The Sonatine pour flûte et piano (Sonatina for Flute and Piano), while still possessing some traits of earlier Franco-German sonata composition, such as cyclical form, shows a definite move toward a "lighter," style, more consistent with aesthetics of Les Six. Lyricism is an important element in the work, although technical display is not absent—the Sonatine was written for Louis Fleury.

Fleury was one of the most important flautists in the first quarter of the twentieth century. He did much to raise the profile of the flute in twentieth-century composition and was a keen performer of contemporary music. Many works were dedicated to him, including Debussy's Syrinx. Fleury premiered Milhaud's Sonatine in January 1923 at a Concert Wiéner, with Jean Wiéner himself playing the piano part.

The first of the three movements, "Tendre" (Soft/Delicate) is the most lyrical. Sonata-allegro form is used in a manner that recalls the eighteenth century rather than nineteenth. Between the proper contrapuntal development section and the recapitulation is a section full of trills and mordents.

"Souple" (Flowing/Supple), the second movement, shows the influence of Latin-American music and jazz that the composer had become acquainted with a few years earlier. Quite rhythmic, the movement features syncopation, with rhythmic patterns in five, though still notated in 6/8 meter. Folk-like melody also contributes to the dance-like quality. Quartal harmony and tone clusters are notable.

Designated "Clair" (Light/Clear) the third movement uses a modified sonata-allegro form. Typical of Milhaud, right after the two similarly constructed themes are heard separately, they are recalled in a fugato before the "development." The second theme also serves as an ostinato. At the end of the movement, the principal subject from "Tendre" reappears, imbuing the sonatina with cyclical unity.

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