It is in ternary form.

a (measures 1-8) + b (measures 9-16)

At measure 16, a Da Capo returns to the a section, concluding at measure 8, thus forming a ternary (a-b-a) structure.

It begins with a powerful sound, characterized by the repeated unison notes of the open fifth in the bass. The use of perfect fifth and perfect fourth intervals in the bass is often found in folk-music-like compositions. In measures 3-4 and 7-8, a melody emerges in the upper voice. This can be understood as a theme comprising two motifs, paired with the aforementioned open fifth motif in the bass (with melodic elements in the latter part).

The b section is a development of the motif containing the repeated note element from the a section. While maintaining the dominant as a pedal point, the lower voice expresses variation through stepwise ascending and descending motion of intervals. Therefore, it is important to consider the lower voice as a melodic element and pay attention to the balance of intervals in performance.