The structure is binary form.

• A [a (measures 1-4) + a (measures 5-8)]
• B [b (measures 9-12)] (with repeat)

In the large section A, the identical four-measure phrase 'a' is repeated to form an eight-measure section. In the large section B, the four-measure phrase 'b' is repeated using a repeat sign. The only difference between the two is the presence or absence of a repeat sign; in both cases, a four-measure phrase is repeated.

In 'a' and 'b', the motif has a two-part structure, and the latter half of 'a' (measures 3-4) is also shared in 'b'. Therefore, it is difficult to create expressive differences for an identical motif, making it crucial to express the differences in the first half of the phrase.

In particular, the motif in measures 9-10 of phrase 'b', which leaps down an octave, is reminiscent of a motif found in Haydn's sonatas (Sonata No. 50 in D major, first movement, first theme). I personally believe that sharing such motifs, which are unrelated yet can evoke associations, serves as an excellent introduction to more substantial Classical works in an educational context. Therefore, they should be actively used in lessons rather than excluded simply because they are not directly related.

Polyphony is not observed in this piece; it is entirely structured as an accompaniment to the main melody, so there is no need to seek polyphonic nuances in the accompaniment (left hand). On the other hand, the open fifth of the tonic chord (I) in the first half of the theme, with its characteristically powerful sound, can evoke images of a duck's quack or a marching bravery. While various images can be derived from this interval, it would be beneficial to encourage the actual performer (student) to expand upon these images in line with the piece's title.