The waltz begins with a high spirited melody in C major with references to later waltz sections briefly played. It is the gentle first waltz melody which is instantly recognisable, with lyrical grace and an enthusiasm not apparent in his earlier light-hearted creations. Waltz 2A is rather more subdued although waltz 2B uplifts the mood to the one listeners would be familiar with since the beginning of the piece. As a composition befitting the wedding of the royalty, the waltz has its moments of grandeur (Section 3) where a triumphant melody in the home key of C major gave way into a rousing Viennese tune in F major. The waltz has only 4 two-part sections as opposed to the earlier pattern of 5 two-part sections propounded by Josef Lanner and his father Johann Strauss I. The fourth section begins quietly in F major, with a climax with cymbals to come. The coda recalls earlier sections (2 and 3) in a different key of E major before the first waltz theme comes in again. The finale is exciting, with a stirring timpanidrumroll and a strong brass flourish.
'Wiener Blut' is one of few last Strauss compositions to be independent from his stage works, as he was concentrating on writing for the performing stage (and not actively writing music for the ballrooms) at that point of his career and Strauss has written at least 2 operettas before penning this waltz, with the famous Die Fledermaus still to come.