From the beginning it is clear that Strauss was not composing with the dance hall in mind. The waltz's eight-measure melody falls into two distinct parts, the second of which is actually at a much faster tempo than the first. This happens twice, making a sixteen-measure whole, but during the repeat of the whole, Strauss maintains the fast tempo for both parts, moves briefly to the minor mode and clips off four measures before immediately beginning the second waltz of the pair. Contrast and integration mark the rest of the piece. After a bridge with a Sarabande-like rhythm, the third waltz pair follows with two tunes that have completely different contours, but are related through similar rhythms. Most telling of the infusion of symphonic elements into Strauss' composition is a lengthy, sectionalized bridge with fragments of earlier waltzes that appears before what one expects to be the fifth waltz. What follows is not something new, but the return of the first waltz pair, then a new waltz that stands alone. The ensuing coda consists of some new material with rapidly played fragments of earlier waltzes, especially the very last.