Hepokoski disagrees and instead uses his rotational form terminology to talk about these two sections as "Rotation 1, bars 3–35 (referential statement: 'expositional space')" and "Rotation 2, bars 36–71 (complementary rotation/'developmental exposition')" respectively. He does so based on Sibelius's choice of keys and the inclusion of developmental qualities that are used to lead toward the climax of the movement. First, whereas the A-group of the first rotation contains no accompaniment, the A-group of the second rotation contains tremolo accompaniment in the strings. Second, the key changes much earlier than previously. In measure 41, Sibelius goes back to E major while still in the middle of the A-group and concludes this exposition section in this tonic key as no sonata form exposition would. Finally, the second theme in the woodwinds is developed with the sixteenth-note runs sooner and much longer than before. This section ends just as the previous one does with the third theme in diminution fading away to nothing without cadence in the strings and woodwinds. What follows is a developmental section (what Hepokoski calls Rotation 3) based on the insignificant transition that anticipated the string entrance before the B-group in the first exposition. This is followed by the development of B-group material which is brought back as the mood changes to "Largamente" in measure 92.