Editing Sonata form (section)

===Modulations within the first subject group===
The first subject group need not be entirely in the tonic key. In the more complex sonata expositions there can be brief modulations to fairly remote keys, followed by reassertion of the tonic. For example, Mozart's [[String Quintet No. 3 (Mozart)|String Quintet in C, K. 515]], visits C minor and D{{music|b}} major as chromaticism within the C major first subject group, before finally moving to D major, the dominant of the dominant major (G major), preparing the second subject group in the dominant. Many works by Schubert and later composers utilized even further harmonic convolutions. In the first subject group of Schubert's Piano Sonata in B{{music|b}}, D. 960, for example, the theme is presented three times, in B{{music|b}} major, in G{{music|b}} major, and then again in B{{music|b}} major. The second subject group is even more wide-ranging. It begins in F{{music|#}} minor, moves into A major, then through B{{music|b}} major to F major.<ref>{{cite journal|last=Marston|first=Nicholas|title=Schubert's Homecoming|journal=[[Journal of the Royal Musical Association]]|volume=125|date=2000|issue=2|pages=248–270|doi=10.1093/jrma/125.2.248|s2cid=191320737}}</ref>