f the second theme for three bars. The closing follows the second theme and is quite long in this piece. A short repeated figure in the first bar and a half is ended by what sounds at first like modulation, but does not actually continue to another key. It instead rounds off back to C and the first short repeated figure enters again, this time with ornamentation. This time the figure ends when it arrives at a ii chord and there is a new texture. A long d minor melodic scale in the treble ends in the next bar on a I chord and is echoed by a G major scale in the bass. The I chord confuses the tonal direction becasuse the listener expects the ii to be followed by V and then I. This is even more confusing because the scale that accompanies the I chord implies V (the chord the listener wants to hear). The next bar rounds off this cadential prolongation (ii-V-I) but the exposition does not yet end. The arrival to I does not occur until beat three of the bar. The first two beats create even more prolongation as they nearly modulate. And even after this, the exposition is not done. There is a two bar codetta (a one bar figure played twice, the second time with variation) before the strong V7-I cadence with a C pedal tone. This is the first very strong cadence since the start of the closing material. Since the cadence at the end of the exposition is to C without any hint of F as a tonic, the Developement begins in C. In fact, it is clearly in C as its pick-ups are a C arpeggio and the first bar looks and sounds like I and shows no indication of a ‘Bb’ or any other scale alteration. The opening of the developement is also a textural change but seems to resemble old material in its melody. Both the first theme and the second theme have similar figures to the new material. The developement starts with tonal movement in each of the first two measures, I in the first measure and ii6 in the second. In the third bar the h...
