The scherzo of Beethoven’s Sonata No. 29, Op. 106, is compact and restless, with short dotted figures, quick changes of register, and abrupt contrasts of sound. Much of the opening moves in intervals or chords, with rests interrupting the phrases. A smoother middle section replaces these gestures with flowing triplets. Brief faster passages and a sweeping run connect the contrasting sections before a quiet ending.

Scherzo theme: The opening figure uses short slurs and sharply unequal note lengths. The hands often share a similar rhythmic outline, but the lower part also holds bass notes beneath moving upper intervals. The phrases rise into a higher register, then fall back toward the middle of the keyboard. Accents, sudden softer replies, and brief silences keep breaking up the motion. Fuller chords and sustained lower octaves broaden the texture before the initial ideas return with small changes.

Flowing middle section: A change to a five-flat key signature introduces a quieter character. The right hand carries a melody in octaves and intervals while left-hand triplet eighth notes move through broken chords. The triplet pattern later passes into the upper part, where the melody is woven into the running notes. Long bass octaves support this more connected writing. Similar phrases return with changes of register and harmony, growing and fading in intensity.

Presto and return: The music changes to two-four for a light Presto passage. Short notes and rests give way to stronger intervals and chords as the phrases climb. Held chords and a fermata interrupt the motion, then a Prestissimo run sweeps upward from the low register through both hands. Tempo I restores three-four, briefly presenting repeated double-note figures before the scherzo theme returns. This restatement changes details in the bass and adds stronger contrasts of register and volume.

Final page: A quiet slowing passage is interrupted by another Presto burst in two-four. Repeated low octaves and upper intervals grow into forceful chords. Tempo I then brings back the original meter and a short version of the opening idea. The final responses become softer, with rests separating the last notes.

Interesting fact: The score changes from three-four to two-four for its Presto interruptions, then explicitly restores the original meter and tempo.