The two strongest structural phenomena I noticed in this piece were tonality, and register. The piece starts out in A minor and then shifts to F major at measure 10. It then returns to A minor at measure 17. What helps the listener notice this is also the register change. In the beginning of the piece the main melody line is played in the right hand while the left hand supports it with eighth notes and rests. At measure 10 the main melody line goes down to the left hand and is played in a much lower register while the right hand supports it, and then returns back to the way it was originally played at measure 17.