Measures 1–3: The diminished fourth traversed by the upper voice does not represent a genuine linear progression; the opening D is an inner voice inflected to D when the G-major harmony appears. The bass B is retained through this inflection of the third coupled with a 5–6 exchange. Typically, this would represent a single prolonged harmony, but here the impression of E minor is initially so strong that it seems warranted to assign the first harmony its own Stufe.
Measures 3–5: The isolation of the high G and the deliberate quality of the following downward motion justifies the choice of as Kopfton. Nonetheless, the melody continually seeks to touch on the space of the upper fourth to .
Measures 6–7: The leap of the diminished fourth highlights the D, but, unlike the piano introduction, this pitch comes from an already stated D, allowing Schubert to recreate the opening in a different context.
Measures 9–10: The descending direction of the fourth, answered by the reversal in the left hand, suggests an empathetic response across registral distance (already prefigured in measure 6).