in the set by playing time (about 8:30). It is described as a "generic-hybrid," combining elements of the nocturne and theme and variation genres. The melody is chromatic, syncopated, and long, all idiosyncratic elements Rachmaninoff often includes in his works. Because of this, the Andantino is sometimes called an extension of his Nocturne in A minor of the Morceaux de Salon set (Op. 10, No. 1, 1894). However, Andantino stands on its own with difficulties, such as the sections with multiple phrases in a single hand. 2. Allegretto, E minor [[File:Moments Musicaux 2.png|thumb|300px|In Allegretto'''s section two, the dynamics change so frequently they become one of the major hurdles in this piece.]] The second piece, referred to as a "glittering showpiece", is positioned in contrast to the lyrical and "atmospheric" melody of the first piece. The piece is in the quick tempo allegretto (quickly), at 92 quarter notes per minute. It is 131 measures long, the most of all six pieces, but the second shortest in terms of playing time, usually no longer than three and a half minutes (the shortest is number four). This piece represents a typical nineteenth-century étude, similar in style to Frédéric Chopin's Études (Opp. 10, 25), with a melody interspersed between rapid sextuplet figures. It is in strict ternary form with a coda: identical beginning and ending sections beginning on measures 1 and 85, and a contrasting middle section starting on measure 45. The second section radically changes dynamics, constantly changing from piano to fortissimo and even sforzando. It is, throughout, a relentless torrent of descending half steps and a cascading left hand figure reminiscent of Chopin's Revolutionary Étude (Op. 10, No. 12, 1831). Ending the piece is a slow coda in Adagio (at ease) which closes with a plagal cadence in E minor. Rachmaninoff revised this piece in March 1940, changing the melody but leaving the constant sextuplets, proving that the rushing figures are not simple bravura or flair. 3. Andante cantabile, B minor The continual gauntlets of number two are relieved by the third piece in the set, an "introspective rêverie [daydream]." Drawing on the previous illustration of a "generic hybrid," this piece is described as a mixture between the song without words and funeral march genres, to create what is called the "most Russian" piece of the set, containing both sonorous bass and a solid melody, characteristics of Russian music. Comprising only 55