First Movement: G major, 2/2 time, Sonata form

The resolute opening, characterized by the tonic chord and its arpeggiation, stands in stark contrast to that of Op. 49-2. The arpeggiated eighth-note triplets play a significant role in the subsequent transitions and coda.

Following a transition (mm. 15–) featuring arpeggiated eighth-note triplets, the secondary theme (mm. 21–), characterized by a three-eighth-note anacrusis, appears in the dominant key of D major. After a transition (mm. 36–) with eighth-note triplet scale passages, the coda (mm. 49–) recalls the transitional section from the main theme.

The development section (mm. 53–) begins with the main theme in D minor, progressing through A minor to E minor. An intervening transitional passage, featuring sustained repetitions of the dominant (B natural) and double thirds, leads to the recapitulation of the theme in the tonic key. It is frequently observed that the dominant of the tonic key appears as a pedal point just before the recapitulation in sonata form to establish the return of the tonic (this is also true in Beethoven's sonatas; see, for example, the first movements of Op. 2-1, 2-3, and 10-1). The sustained dominant of the relative minor in this manner can be considered an innovative aspect, especially given that this sonata is regarded as a pedagogical piece, a “Sonata facile.”

In the recapitulation (mm. 67–), both themes are restated in the tonic key, and the movement concludes without an expanded coda.