K. 67 Allegro, F-sharp minor, 4/4, 2:00 (with repeats)

The overall tonal plan, moving from the tonic to the dominant in the first half and from the dominant back to the tonic in the second half, follows conventional practice, but the harmonic changes within are diverse.

For instance, in the first half, following the A major cadence in measure 4, the music passes through B minor → C-sharp minor → F-sharp minor → A major → F-sharp minor → C-sharp minor, initially bypassing the dominant. It then proceeds through other related keys before finally reaching the dominant cadence.

Conversely, in the second half, when the tonic returns in measure 16, it becomes a repetition of the F-sharp minor cadences. However, the frequent use of deceptive cadences and imperfect cadences diminishes harmonic stability, and the musical momentum is maintained until the end of the piece, accompanied by the continuous sixteenth-note rhythm.