D-flat major, 2/2 time, Vivace.

This piece possesses a brilliant character, contrasting with the melancholic nature of the preceding No. 7.

The challenge lies in the double sixths played by both hands. Generally, for double sixths, in the right hand, fingers 1 and 2 play the inner voice, while fingers 3, 4, and 5 play the outer voice; and in the left hand, fingers 3, 4, and 5 play the outer voice, while fingers 1 and 2 play the inner voice. Therefore, it requires the ability to switch between adjacent fingers and to strike both voices simultaneously. Since the left hand involves a leap from the bass note on the beat to the subsequent double sixth, rapid position shifts and precise striking are necessary. On the other hand, for the right hand, it is essential to ensure that the main melody in the uppermost voice sounds legato and to pay attention to the balance with the inner voices.

The piece is in A-B-A ternary form. A coda begins from measure 28, and from measure 33, it ascends rapidly to the highest note with a chromatic scale of double sixths.