While other movements conclude with a chord that functions as a dominant, this movement begins and ends in E minor. It can be regarded as a self-contained movement. From the beginning to the end of measure 6, there are three two-measure descending sequences. These three descending sequences lead to a dominant in measure 7, indicating a high level of tension, and it is suggested to build a crescendo towards this point (measure 7).

Chord Analysis of the Three Sequences

Considering only the chords of the three sequences:

• 1st: E-G-B, A-C-E
• 2nd: D-F#-A, G-B-D
• 3rd: C-E-G, F#-A-C

The second sequence consists of relatively calmer chords, so when comparing the first and second, it is permissible to reduce the volume for the second compared to the first. The third sequence clearly contains dramatic elements, so in any case, play the third sequence with the greatest volume when entering measure 7.

In measure 8, beat 1, there is a suspension in the soprano; emphasize this, and it resolves on D# in beat 2. Measures 7, beat 3, to measure 9, beat 1, form a phrase, after which the current series of chords appears an octave lower (the dominant 7th is omitted in the second instance). The soprano line of the first instance is replaced by the alto in the second. Dynamics are free.