An exposition’s punctuation sequence may be demarcated in such a way as to suggest the presence of presence of a distinct theme zone. As an analytic strategy for dealing with Galant expositions, it is often best not to presuppose the presence of these theme zones, but to understand them as arising as a possible by-product of the articulation of the punctuation form. Two clear examples of Galant expositions that suggest distinct theme zones are examined in this chapter: from the finale of Leopold Mozart’s Sonata for Keyboard in F and from the first movement of Wolfgang Amadeus Mozart’s Church Sonata in D, K. 144.
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