A major, 4/4 time.

It has a bright and charming character and is written in a fugal style. At the beginning, the middle voice rests, while the upper voice plays the subject and the lower voice plays the countersubject. This countersubject is varied in various ways and combined with the subject. The subject includes a pedal point on the dominant at the beginning of measure 2. Through the repeated use of this motive in isolation, the bass voice functions as a relatively long pedal point (e.g., from measure 9).

The entire piece is divided into two sections; however, in the latter half (from measure 15), the complete subject appears only three times, and the section is primarily dedicated to the development of material contained within the subject.