The tonic of this new theme is A-flat. This theme is then transposed to D-flat from m. 83 to m. 86. However, this can be thought of as C-sharp, which along with the A-flat, further supports the idea of a circle of thirds progression. A contrasting middle section (b) begins in m. 87 and lasts until m. 97. A return to the theme introduced in m. 75 can be heard at m. 97. It is the beginning of the third section (a") which is similar to the first section. This lasts until m. 107, where a coda section takes over. This coda section, from m. 107 to m. 118, builds tension through a crescendo and series of dissonances until m. 119, where the final section of the exposition begins. Not only is the beginning of this new section marked by the rehearsal letter (D) but it is also distinguished by the loud return of the tutti, the fortissimo dynamic markings, and the resolutions of the dissonance of the coda section. This last section can be split into 3 parts. Part 1, the loud part, lasts from m. 119 to m. 131. Part 2 is softer, and lasts from m. 131 to m. 168. The third section, beginning at m. 169, is marked by a partial restatement of the second theme. The exposition ends at m. 192, where a slow transitional period that blurs the line between the exposition and the development takes over.
After the transitional period from m. 193 to m. 216, the development section can really be identified. While the transition may be considered part of the development, a new rehearsal letter (H) and a restatement of the opening theme at m. 217 strongly suggest the beginning of the development. The development can then be split into 3 sections. The first part is from m. 217 to m. 252. It begins in F major, then moves through A major to C-sharp minor. This is yet another example of how the circle of thirds progression plays an important role in this piece. This first section finishes with a B-flat dominant to help set the stage for the second section.