Rachmaninoff stated that this piece is a "fair scene" similar to Op. 33-7, and at the same time, "recalls an Oriental march." Indeed, its lively and brilliant atmosphere is close to the preceding work, and the rhythm of the main section is march-like. However, it is difficult to determine what constitutes an Oriental element. Perhaps it is the use of scales containing augmented seconds? In the same year as this piece, 1917, the Oriental Sketch in B-flat major was also composed. Comparing that work to interpret the Orientalism expressed in Rachmaninoff's compositions would also be an interesting endeavor in terms of performance interpretation. Rachmaninoff's "Oriental elements" seem to be somewhat distinct from the Orientalist elements found in the works of 19th-century Russian composers.

This piece is the only one in a major key among the Études-Tableaux, Op. 39. After a march-like main section, it proceeds through a relatively calm middle section where the meter freely expands and contracts, leading to a magnificent climax, and serving as a grand finale for the cycle as a whole.