The piece is in 3/4 time, except for measure 16, which is in 2/4 time. It consists of a total of 24 measures. Composed in 1904, it was published posthumously.

The main melody is primarily played in the soprano, with inner voices providing harmony supported by the bass. However, in the final measures (22-24), the inner voices carry the main melody. Not only the soprano melody but also the inner voice harmonies are written with melodic considerations. Chords in the inner voices frequently progress by step, with few significant leaps. Furthermore, a note a semitone higher invariably follows a double sharp whenever it appears.

The key is C-sharp minor, but glimpses of different keys are occasionally heard. For instance, measures 10-13 exhibit a G-sharp minor sonority. Additionally, measures 18-19 suggest an F-sharp minor sonority. In the latter half, both hands feature arpeggiated chords, creating a rich harmonic density.