is the Violin Sonata in A major (in which the second theme appears in G major and B major, while only the closing passage of the exposition is in the dominant, E major). His B major piano sonata, D 575, even uses a four-key exposition (B major, G major, E major, F-sharp major): this key scheme is literally transposed up a fourth for the recapitulation. The finale of his sixth symphony (D 589) is an even more extreme case: its exposition passes from C major to G major by way of A-flat major, F major, A major, and E-flat major, making a six-key exposition. Felix Mendelssohn followed the Death and the Maiden example in the first movement of his second Piano Trio, in which the E flat major second theme gives way to a G minor close (transposed to C major and minor in the recapitulation). The first movement of Frédéric Chopin's Piano Concerto in F minor also has a three-key exposition (F minor, A-flat major, C minor). The first movement of the second cello sonata by Brahms also employs a three-key exposition moving to C major and then A minor, the exposition of the first movement of the String Sextet in B flat involves an intervening theme in A major before reaching F, and the Piano Quartet in G minor involves secondary themes in D minor and major respectively (the first of these being omitted in the recapitulation and the second transposed to E flat major moving back to G minor). The D minor violin sonata has a final movement that moves through a calm second theme in C major before closing the exposition in A minor. Further reading Longyear, Rey M., and Kate R. Covington (1988). Sources of the three-key exposition. The Journal of Musicology 6(4), pp. 448-470. Rosen, Charles (1985) Sonata Forms. New York: Norton. Graham G. Hunt; When Structure and Design Collide: The Three-Key Exposition Revisited, Music Theory Spectrum, Volume 36, Issue 2, 1 December 2014, Pages 247–269. Formal sections in music analysis