The Scherzo from Beethoven’s Sonata No. 18, Op. 31, No. 3, is an Allegretto vivace in A-flat major and two-four time. Its quick, detached left-hand figures support upper chords, dotted rhythms, and short melodic replies. Sudden changes of register and volume give the music a teasing character. After the repeated opening section, the middle passage moves through changing keys before the main idea returns and the movement ends quietly.

Opening figure: Two short introductory measures lead into the repeat sign. The left hand then travels between low bass notes and higher chord tones in staccato sixteenth notes. Above this motion, the right hand alternates held chords with dotted figures, accents, and brief rests. The upper phrases sometimes connect smoothly, then break into short detached notes. Small trills and quicker ornamental groups interrupt the regular pattern. Although the bass is active, the rests in the upper part leave clear spaces between the melodic gestures.

Contrasting and closing ideas: The next section expands the range of the keyboard. Strong high chords alternate with running passages, and both hands sometimes join in rapid motion. The left hand also changes to repeated dotted chord patterns beneath detached right-hand scales. A quieter closing idea reduces the upper line to small fragments above short lower chords. On the following page, the accompaniment briefly becomes much simpler, with isolated bass notes beneath the right-hand pattern. First and second endings connect this material to the exposition repeat and the middle section.

Middle section and return: The development changes the harmony and register of the earlier gestures. Double notes in the upper part, chromatic movement, arpeggios, and brief trills create a more unsettled passage. Stronger runs are answered by quiet chords recalling the main idea. A lower line eventually appears on its own and leads back into the opening material. The return combines the familiar left-hand figures with dotted upper rhythms and additional ornamental details.

Closing page: Running upper octaves and offbeat lower chords briefly increase the energy. The quieter closing fragments return, followed by more detached motion in both hands. The final gestures become short and separated by rests, ending softly instead of building to a loud cadence.

Interesting fact: This Scherzo is written in two-four time. Its two-beat pulse is plainly visible in the score, even though scherzos are often associated with a three-beat dance rhythm.