The whole song has only 29 bars. The first two bars are the introduction, that is, the prelude. The right hand plays on the main theme (G major), and the rhythm is slow. At first, it is like people showing a quiet "pastoral painting".
From the third bar, the music enters the first bar (bar A), which is a regular bar, ***8, consisting of two 4-bar phrases (bar 3-6 is the first sentence, and bar 7- 10 is the second sentence). The melody is based on G natural major and a four-tone motivation type is used as the driving force throughout the whole song. Simple, fresh, natural and smooth colors make people feel pastoral. The accompaniment of the left hand is mainly weak column chords, which only plays the role of emphasizing mode harmony. The decorative sound of the right hand reminds people of the ancient bagpipes, which makes this piece seem extraordinarily simple and quiet. This passage has been played repeatedly.
The second paragraph (paragraph B),118, is also a regular paragraph, which consists of two 4-case phrases. This paragraph is one paragraph relative to the first and third paragraphs. First of all, the melody of music has changed in different levels (up four, down three and down six), which makes the mode of music temporarily unstable. In the bars 15 and 16, the melody is equivalent to the seventh chord (b3DDVII7) in G major, but immediately in 17 and 65437. The deviation and return of this mode makes people feel the color change of rural scenery in one day, which is very vivid and adds a sense of motivation to music. In terms of texture, the middle section is also in sharp contrast with the first two paragraphs. The first phrase is equipped with a reserved tone, and the second phrase is an obvious polyphonic phrase, which pushes the folk song style of the music to a climax.
The third section (section A) is the reproduction of the first section. Starting from section 19, the whole section changes to reproduce the first section. Accessory chords (subordinate chords belong to the second chord) appeared in section 23, which led harmony to subordinate functional groups and enhanced the harmony power of music. When the music reaches the 26th bar, a phrase of nearly 4 bars is repeatedly unfolded through a motive, which is the ending song of the music, ending the whole music on an arpeggio of major triad in G major. Finally, what is left is still a distant and quiet pastoral atmosphere, which makes the whole music seamless.