Abstract
It is quite common for a Galant exposition to be articulated by a standard punctuation sequence without suggesting distinct theme sections (such as a transition or secondary theme group) and without any of the punctuations standing out as the sole medial caesura. Such a layout was conventional for the time, and thus an exposition framed in such a manner need not be understood as one in which an expected medial caesura and secondary theme has been suppressed, or one in which extra medial caesura and secondary theme has been added. In this chapter, a number of such expositions are analyzed, and they are also contrasted with an exposition from the high Classical era (by Beethoven) that does suggest division into distinct theme zones.
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