The finale of Beethoven’s Sonata No. 3 is an Allegro assai in C major, driven by quick ascending figures, crisp chords, and continuous changes between melodic writing and brilliant passagework. Its opening idea repeatedly comes back between contrasting episodes. Running notes, double notes, trills, and strong bass accents give the movement a lively character, while a quieter central passage briefly broadens the phrasing.

Measures 1–30 establish the main material. The right hand begins with a rising sequence of chords over short bass notes and chords. Flowing scale figures then sweep downward and upward, with the left hand providing a changing bass foundation. The opening chordal idea returns within this first stretch, making its rising shape easy to recognize.

Around measures 35–50, a more melodic right-hand line appears above a moving left-hand accompaniment. Short slurred phrases alternate with runs and stronger chordal accents. The following passage uses softer entries and rising movement before the opening type of figure returns around measure 70. The music then builds through quick scales, repeated chords, and emphatic bass notes.

Around measures 100–130, a contrasting section marked dolce brings longer melodic notes and more sustained harmonies. The writing becomes less continuously rapid, with phrases carried in the upper part and quieter motion underneath. The following pages develop these ideas through exchanges between the hands, changing accidentals, and renewed movement. Around measure 180, the familiar bright opening figure comes back, restoring the finale’s quick, sharply articulated character.

Around measures 215–245, the more melodic material returns above the moving bass accompaniment. Short phrases and answering gestures lead into another buildup. The passage around measures 260–280 combines the main figure with extended trills and energetic running notes, increasing the tension before the final close.

Around measures 285–300, sustained trills and pauses briefly suspend the forward motion. The score includes a slowing indication before a tempo primo marking restores the original pace. The final systems bring back vigorous chords and rapid figures across both hands, ending with a decisive cadence.

Interesting fact: Near the end, this edition marks a slowing of the music and then a return to the original tempo, creating a deliberate interruption before the last burst of activity.