Sources of the Three-Key Exposition

Sonata Form and the Problem of Second‐Theme Beginnings

“…1, p. 464), Helm ([1921] , p. 10), Marliave ([1928] , pp. 18–19), Longyear and Covington (, p. 461) by implication and Horne (, p. 109). Those siding with the C major of bar 68 include Hadow (, p. 34), Mason (, p. 42), Lam (, vol.…”

“…1, and the first movement of the same composer's Eighth Symphony in what he calls ‘false starts’ to the second key area. Longyear and Covington (, p. 460) recognise it in their ‘Type II Three‐Key Exposition’ but insist that ‘the initial key be maintained long enough to give at least an initial impression of the music's being in that key’. By contrast, I prefer to distinguish the true presence of a key by a cadence, which is the means by which keys are generally established in the Classical style.…”

“…Longyear and Covington refer to this situation as a ‘Type I Three‐Key Exposition’ (, p. 449), Caplin as a type of ‘modulating subordinate theme’ (, p. 119), Hepokoski and Darcy as a type of ‘tonally‐migratory’ S theme (, p. 120) and Horne as a type of ‘ oblique approach to the second key’ (, p. 111; emphasis in original).…”

“…After all, as Webster notes elsewhere (, p. 18), the suggestion of two competing keys in the ST group, which, he remarks, occurs in the Farewell Symphony, ‘is found nowhere else in Haydn’. Moreover, Longyear and Covington (), pp. 449–50, indicate lone examples from Gluck and C.P.E.…”

“…See, for instance, Marx ([1841–75] ), p. 144; Tovey (), p. 56; Dahlhaus ([1987] ), pp. 102–4, who regards bars 23–53 as an ‘episode’ between the transition and the ST; Longyear and Covington (), p. 465 n. 15; and Rosen (), pp. 246–8, who refrains from labelling an ST anywhere in this exposition, preferring instead to focus on the tonal motion, which ‘simply’ moves through the submediant to the dominant key.…”