Editing Sonata form (section)

===Expositions with more than two key areas===
The exposition need not only have two key areas. Some composers, most notably [[Franz Schubert|Schubert]], composed sonata forms with three or more key areas; see [[Three-key exposition]]. The first movement of Schubert's [[Death and the Maiden Quartet (Schubert)|Quartet in D minor, D. 810 ("Death and the Maiden")]], for example, has three separate key and thematic areas, in D minor, F major, and A minor.<ref>{{cite book|last=Wolff|first=Christoph|author-link=Christoph Wolff|contribution=Schubert's ''Der Tod und das Mädchen'': analytical and explanatory notes on the [[Death and the Maiden (song)|song]] D. 531 and the [[Death and the Maiden Quartet (Schubert)|quartet]] D. 810|editor1=Eva Badura-Skoda|editor-link=Eva Badura-Skoda|editor2=Peter Branscombe|editor2-link=Peter Branscombe|title=Schubert Studies: Problems of Style and Chronology|year=1982|pages=143–171}}{{ISBN missing}}</ref> Similarly, [[Chopin]]'s [[Piano Concerto No. 2 (Chopin)|Piano Concerto in F minor]] uses F minor, A{{music|b}} major, and C minor in its first movement's exposition. In both cases, the transition is i–III–v, an elaboration of the minor schema of either using i–III or i–v. This is by no means the only scheme, however: the opening movement of Schubert's Violin Sonata in G minor, D. 408, uses the scheme i–III–VI, and the opening movement of Schubert's [[Symphony No. 2 (Schubert)|Symphony No. 2]] in B{{music|b}} major, D. 125, uses the scheme I–IV–V.  The first movement of Tchaikovsky's [[Symphony No. 5 (Tchaikovsky)|Symphony No. 5]] uses the scheme i–v–VII.  An extreme example is the finale to Schubert's [[Symphony No. 6 (Schubert)|Symphony No. 6]], D. 589, which has a six-key exposition (C major, A{{music|b}} major, F major, A major, E{{music|b}}, and G major), with a new theme for each key.  

The second subject group can start in a particular key and then modulate to that key's parallel major or minor.  In the first movement of Brahms' [[Symphony No. 1 (Brahms)|Symphony No. 1]] (in C minor), the second subject group begins in the relative E{{music|b}} major and goes to the parallel mediant [[E minor|E{{music|b}} minor]].  Similarly, the opening movement of Dvorak's [[Symphony No. 9 (Dvořák)|Symphony No. 9 in E minor]] has its second subject group start in the minor mediant G minor and then to its parallel G major.  And in the opening movement of his [[Symphony No. 6 (Dvořák)|Symphony No. 6 in D major]], the first theme of the second subject group is in the relative [[B minor]] while the second theme is in the parallel submediant [[B major]].