This paper will argue that "problematic" or "inconvenient" sonata-rondo movements such as Haydn's "Clock" symphony finale should not be defined negatively (as flawed or "lesser" sonata-rondo forms) or experientally (a conversion from Type 4 to rondo), but rather as descendants of a form I term "expositional X-part rondo," which originated for Mozart and Haydn in their finales as early as the 1760's. Their first couplet-episode (AB) pair forms a sonata exposition (by galant standards, using Burstein's recently revived Kochian terms such as Grundabsätze and Quintabsätze), and then proceeds to the standard couplet-episode (AC, AD, etc.) layout until complete; the expositional materials never return. In sum, this presentation will seek to train a less anachronistic lens on these pieces using important recent Formenlehre studies. Once a more flexible idea of a sonata exposition is established, the well-trodden lineage of the form can be extended back even further back to the 1760's.