Demonstrates modulation to relative minor using secondary dominants

Rigatoni is written in ternary form (ABA) with an additional codetta at bar 16 and a coda at 24. The piece demonstrates modulation using secondary dominants and secondary leading tones, as well as the 3 types of 6/4 chords. It is in 6/8 meter and begins in Eb.

The A section introduces the main theme which consists of diatonic arpeggiation, and relies heavily on 8th notes and acciaccaturas. At m.7 there is a melodic change to a descending melodic sequence, harmonized by the bass, and aids the transition to the relative minor, Cmi (vi). The V/vi, (secondary dominant, G) is used as a pivot chord in the new key, and this sequence of V - I is repeated for the next 3 measures into the B section. The end of the A section is marked by a PAC.

The B section, at m. 9, begins with a continuation of V - i progressions to emphasize the new key, as well as an ascending arpeggiation in the melody that resembles the main theme. The III (Eb) is briefly tonicized in m. 10 before taking us back to Cmi at m. 12. M. 11, b6 uses viidim/V (F# diminished chord, G) to tonicize the V briefly. Mm. 13-15 repeat mm. 9-11, though m. 16 (a brief codetta in 3/4 meter) uses Ddim7/B (VII7) to serve as a pivot point to Eb (III) and modulate Rigatoni back to the original key.

The 2nd A section is the same as the first A, though the coda at mm. 25-27 repeat the same progression 3 times to emphasize the relative minor in which the piece concludes.