" 3, " E Poco Allegro, Adagio, Presto.
" 4, " C minor Allegro, Adagio, Presto.
" 5, " C Poco Allegro, Andante, Allegro assai.
" 6, " A Allegro, Adagio, Allegro.

The first and last movements of all six are in binary form. In the
five major sonatas, the first sections close in the key of the
dominant, and in the one minor sonata (No. 4), in the relative major.
The opening movement of each sonata is in early sonata-form: the
second section starts with the principal theme, or a brief allusion
to it; but then, after a short development with modulation, there is a
return to the principal key and to the principal theme.[62] The final
movements, on the other hand, are of the usual _suite_ order. Of
interest and, indeed, of importance in our history of development are
the contents of the first section of the opening movements. In some of
the Scarlatti sonatas (see No. 56) there is to be found a fairly
definite second subject in the dominant key, or, in the case of a
minor piece, in the dominant minor or relative major. Here the process
of differentiation is continued; in the 2nd Sonata the contrast
between the two subjects is specially marked. We give the opening bar
of each--

[Music illustration]

In most of the developments the composer steers clear of the principal
key, so that at the return of the principal theme it may appear fresh.
To such a method, since Beethoven, we are quite accustomed; but it is
curious how little attention--even with the example of E. Bach before
him--Haydn paid to such an effective means of contrast in some of his
early sonatas. In Bach's No. 6, in A, the development assumes unusual