G major, 4/4 time, Allegretto scherzando. The overall form can be understood as a three-part form as shown in the figure [Figure 1].

In the first part (mm. 1-37), following a quiet and light four-measure introduction, three types of sections appear. In sections A and A' (mm. 1-14), the right-hand passage derived from the introduction expresses a sense of humor, while in section B (mm. 15-27), longer phrasing is required while maintaining lightness. Then, section C (mm. 28-37), characterized by strong accents at the beginning of phrases, builds up to the end of the first part.

In the second part, the alternation of two types of sections, Na and Nb, characterized by staccato and ascending figures, increases the piece's sense of momentum (mm. 38-57). However, at the end, the introductory motif reappears, preparing for the next section (mm. 58-61).

The third part (mm. 62-end) begins with the recapitulation of sections A and A' (mm. 62-71). After section B appears with a modulation to C major (mm. 72-81), the music transforms into a gentle, calm, and fantastical atmosphere, which can be interpreted as a development of either section A or section B, creating a new development in the piece (mm. 82-89). From measure 90, the original tempo returns, and section Nb from the second part is inserted. This section naturally builds tension and seamlessly connects to the lively C section, bringing the piece to a close.

[Figure 1]