Rhythm, melody, and texture are some of the significant basic elements of music that can be found in literally any musical piece. Yet, those elements differ dramatically from piece to piece, thus creating the individual image of each composition and making it unique. The present paper focuses on analyzing the rhythm, melody, and texture in a selection of two musical compositions and discovering both the similarities and differences in the way those musical elements appear in the compositions. The works under discussion come from different styles of piano music. The first piece, Allegretto Graciozo from Piano Sonata K333 , was written by Wolfgang Amadeus Mozart in the golden age of Classical tradition in 1780s. The second piece, Fantaisie-Impromptu op.66 , was created by the Romantic genius of Frederic Chopin in the first half of the nineteenth century. The rhythmic peculiarities of Mozart’s Allegretto Graciozo reflect the graceful nature of the piece, announced in its name. Streaming through the simple quadruple time signature alla breve , the movement proceeds in the steady rhythm of quarter-notes and eighth-notes, with a significant rhythmic accent placed on the first beat of the bar by placing a dotted crochet rest there (Mozart 00:00, 00:08). The stability of rhythmical scheme is somehow enlivened by a triplet of sixteenth-notes appearing in the variation of the initial motif (Mozart 00:08). A more obvious shift from duple to triple rhythm is observed in the fourth realization of the main theme, with its final bar breaking out in a series of four eighth-note triplets (Mozart 00:22–00:24). Mozart uses the method of rhythmical variation quite widely, with the second theme diversified by a small syncope during its repetition (Mozart 00:38–00:40). In addition to these small rhythmical variations, the overall diversity in rhythm is achieved through altering more stabile rhythmic schemes of quarter-notes and eighth-notes with more agitated patterns of sixteenth-notes (Mozart 00:41–00:51). As it is typical of music written by composers of Viennese Classic period, the melody of Allegretto Graciozo is based on the sounds of chords. For example, the first bar of the piece features a melody highlighting the tones of a triad, and in the second bar it outlines the tones of a seventh-chord. Due to this peculiarity, the first motive is characterized as disjunct melody (Mozart 00:00–00:04). In contrast to this part, the final motive of the phrase moves in intervals of seconds, and therefore features a conjunct type of melody (Mozart 00:05–00:07). The significance of the initial phrase is emphasized by the fact that it is repeated four times at the beginning of the piece (00:00–00:24), then in the middle of the piece (01:00–01:21), and then developed in a different mode (02:15–02:25), returning in the original variant two more times (02:44–03:05 and 05:15–05:25). In the traditions of the Classical period, the texture of Allegretto Graciozo is homophonic. The main melody is placed in the top layer of the texture, the highest pitches. Although the rest of the layers sometimes demonstrate interesting melodic lines, they do not represent an independent melody. Therefore, those subvoices cannot be viewed as equally significant melodic materials and should rather be classified as accompaniment. Inside this homophonic texture, however, there are fragments of polyp