This whole phrase is repeated again, making this B section feel very complete on it's own (thus making this piece ternary rather than binary). This section is a complete phrase, with a half cadence after the first 6 measures, then a parallel section that ends on a PAC. The B section draws us suddenly into B-flat major, continuing the triple meter feel of repeating something 2 twice before reaching a conclusion on the third attempt. Since we begin and end in the same key, and on a PAC to end, this is a simple ternary form. This entire section serves as expositional material, as we introduce the main theme and only repeat it. Even though we have weak cadences to begin it (two IACs in relative major, and the plagal second cadence), it does feel complete due to the strong pull of the g-minor PAC that ends it. I would consider this A section a parallel phrase group, although it is asymmetrical. We repeat this first section again, with the IAC in B-flat, then a return to g-minor, which ends on a solid PAC. The next section last for a full six measures, really pounding home a plagal cadence as we return to g-minor and then cadence, not once, not twice, but 3 times. This mazurka begins in g minor, but a quick IAC after only 4 measures in B-flat Major complicates matters.
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