The tonic key is G-sharp minor, and it is in binary form.

• A [a (measures 1-8) + a1 (measures 9-16)]
• B [b (measures 17-24) + a1 (measures 25-32)]
• B [b (measures 33-40) + a1 (measures 41-48)]

Although the repetition of Section B results in a structure of three large sections overall, it is essentially a binary form consisting of Sections A and B.

The theme is constructed from a motif containing expressive appoggiaturas, leading to a half cadence in measure 7, progressing from a diminished seventh chord of the double dominant to the dominant. Measures 9-16 show a similar progression, but a perfect authentic cadence is reached in measure 16 after a cadential formula in measure 15. The middle section B begins in the parallel major, G-sharp major. From measure 21, it descends chromatically, returning to the tonic key, and concludes with a half cadence in measure 24. The leading tone of the double dominant in measure 22 does not resolve but descends chromatically, progressing to a II7 chord in measure 23. Such a harmonic progression is characteristic of the Romantic era, conveying an emotional quality.

Furthermore, in measures 17-18, the thematic motif shifts to the left hand, and since crescendo and decrescendo markings are present here, these dynamic changes should be expressed carefully.