The piece starts with a broken F minor chord played in the right hand, moving into a broken C7 chord in measure 3. The harmonic progression for the first theme goes as follow:

Measure 1-2: Fm (I)

Measure 3-4: C7 (V)

Measure 5: Fm (I)

Measure 6: C7 (V)

Measure 7-8: Ab, Gm, C (III -- II -- V)

As stated before, measures 9 to 19 are a transitive phrase before introducing the second theme of the exposition. The transition starts out with a broken C minor chord, moves into Fm, Bb7, Eb7, Ab and Db moving chromatically to Eb repeated thrice, at which point the sonata enters the second theme of the exposition, written in the key of Ab.

This second theme features a strong alternating bass pattern in the left hand, heavily relying on the fifth of the tonic chord (which in Ab is Eb). While this alternating bass line happens, the right hand adds a descending pattern repeated several times, always starting on the fourth beat of the measure. This pattern ends at measure 26, at which point enters a pattern of three eight notes separated by an eight rest -- the pattern slightly changes in measure 28 through 30; the eight notes pattern only happens on the last beat and a half of the measure. The initial three eight notes pattern repeats in measures 31 and 32. Measures 33 through 36 features a descending scale pattern in Ab, which repeats itself twice before moving into a pattern of chords eventually resolving in Ab.

As we move into the development, the composer continues to use the same kind of dominating right hand melody, using short rhythmic phrases that repeats over a few measures -- always supported...

This consistency helps the listener to follow through the harmonic movements developed by the composer and also helps create a certain tension that only seem to release at each fermata (example at measure 108).
Subjective analysis

I very much enjoyed working on this assignment, as this piece is a true representation of what a piece in sonata form should sound and look like on paper. The form was well defined and, while not completely easy to break down in different parts, quite clear in the way the themes were presented. Listening to the piece while following the score definitely helped me get a better understanding of the form in itself as well as how this form helps the listener navigate through different harmonic progressions without feeling as though each part is separate from one another; instead of listening to 'parts', those parts really do weave into each other in a way to make the piece cohesive and brilliant.

The melody and harmonic progression were both also very interesting to analyze and I would be curious to hear the rest of the sonata (ie. other movements).

In short, this analysis was a great experience and an interesting one as well; I would love to know who wrote this piece and learn more about his compositional style; it is obviously concise and direct while taking the listener's ears through various progressions as new themes and variations are…