Event List for Piano Sonata No. 8, III, p. 263, Burkhart, 5th edition

Measure			Event

 1 - A (rondo theme), m. 1, C minor (4+4+4+4; a b b c; 1 5 9 12) emphatic PAC

18 - transition . 

25 - B (first episode), Eb Major -   
    	a (8 bars) -  m.  25 (elision?). Motives are derived from mm. 12-13.  
          (An elision occurs when the end of one phrase coincides with 
          the beginning of the next. Elisions blur cadences creating a
          sense of uninterrupted movement. 
         
	 	b (4+7 bars) - m. 33  (elision?), Eb minor for two bars
		  (descending figure at m. 36 and 43 used later in 
		   dominant prolongation figure mm. 58-61)
		 
		c (8 bars) - m. 44 new material, chordal 

		b (4+4+4 bars)   - m. 51 (elisions) derived from b material at m. 37 
		  leading to dominant prolongation figure m. 58-61
		  
		  Some of the above elisions could also be seen as stretched up
		  beats or atypical rhythmic movtives. There is an element of 
		  purposeful ambiguity here. 

62 - A (rondo theme), C minor(4+4+4+4; a b b c; 62 66 70 74) emphatic PAC

79 - C (second episode), Ab major
 	 A four-bar phrase repeats 6 times, each a mini variation. mm. 95-98
 	 is an exception.

	Closing section at m. 107 in c minor.  Recurring arpeggiated V-i mm.
	107-112. V is prolonged at 113 and serves as an extended upbeat to 
	the dominant prolongation figure at mm. 117-120

121 - A (rondo theme), C minor (a b b 121 125 129) "c" is omitted.

	The second "b" provides a segue into the following B.  Unlike other A section,
	closure is soft causing A to merge smoothly into B without the previous
	clear articulation.  No separate transition to B as before.  

134 - B (first episode),  C ma (134-157). 
		a (10 bars) - m. 134, elision?
	
		b (5+7 bars) - m. 143 elisions? at 143 and 147

		c (4+13 bars) (m. 154) second phrase (158, c mi) extended into
		  quasi transition. The dominant prolongation figure was
		  eliminated here. A is restated without fanfare.

171 - A (rondo theme), C minor. 4+4+4; a b b variant; 171 175 179) "c" is omitted.
	  mm 178-183 a varied repeated terminal phrase.  A PAC at 183 which lacks
	  rhythmic closure.


183 - Closing section  
    	a a (4 + 8 bars) V/iv c mi - m. 183  derived from m. 51,
    	emphatic cadence in c minor at 186. Repeat of "a" serves as an
    	extended upbeat to m. 193.

    	b (6 bars) - m. 193, new material, recurring V-i in c minor, leads to
    	 dominant prolongation figure, in this case the V of Ab! (V of VI) at
    	 m. 199(4 bars)

203 -  coda (8 bars) at  m. 203, fragments of rondo theme beginning on VI and
    	ending on a PAC in C minor with a figure like the dominant
    	prolongation at the end.
    	
    	Because of the way A and B close,  A B A is a ternary.  Elisions
    	in B blur the start and end of phrases.  C is the longest
    	section (42 bars). Although shorter than ABA combined, it is
    	long enough to create a separate and equal middle section. The theme and
    	variations treatment gives this section a developmental quality. The B
    	after C remains in the home key.  This confirms the form is a
    	sonata rondo. The closing section at 183 is longer than A,
    	giving it special weight.  There is deceptive harmonic focus at
    	m. 199-206 (focus on VI instead of i).