What is observed in this etude is a consistent accompanying figuration throughout, coupled with the persistent repetition of the opening motif. Amidst such incessant repetition, the compositional technique of generating a rich palette of colors through dynamics, subtle harmonic shifts, and timbral variations achieved by octave changes is brilliant, while simultaneously requiring the performer to express it with ample variation. Although the piece is in C major, the tonic chord appears only at the very end, and the opening bare fifth leads to a modal descending melody of "C-B♭-A♭-G-C". The aforementioned Keerdoosi notes a similarity between the accompanying figuration and the character of the theme in this piece and thePrelude in G-sharp minor, Op. 32, No. 12; however, while the Prelude features a middle section with a contrasting mood, this etude, in contrast, endlessly repeats a perpetuum mobile-like motif, thus demanding a distinct interpretative approach.