The theme (subject) is defined as measures 1-4. In measures 5-8, the rhythm in the right hand (triplet + six eighth notes) and the rhythm in the left hand (four quarter notes) are the same, thus considered a sequence. When comparing measures 6 and 7, the volume in measure 7 might be softer, but ascend through measures 8 and 9, applying a crescendo to reach a peak at measure 10.

The latter half, beginning in B-flat major (B-dur), modulates to C minor (c-moll) around measure 15, so change the atmosphere. Measures 15-20 are in C minor, with measures 19-20 forming the cadence.

Measures 21-24 are considered to be the same material as measures 13-16.

Then again, from measures 25-28, a sequence begins, and the tension should be increased towards measure 29. The piece concludes in the tonic key of E-flat major (Es-dur).

This piece tends to have very flat dynamics. When sequences or modulations occur, vary the volume, tone quality, and atmosphere to avoid flatness.