These two pieces have an obvious link between them; the almost constant sixteenth notes. Throughout the Vivaldi piece, almost everything is presented in sixteenth notes, be it the harmony or the melody, even the solos. There are almost no breaks in the sixteenth note patterns. In the "Adios", the beats are divided into sixteenth notes, and the drums play them throughout almost the entire song, only ceasing during the two solos.

Despite the "Presto" being in triple meter and the Rammstein song being in quadruple meter, they are both in a simple meter, each easily subdivided in 2’s. There are times in both selections where the meter is a bit difficult to construe, but they always go back to the double subdivision in a few bars.

Both selections have a darker timbre due to instrumentation, technique, and the G minor key. The Vivaldi piece utilizes the lower, richer tones of the string instruments , while the "Adios" utilizes the deep registers of the voice . Both selections do have a brighter timbre for the solo sections, but overall a dark timbre is prevalent.

The musical selections have pleasant consonant chords with very little dissonance. Any dissonance is only for a fleeting passing note.

Interestingly enough, the only syncopation used in the selections is to lead into something. The "Presto" will start a descending chromatic on the 1e of a sixteenth note group or after a sixteenth rest , while the Rammstein song puts an accent on the leading tone on the and of four of its theme, which leads to the beginning of the repetition of the theme .

Both pieces switch between thin and thick textures. The Vivaldi piece is normally thick, except during the beginning and ending moments of monophony and solos. "Adios" is thick except during vocal moments and solos .