In G major, it is a one-part form.

A [a (measures 1-4) + b (measures 5-8)]

The first half, measures 1-4, develops a two-measure motif, forming an overall harmonic cadence of tonic → subdominant → dominant → tonic. Therefore, although the motif consists of two two-measure movements, it should be expressed as a single four-measure unit, with a sense of the underlying harmony.

From measure 5, the melody leaps significantly up an octave, generally descending over three measures to reach its conclusion. Unlike the first four measures, it features a larger phrasing.