Overall, the left hand frequently occupies the upper-middle register, which relatively emphasizes the sonority of the lower register. This vertical movement of the left hand's register is not merely for creating sonic contrasts. For instance, in measures 16 and 20, the left hand descends to the low register, leading to a conclusive cadential progression; the limited prior use of the low register further accentuates the impact of this cadence. From measure 45, the left hand, leaping over the right hand, forms a descending scale in two voices: the uppermost and the lowest. It can be asserted that the registral disposition is intimately linked to the harmonic and formal structure of the composition.