The work is rich in harmonic changes, and its polyphonic texture is prominent. In the latter half, even the bass, which in the first half moved almost exclusively in quarter or eighth notes, is assigned syncopations and motives of stepwise sixteenth-note motion, leading to a complex intertwining of the four voices. The technique of employing a single musical idea in a different context is also intriguing. For example, the melodic line of the first two measures of the piece is repeated from the third measure, but due to the insertion of a half-measure and harmonic changes, its correspondence with the opening is tenuous in auditory perception. Furthermore, the same progression can be observed in the uppermost voice of measures 34 and 37, but in each instance, there is no regular correspondence with the surrounding music. Overall, it is a work whose future development is difficult to predict.