This work follows on from No. 7 as being primarily another work concerned with counterpoint. In this case, however, the principal melody is in the left hand, the secondary being embedded in the arpeggios of the right hand.
This work expands on No. 7's exploration of counterpoint, presenting a distinct approach where the primary melodic line is situated in the left hand, accompanied by the secondary material skillfully interwoven into the arpeggios of the right hand.