The sonata consists of three movements and takes approximately 18 minutes to perform (25 minutes with repeats). The first movement is in a classical sonata form, with repeats for the exposition, the development and recapitulation. There are two basic characteristics exemplified in the first movement: the song-like themes and the combination of styles. Mozart uses diverse styles including galant homophony, learned counterpoint, and even the intense Sturm und Drang style. The first theme of the exposition begins with a right hand melody over a left hand Alberti bass figure. Next, there is a short melody with the left hand echoing it, while the right hand plays a two-part phrase that includes a Mordent. Immediately following thereafter is parallel motion in both hands in very similar rhythm. A sudden change follows, with the F major key changing into the relative minor key, D minor at measure 23. The second theme (m. 41) begins in the dominant key of C major, is in galant style, and is immediately restated in varied form (m. 49). The remainder of the exposition includes many forte piano dynamics, hemiolas, parallel thirds in the right hand, trills in the right hand, and left hand octaves and broken chords. The exposition ends at measure 93 in C major. The development section begins at measure 94 with a new melody, focusing on the transitional passage between the second and closing themes in the exposition. As in the exposition, the development includes strikingly similar musical characteristics such as the contrasting forte piano dynamics, hemiolas, left hand octaves, and parallel thirds in the right hand. The first movement concludes with the recapitulation starting at measure 133, where the first thematic area returns unchanged, the transition modulates to distant harmonies yet closes on the tonic, and the remainder of the exposition returns, transposed into the tonic. The second movement is in B-flat major in an elaborately ornamented sonatina form. At the beginning, there is a melody accompanied by an Alberti bass figure in the left hand. The next phrase is the same, except the key immediately changes to the parallel minor, B-flat minor. A lyrical passage with a minor descending scale ends with the dominant key. The music then turns happy and joyful, until the end, when the phrases end with a dominant seventh chord of B-flat major, which resolves into the first degree. The last movement is a rollicking virtuoso movement in 6 8 time signature in the key of F major.[4] It starts with a forte chord and is followed by a passage of fast 16th notes in the right hand. This is directly followed by parallel sixths between the left hand and right hand lower voice, creating a harmony contrasting to the opening single 16th-note passage. There is a change of character in measure 16 where the music is marked p dolce and the right hand has a simple melody embellished with ornamentation and back-and-forth contrasting legato to staccato articulations. Meas