The second movement of Beethoven’s Sonata No. 28, Op. 101, is a brisk march with sharply dotted rhythms, sudden changes of volume, and quick exchanges between the hands. Its main sections contrast firm chordal gestures with smoother melodic passages. A quieter central section develops an imitative dialogue before the opening march returns to finish the movement.

Opening march: A short pickup launches the march. Dotted upper figures combine with held inner notes and an active lower part, so the rhythm is more layered than a simple succession of block chords. Broken notes move rapidly between registers, and forceful accents are often followed by softer replies. The first section has alternate endings for its repeat, with a changed continuation leading onward.

Second march section: The next section begins with an upward figure and continues through decorated upper phrases. Short trills and grace notes appear among the dotted rhythms. The hands exchange fragments, sometimes holding one voice while another moves around it. A smoother passage marked sempre legato places a connected upper line over a long low bass tone. This gives a clear contrast to the clipped and accented gestures heard earlier.

Growing activity and cadence: The upper line moves into a high register above sustained lower harmonies. Left-hand triplet eighths then accompany dotted notes in the right hand, creating two different rhythmic patterns at once. Full chords, quick register changes, and a lower dolce melody bring back a stronger character. Alternate endings complete this larger repeated section, and the second ending is marked Fine.

Imitative middle section and return: The quieter central section changes the key signature and slightly relaxes the pace. One hand introduces a phrase that the other answers, with lines overlapping rather than moving together throughout. The melody changes hands, and occasional crossings bring the parts close together. A long right-hand trill continues while the left-hand line moves beneath it. Later, sustained upper chords stand over a dotted lower figure. Triplet accompaniment and a renewed crescendo lead back to the march. Its characteristic dotted rhythms regain their earlier force. The returning march supplies the final cadence.

Interesting fact: The score instructs the pianist to return to the march and play to Fine without taking its internal repeats again.