C major, 3/8 time. It is in binary form.

• A [a (measures 1-8) + a (measures 9-16)]
• B [b (measures 17-24) + a (measures 25-32)]

The harmonic rhythm (chord interval) is one chord per measure. In section a, the slurs precisely delineate the harmonic cadences. It is often the case that the movement of harmonic cadences and the movement of phrases coincide in this manner.

In section a, the tonic note is sustained in the bass as a pedal point, and the left hand has no accompanying movement, consisting only of chord tones. This remains largely unchanged in the middle section, where chord tones are placed as dotted quarter notes. Such characteristics impart a gentle impression to the entire piece, which evokes the work's title.

The first four measures of section b, from measure 17, partially modulate to G major, returning to the tonic key from measure 21. On the other hand, observing the movement of the left-hand bass, it progresses stepwise downwards for eight measures from measure 17 to 24, so one should perform with an awareness of this horizontal flow.