This sonata contains numerous sequences. Whether these sequences are considered harmonic sequences or actual modulations, as the piece itself progresses quite slowly, changes in timbre and dynamics are essential at each instance.

For example, the melancholic G minor theme begins in measure 1, but in measure 3 (which can also be interpreted as a sequence of measure 2), it can be considered to have temporarily modulated to B-flat major. In any case, measure 3 should be given a completely different sound quality and volume from measure 1.

The C-sharp in the right hand appearing on the third beat of measure 6 is also a shocking note, and requires a commensurate expression. This then fully resolves to D minor in measure 8. Measure 8 serves as a turning point; from here, a sequence begins, and the piece ascends, building tension, then directly modulates to B-flat major, culminating in a B-flat major cadence in measure 13. This marks the next turning point.

From this point, an ascending sequence further commences, with keys changing rapidly, leading to a G minor cadence in measure 18. The piece concludes with a deceptive cadence, making it a truly intriguing sonata.

Conceptually, the writing leans towards homophony, with the melody placed above the accompaniment. Whether the melodic part is interpreted as vocal or instrumental is at the performer's discretion. A certain degree of improvisation is required; progressing too rigidly, like a metronome, might diminish its character. It would be beneficial to understand the note values and then slightly deviate from strict timing.