In the first phrase, M is main melody, C is cover tone. M centers on ^1, C on ^5. In the second phrase the two trade places, with the result that ^5 is heard as the focal tone throughout (in the upper voice from 1-4, then the inner voice from 5-8). The leap upward in bar 6 is replicated in bar14, from which a simple rising line to ^8 follows in bars 15-16.
The design of the piece is ternary, with a small ternary form as the A-section. In the reprise ending the A-section, Czerny alters the consequent phase such that the upper tetrachord is starkly foregrounded throughout.
In the final cadence of the larger reprise, Czerny introduces another set of changes, now such that the rising line and upper-tetrachord emphasis disappear, replaced by a descent from ^3. (Presumably we would locate an imagined ^4 in the preceding bar in order to complete an Urlinie from ^5.)