tonic chord in the opening subject). This dual quality of unity and contrast achieved by using the same musical material in opposite ways (to articulate the tonic and secondary keys respectively), proved to be an effective device for Beethoven, which he would use again for his other much more famous piano sonata in F minor, Op. 57. The second subject stays in A major throughout, as would be expected of conventional sonata form, although it also hints its parallel minor key (A minor). After sequencing iterations (mm. 26–31) of the 3-note motif that followed the descending arpeggio, the music seems to take off on a loud closing theme outlining a cadential progression (III6, IV6, V, V7). which is played twice (mm. 33–40) and solidly resolves to an A major chord. A little codetta (or cadence theme, mm. 41–48) echoing the second half of the opening subject (m. 2), again with shadings of A minor, and eventually resolving in an emphatically perfect cadence (the first one so far). The exposition is repeated. The development opens with the initial theme (mm. 49–54) in the secondary key, A minor, but is mostly dedicated to the second subject and its eighth-note accompaniment (mm. 55–73), first in its original form, then exchanging roles between the hands. This goes through the relatively close keys of B minor, C minor, B minor and back to A major, where it creates a sequence on the last two notes of the theme (mm. 73–80), going through a descending-fifths progression leading to a terse dominant pedal on C (mm. 81–92), preparing the return of the tonic key. A very quiet passage of mysterious-sounding suspensions follows (mm. 93–100), over which the exposition's transition material is reprised, serving as a retransition back to the opening material. The recapitulation (mm. 101–145) starts loudly instead of quietly (a common device in Beethoven's early piano sonatas), and with many of the left-hand chords now happening on strong beats, unlike the syncopated exposition. Most events from the exposition are reprised in the same order, with slight changes of dynamics and voicings. Most significantly, all the material previously stated on the secondary key is now restated in the tonic, so that this time the final perfect cadence is heard on the tonic-key, giving a satisfying resolution to the key dichotomy in the exposition. To this end, the original transition to the secondary key is rewritten passing through