Spaetzle is a four-part composition written in rondo (ABACA) form in 3/4 meter. Starting in Emi, the A section lasts for 8 bars and introduces the main melodic material that will be prevalent in the piece. The piece flows between Emi and Bmi over 8 bars, tonicizing the v (Bmi) twice before committing to a modulation there in the B section. The melody in mm. 1-4 and mm. 5-8 engage in an antecedent and consequent phrase, followed by a modulation to the v (Bmi) in m.8.

The B section, beginning in m. 9, tonicizes the III (D) before resolving down to the i in m. 12. This measure also initiates another antecedent and consequence phrase that resolves back to Emi, and subsequently the original key to break into a modified A section. I have placed the modulation point at m.12, beat 1, though the change isn’t heard until the following m. 13. The staccato notes in m. 15 (the consequent) contrast the previous phrase by interrupting the legato flow and setup the V-i perfect cadence in mm. 16-17. M.17 features a pedal 6/4 using the i in 2nd inversion to set up the root of the V.

The second A section begins in Emi and uses the same thematic material from 1st A with a variation on the half-step triplet sequence on beat 3. At m. 22, beat 3 there is a modulation to Am (iv) using a parallel major of Emi to serve as a dominant for the change. In m. 26 the key modulates back to Emi briefly for four bars, using Ami as a pivot chord. M.27 houses 2 passing 6/4 chords that work well for the voice leading. At m. 29 there is a shift in feel as the piece moves into its C section. The bass uses an ascending note sequence between measures that add emphasis to the melody on beats 2 + 3 of mm. 29-31. The key also begins modulating back to Ami; a change that is heard fully at m. 31. At m. 32, beat 3, the V/III is used to tonicize the III (C). The ascending bass sequence is maintained in mm. 33-35, although its pattern changes to an arpeggiation. In order to smooth the transition between an E major triad (dominant function in Ami) in m.36 and a key change to Emi in m. 37, I used chromaticism between the V and vii diminished chords, followed by the V of Emi. I have also placed the modulation point at m.36 as the change is first signified here by the rapid chord movements.

M. 37 through to the end at m.40 is in the original key of Emi, and follows the same theme as all previous A sections. The stepwise triplet sequence on the 3 beat of each measure is repeated on beat 1 in the bass in mm. 38-39 which emphasizes the coming conclusion of the piece. The final measure uses a cadential 6/4 to cement the conclusion.