Major characteristics of this work include the incorporation of church modes from medieval Europe, the superimposition of three- or four-voice melodies, and the presence of contrapuntal writing.

It is structured in A-B-A' three-part form. At the beginning of the A section (measures 1-9), the Dorian mode with E as the tonic is used, clearly indicated by its sixth degree, C-sharp. Although it modulates to B minor in measures 8-9, the Dorian mode's sixth degree, G-sharp, also appears here. The opening motive ascending by a fifth appears in measures 1, 3, 7, 10, 12, 26, 29 (in inversion), and 32, providing unity throughout the piece while each instance is developed. The beginning of the B section (measures 10-23) starts with a development of the A section's theme, and a "subtle climax" is created by the appearance of three sequences in two-measure units (measures 14-15, 16-17, 18-19). In A', the opening theme is recapitulated but is developed from measure 27 onwards, and finally concludes in the parallel major, E major.