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OK, so each movement has an exposition, development and recapitulation?

Any of (or only) the movements in sonata form will have an exposition (up to the repeat bars), a development (from the repeat bars) and a recapitulation where at least the material you first heard in the dominant will be played again in the tonic. Usually both ideas are repeated in the recapitulation.

The other movements in this sonatina are not themselves in sonata form, just in a sonata.

I didn't realise, Carol, how complicated it all is but you'll get it.

OK. I'm seeing measures 1-5 C major (1st idea). Measures 6-15 G major (2nd idea).

OK. This explains a lot. Thanks Richard.

This is getting exciting now, Carol.

I see the change with incidentals starting at 6. But, when listening, it sounds to me like the new idea doesn't really happen until m9, and already in new key.

dunno, but that was my reasoning

Wow. I can hear that now. You're probably right Jeff .

We're a team then. Richard, please refer to our combined analysis and conclusion above for first A of 1st movement.

I would call mm.1-4 the first theme, in C major. Mm.5-8 are a transition, starting in C major and ending in G major. The transition is to the second theme in mm.9-15, which is in G major.

Part of my choice to identify mm.5-8 as a transition is based on looking at how this material reappears at the end of the movement.

I'm looking for where measures 5-8 reappear at the end but I'm not seeing it. Could you point out where exactly this happens?

That's excellent, Jeff.

The figure in M1, I will call the bugle call. It recurs in M2. In M3 we have a new figure, a four-note descending sequence. Where else do you see the bugle call and where else a four-note descending sequence?

In M8 there's a new figure, a rising sequence of 8 notes followed by a fourth figure, an octave leap to three crotchets/quarter notes.

If you take those figures out of the score what are left with? Are there any more patterns up to the repeat bars?

M24 = M1.
M24-M38 = M1-M15

Can you see another four note descending sequence now?

They don't reappear, that's my point. Mm.16-23 could be called Development. Mm.1-4 reappear, an octave lower, in mm.24-27, both in C major. Mm.9-15 reappear (with the different notes, but the same harmonies relative to the key) of the last 3 measures altered, but now in C major instead of G major, at mm.32-38. The four measures mm.5-8 had to bridge from C to G; the four mm. 28-31 are altered in order to bridge from C to C.

I'm probably throwing out a lot of ideas which haven't been developed step-by-step yet. And I'm not sure that mine is a particularly good way of thinking about this; I just have "altered transitions" on my mind from a tangent that came up on a previous thread.

Measure 26.

M5 reappears inverted at M28

M6 reappears inverted at M29

M7, the four-note descending sequence in broken thirds that starts the bridge passage to G major, reappears in M30 as unbroken thirds

M8, the end of the bridge passage, reappears in M30

Try measure 7 (yes), 12, 13, 14 (twice), 22, 23, 26, 27, 30 (yes), 35, 36 (twice), 37 (look carefully).

That just about accounts for everything, m7 and first half of m13 though are a little different from the descending eight notes in 3,4,12,13,14, in that there is a more gentle stepping down. Then, the only one left is m15 where we have 4 note ascend.

I would call m7 as another pattern. Not sure about m15 just yet.

In measure 37 if you take every other note, there are two four note descending sequences.

m7 = m37
m15 = m38

Is this enough to confirm these patterns as distinct patterns?

Isn't the reappear in M31 rather, and also M33?

M7 = M30
M14 = M37