descending leap in the bass, and the eighth-note figuration in the upper voice, are concentrated in the opening eight measures. The music initially has clear breaks due to the descending eighth-note arpeggios, but when these cease from m. 33 until the codetta, the musical fluidity increases. In m. 54, the basic note value shortens from quarter notes to eighth notes, and aided by the wide leaps in the bass, the music gains further momentum and rushes into the cadenza. Notably, in m. 68, the leading tone A#1 does not resolve but leaps downwards; such a disruptive breaking of voice-leading rules is a technique occasionally employed by the composer. In the latter half, the repeated octaves in both hands from mm. 112-114 and the unstable harmony create a climax in a manner not present in the first half.