The third movement of Beethoven’s Sonata No. 4 contrasts a graceful Allegro in E-flat major with a restless Minore section in E-flat minor. Its opening uses short melodic phrases, sustained supporting voices, and detached chordal replies. The middle section replaces that conversational texture with continuous triplet broken chords before directing the pianist back to the Allegro.

Measures 1–24 introduce the main idea in the upper voice, supported by slower-moving bass and inner notes. The phrase becomes more assertive through accented two-note figures and chords, then descends toward the first repeat. The difference between the quiet opening and the stronger continuation gives the section a clear change of character.

From measure 25, longer melodic notes pass through a more sustained texture, with the hands carrying overlapping lines. Around measures 40–60, the opening character returns and develops into further chordal exchanges. The later part of the Allegro adds rising figures, stronger accents, and a descending close with alternate endings.

Around measure 95, the section marked Minore introduces a six-flat key signature and flowing triplet figures in both hands. These broken chords continue across a wide range, with strong accents interrupting the softer phrases. The first part is repeated before the pattern continues through changing harmonies.

Around measures 125–145, the triplet motion persists while the upper line rises and falls above the bass. The final systems become quieter, with longer notes sounding over the moving accompaniment. The instruction Allegro D.C. sends the music back to the beginning, where the return closes at Fine.

Interesting fact: The contrasting section keeps E-flat as its tonal center but changes from major to minor, doubling the key signature from three flats to six.