It is characterized by a rich variety of musical ideas. Formal divisions are relatively clear, marked by harmonic progressions and shifts in register between preceding and succeeding phrases. The two general pauses differ in their placement between the first and second halves, but they share the characteristic that both hands begin on an unaccented beat, followed by a phrase with syncopation in the upper voice. Considering also the prolongation of rests by fermatas, it is possible that the general pauses were also intended to temporarily weaken the sense of meter. Concerning the form, a rejection of symmetrical phrase structures can also be observed in this work (e.g., measures 100-108, where the left hand in the preceding and succeeding four-measure sections is identical, with a one-measure insertion only in the right hand). Furthermore, the appearance of crossed hands alongside continuous sixteenth-note arpeggios, in addition to increasing the driving force, suggests the possibility of aiming for a visual effect during performance.