The form of this movement is a simple A (M. 1-21) B (M. 22-33) A (M. 34-end). It is very lyrical with sliding tonality, in other words, a phrase in one key slips into another key through the use of chromaticism.
I was influenced by a technique used by Fred L. Clinard in his Sonata fro Unaccompanied Euphonium. In one of the fast movements, he clearly incorporates two distinct lines, a melodic line and an accompaniment line. My 2nd movement begins with an introduction of 3 measures that I call the accompaniment line. The melodic line then begins on beat two of measure 4. Whenever the melodic line feels like it should come to a sustained note, I insert part of the accompaniment line instead of sustaining the note. An example of this is in measure 5. I offset these two lines using dynamics to further distinguish between the two lines. This technique is used throughout the movement and adds variety to the texture.
Your comments are always welcomed.