The melody is first presented in the cellos in D major, and passed throughout the orchestra. This melody builds in dynamic, as the music modulates to A major, and is eventually played by the entire brass section. A slower development ensues, bringing back material from the introduction, including the drone on A, the cuckoo calls in the clarinet, and the original motif, but modulates through various keys. The recapitulation is marked by a new but quiet French horn fanfare,    and the energy is gradually built up as before. However, this time, the music modulates through A major, then through D-flat major. A-flat major is to be the next, then C major, F major, F minor, and finally back to D major. Ultimately, the two-note motive takes over the final measures of the recapitulation, and a coda brings the movement to a fiery and humorous close. The second movement is a modified minuet and trio. Mahler replaces the minuet with a ländler, a dance-form that was a precursor to the Viennese waltz. This is a frequently-used structure in Mahler's other symphonies, as well as Franz Schubert's. One main theme repeats throughout the Ländler, and it gathers energy towards a hectic finish. The main melody outlines an A major chord:  with a secondary subject based on the "Blumine" melody, but phrased in time as opposed to . The trio contains contrasting lyrical material. However, as it comes to a close, Mahler alludes again to the Ländler by interjecting brief rising material from the first section. Finally, the Ländler makes a formal return, shortened and orchestrated more heavily to close the movement. The third movement, in A–B–A structure, acts as the slow movement in the four-movement plan. The extra-musical idea behind it is that of a hunter's funeral and a procession of animals that follows. The initial 1st subject of the A section is based on the popular round "Bruder Jakob" (although Mahler calls it "Bruder Martin") more commonly known as "Frère Jacques"; however, Mahler places the melody in a minor mode. The subject is first presented by a solo double bass, followed by bassoon, tuba and, eventually, the entire orchestra. A counter-melody is played over top of the canon in the oboe.