[Illustration: Example 55 continued.]
The thematic factors are small, but none is omitted; every essential component is represented.
For a more extended and fully developed example of the sonata-allegro form, see Beethoven, pianoforte sonata, op. 14, No. 2, first movement; number the 200 measures, and verify all the details according to the following analysis (figures in parenthesis refer as usual to the measures):—
Principal Theme, Part I, period-form (1-8). Part II (9- ), dissolved (about 14) into Transition ( -25).
Subordinate Theme, Part I, period, extended (26-36). Part II, period, probably (37-41-47).
Codetta I, period, extended (48-58).
Codetta II, Small phrase, extended (59-63). Here the Exposition closes, with the customary double-bar and repetition marks.
Development, Section I (64-73), from Principal theme. Section 2 (74-80), from Subordinate theme. Section 3 (81-98), from Principal theme. Section 4 (99-107), closely resembling the Principal theme, but in a remote key. This section practically ends the Development, inasmuch as it culminates upon the dominant of the original key. Section 5 (107-115), establishment of the dominant. Section 6 (115-124), the Re-transition. The Recapitulation begins with the
Principal Theme, Part I, period (125-132). Part II, group of phrases, longer than before (133-152).
Subordinate Theme, as before, but in the principal key (153-174).