Form

It is in ternary form.

• A [a (mm. 1-4) + b (mm. 5-8)]
• B [c (mm. 9-12) + d (mm. 13-16)]
• A1 [a (mm. 17-20) + e (mm. 21-29)]
• Coda (mm. 30-38)

Main Key and Theme

The main key is C major. The theme begins with three ascending quarter notes, and the overall structure features a melody that evokes a minuet-like triple meter rhythm.

Harmonic Analysis

From measure 5, there is a partial modulation to the dominant key (G major). A perfect authentic cadence in the dominant key is reached at measure 8.

Although the same chord as in measure 8 is used in measure 9, harmonically, this marks a return to the tonic key of C major, functioning as the dominant chord of C major. This chord is resolved harmonically by the VI chord in C major at measure 12. Measures 9-12 constitute a transitional passage during the modulation. Specifically, measures 9-10 feature the dominant chord of C major, and measure 11 features the dominant chord of A minor (treated as a borrowed chord from A minor, i.e., V of VI, in C major). Although a modulation to A minor effectively occurs from measure 11, the harmonic resolution as a C major harmonic cadence must await measure 12. Therefore, in terms of musical expression, it is advisable to be aware not only of the modulation to A minor from measures 11-12 but also of the horizontal flow, where the dominant chord in measure 9 is actually resolved harmonically in measure 12.

From measure 14, a hemiola cadence is encountered, and the section concludes temporarily with a perfect authentic cadence in A minor. The descending stepwise motion from the G note in the left hand on beat 2 of measure 16 foreshadows a modulation from A minor to another key.

Recapitulation (A1 Section)

From measure 17, the theme is recapitulated over four measures. Subsequently, measures 21-25 form an ascending sequence, leading to a deceptive cadence on the VI chord at measure 26, and then a perfect authentic cadence on the I chord at measure 29, concluding the section. This A1 section, which begins with the theme's recapitulation, becomes somewhat extended compared to the preceding sections due to the insertion of the sequence from measures 21-25. While in many compositions from the Classical period onwards, sections within a piece are generally of equal length, such asymmetrical structures are often found in Baroque music.

Coda

The Coda is considered a variation of the passage from measure 21. Measures 30-34 constitute an ascending sequence with similar harmonic and bass progressions, although the melodic motif differs. The use of smaller note values (sixteenth notes) creates a more lively impression. It concludes with a trill in measures 37-38.