The sixteenth-note rhythm dominates almost the entire piece, contributing to the music's propulsion. In the latter half, the use of a newly introduced motif, consisting of bass syncopation and chromaticism, is interesting. Initially, this is integrated into a regular formal structure, divided into two-measure units up to measure 32. However, when it reappears subsequently in measures 33 and 36, it does not develop into the sequence implied by its initial appearance, but rather functions as a transition, leading to musically new sections.