of B major, where a new melody is introduced. This carries on until the prolonged cadential extension from bar 13 to 16. The rest of bar 16 consist of a link on the dominant of E major to the next section, so that the music can modulate back and repeat the original seven-bar melody again, with extra ornaments and decorations added to the melody. The second section, or episode, begins in A major. This melody starts off exactly the same as the second movement in Beethoven's Pathétique sonata. This first part of the episode modulates to a B major cadence, which gives way to the second section of the episode, commencing in G major. The same melody is repeated, followed by a sequential passage going through A minor, B minor, and C minor, ending on a half-cadence. Two more bars modulate back to E major, where the original melody returns, embellished with decorations and ornaments to the maximum possible. The coda ends the movement, formed from previous material. III. Allegro assai The last movement of this sonata is unlike many of Mozart's sonatas' last movements, which tend to have fast tempo and joyfulness and happiness. This movement contains a great tragic sense that really makes it stand out. The subject, which is unusually long, consists of two parts, both ending with perfect cadences. The first is introduced quietly, with melody in the right hand accompanied by left hand chords, with much calmness. However the second has a great fiery sense to it. Both share distinct and separate ideas. This subject is ended by a prolonged cadential repetition. There is no passage of transition to the second subject, only a basic chord on E's dominant seventh. The second subject then contains Alberti bass in the left hand, with a dancing, flowing melody in the right hand, completely changing the character in the ringing key of E. The second part of this subject is in fact based on a passage of the right hand in the first movement. The bridge to the next section is modulated from E major to C minor. At this moment, we hear the original principal subject cut short into half. In its place, a dramatic series of chords of F minor's diminished seventh, lasting for just one bar. This then gives way to the middle section of F minor. This motif is shown twice exactly the same,