When performing such an improvisational piece that seemingly lacks a clear formal structure, it becomes much easier to perform and analyze if you decide on the cadences (final forms) and treat them as points of demarcation. For example, starting from measure 1, the first cadence is at the first beat of measure 10, where it becomes the tonic chord of A minor. This marks a clear division.

Now, let's consider where the peak point is within these 10 measures. From measures 1 to 3, the chords simply move from tonic (i) to dominant (V) and back to tonic (i). However, in measure 4, a ii chord appears, and measure 5 becomes a borrowed chord. In contrast to the soprano's E D# D# on the first beat of measure 5, measure 6 ascends with F# E E, increasing the tension until it reaches the highest note, B, in measure 7, from which it gradually descends to arrive at measure 10.

By structuring the piece with measure 7 as the peak point, it becomes more musically coherent and easier to listen to.

Using this example, the piece can be easily summarized by dividing it into three major sections: the location of subsequent cadences, the first beat of measure 12, and the final measure.