The first slow opening phrase is divided into the sub-phrases of unequal length (2+2+4 measures) - an approach often found in piano compositions of the Classical period - in which the first sub-phrase as main theme, repeated twice in little varied by ornaments (such as acciaccatura, trills) and extended sub-phrase.

The lyrical melody is in a melancholy dreamy Italian Bel-Canto (beautiful singing) style and diatonic in F minor despite he used extensive chromaticism and dissonance. It sound tells about someone that is contemplating. All forward moving bass lines (in single staccato notes and by block staccato chords) feel like a march but is not quite.

Then first opening phrase is almost strictly repeated in the second phrase only have additional notes after trill.

The second 'bright' theme comes with its sequence (up a minor third) then the falling melancholy notes with two sequences (down a minor third) in which the last sequence is varied with acciaccatura and repeated again in ritenuto.

At measure 25-47, the main and second themes are re-sung, varied with some triplets in measure 27-28 and 43, polyrhythm in measure 44: seven of eighth-note in the right-hand against two of quarter-note in the left hand. All in a tempo only ritenuto near the end of the second theme.

In piu mosso, suddenly more dramatic in ff triplets notes and block heavy chords with the strictly repetition in second sub-phrase, only difference in the block chords. Then second phrase is the sequence (down a perfect four).

No longer, suddenly piano in C part (measure 58-68), shows a three-voice texture, except the first bar. The lower voice is the accompaniment with broken seventh chords in triplets and quarter-note patterns, the first and second voice are contrapuntally.

It's divided into two phrases and each phrase contents of two sub-phrases. The second phrase is the sequence (up a perfect four). The two first phrases sounds agitated (hurry) then became tranquil (calm down).

Then the falling forte running16th chromatic scale and rallentando as a short bridge to the stretto marked in which the single melody sings with syncopation block chords in bass lines by turns until a fermata.

In Tempo I marked, Chopin returns us to the main theme for the 4 first measures but at molto legato e stretto, it's changed became a three-voice texture for 2 phrases (4+4 measures) in which the top voice are descends and the second are ascends chromatic notes.

The first coda, the broken chords melody in triplets of f minor begun in root position in the first bar, second inversion in second bar then first inversion in third bar whereas the sustained semibreve chords in basslines. The second phrase is the sequence (up an octave). In this section, the melody climbs in a crescendo to a diminished at accelerando tempo.

The second coda, back to the original tempo and using IV V and I chords - perfect cadence of F minor in which the tonic chord is in arpeggios that repeated three times in f as third coda, sounds like someone who wake up from his dreamy (contemplation).