First Movement (Allegretto): G major, 6/8 time.

Throughout the movement, the piano's sound is notably thin, instead emphasizing the melodic lines and intervals that form the musical material. The theme, appearing as a monophony at the beginning, is written in the Lydian mode starting on D, giving an archaic impression. When subsequently taken over by the violin, it is written in the Phrygian mode starting on A. A characteristic of the Phrygian mode is that its second degree is a semitone lower than in the minor scale, which here refers to B♭. Meanwhile, the piano part begins to accompany with a tremolo in B-flat minor, with B♭ as its tonic. Furthermore, a sharp motif, reinterpreting D♭ (the third degree of B-flat minor) as C♯, emerges in measure 10. This becomes the second musical material appearing throughout the movement.

From rehearsal mark 2, a new melody appears, seemingly deliberately avoiding consonant intervals. Derived from this melody, a motif featuring stacked major sevenths emerges in the piano part, thus largely completing the characteristic materials of this movement. Subsequently, the music shifts, with the piano part using almost exclusively open fifths (perfect fifths) in double stops, and a simple violin melody entering, awaiting the reappearance of the theme. If the progression up to rehearsal mark 4, measure 12, is considered the exposition, then the section from rehearsal mark 4, measure 13, to one measure before rehearsal mark 11, can be seen as the development, and from rehearsal mark 11 to the end of the movement as the recapitulation, thus allowing the movement to be interpreted as a sonata form.

Second Movement (Blues): 4/4 time.

While the piano part begins primarily in A-flat major, the violin starts in G major, a semitone lower. This, along with either the piano or violin taking on the role of marking the beat, emphasizes the dragging rhythmic feel characteristic of the blues. While the violin presents the main blues-style melody using blue notes, the piano responds with a melody featuring syncopated rhythms. From rehearsal mark 6, a new dotted motif appears in the piano, and the violin's pizzicato, reminiscent of a banjo, adds to the sonic thickness. At rehearsal mark 9, the main melody is played ff, bringing the movement to its climax, eventually converging while leaving fragments of the main melody.

Third Movement (Perpetuum Mobile): G major, 3/4 time.

Although significantly shorter than the first and second movements, its opening, which begins with a transformed version of the sharp motif effectively used in the first movement, can be interpreted as serving to summarize the preceding two movements. Indeed, at rehearsal number 16, where the piece reaches its climax, a melody seemingly beginning with G, reminiscent of the first movement's theme, appears at f. Furthermore, the melody with an accent on the third beat, which takes prominence from rehearsal number 6, and the frequent lowering of F♯ (the seventh degree of the G major scale) to F♮, are thought to originate from the second movement. The violin part, which moves ceaselessly throughout, eventually develops into octave leaps, and further into large leaps of perfect fifths and octaves, leading to a brilliant conclusion.