It is in three-part form.

• Exposition [a (measures 1-4) + a1 (measures 5-8)]
• Development [b (measures 9-12) + b1 (measures 13-16) + Transition (measures 17-20)]
• Conclusion [c (measures 21-24) + c1 (measures 25-28)]

The tonic key is F major. The theme is primarily constructed in unison, with few non-harmonic tones, and features a melody rich in disjunct motion centered on harmonic tones. Beginning forte, it evokes a rhythmic and valiant atmosphere through perfect octaves in unison, the opening perfect fourth progression from C to F, and disjunct motion via arpeggiated lines. The scene it evokes is perhaps like a fanfare sounded when setting off for a hunt. A partial modulation to the dominant key, C major, occurs in measures 7-8.

The development section begins at measure 9, returning to the tonic key. The opening motif at measure 9 is a transformation of the perfect fourth progression motif seen in measure 1 of the theme, altered to a perfect fifth progression. This motif is further developed in a triplet eighth-note rhythm across measures 11-12.

This phrase from measures 9-12 is then transposed and repeated in D minor in measures 13-16. Subsequently, from measure 17, the two-measure thematic motif is repeated twice in the tonic key, leading to the conclusion.

The conclusion begins with a descending sequence characteristic of Schumann, which, after being repeated twice, concludes with a strong perfect authentic cadence. The accent on the inner voice G in the right hand at measure 25 is likely intended to create a multi-layered (polyphonic) effect by emphasizing the inner voice F-G motion when expressed polyphonically. Therefore, making the accent too heavy would sound unnatural; one should consider the nuance while keeping the overall harmony of the phrase in mind.

We must not take the dynamic markings in this piece at face value, but rather consider them deeply. For example, bar 9 is marked fortissimo, and bar 13 is also marked fortissimo. Which fortissimo, then, should be louder? Let's differentiate between the same dynamic markings based on the number of notes in the theme and harmonic reasons.

Bar 1 is marked forte, and bar 5 is also forte. Bars 1-2 and bars 5-6 have identical notes and rhythms. Why, then, was the forte marking specifically re-applied at bar 5?

Bars 1-2 depict a hunter's horn, and can be played strongly. However, bars 3-4 are different material, so change the tone quality, play lightly, and with reduced volume. Consider the forte at bar 5 in light of this.

Overall, vary the volume and tone quality according to the written material.

For some reason, Schumann indicates varying dynamics according to the material from bar 9 onwards. Please apply this practice to the first 8 bars as well.

In the latter half, even with the same fortissimo, bar 13 features a shocking chord and a greater number of notes, so play this section more strongly than bar 9.

Here's a tip for octave playing: even when playing octaves, slightly reduce the volume of the lower voice (in this case, the left hand) to an imperceptible degree. Doing so will enable you to play beautiful octaves.