The piece is in C major and is structured in ternary form.

Section A [a (measures 1-8) + a1 (measures 9-16)]

Section B [b (measures 17-20) + b1 (measures 21-28)]

At measure 28, a Da Capo al Fine instruction leads back to Section A. The piece then concludes at measure 16, confirming its ternary form.

The theme is predominantly diatonic; within its eight measures, non-harmonic tones appear only in measures 6-7 (specifically, E as an auxiliary tone in measure 6, and D as a passing tone in measure 7). As passing tones and auxiliary tones are non-harmonic tones adjacent to and leading towards harmonic tones, they function as transitional points. Therefore, such non-harmonic tones are not to be expressed individually but rather as a unified entity encompassed by harmonic tones. This characteristic allows melodies featuring non-harmonic tones like passing tones and auxiliary tones to possess a smooth melodic contour. In this work, compared to Section A, which contains fewer non-harmonic tones, Section B features the repetitive development of figures incorporating auxiliary tones. This suggests that Section B possesses a smoother character than Section A.

The left hand is entirely composed of harmonic tones, representing the harmonic function and sonority. In Section A, the tonic functions as a pedal point, and a dominant seventh chord on the tonic can be observed in measures 5-6 of the theme. Thus, harmonic variation is limited in Section A. Conversely, in Section B, measures 17-24 feature a two-measure sequence, allowing for a greater sense of harmonic progression.

Given these distinct characteristics between Sections A and B, the piece should not be regarded merely as a finger exercise; rather, these features should be leveraged in performance expression.