Haydn's themes often serve a variety of functions over the course of a movement, as exemplified by his many "monothematic" sonatas. A lesser-known manifestation of this principle involves the insertion of P-based material between S and C (closing material) in a sonata recapitulation. As outlined in Elements of Sonata Theory, Hepokoski and Darcy typically classify such a passage as a Coda-Rhetoric Interpolation (CRI). However, most P-based sections appearing late in Haydn's recapitulations differ from a CRI by neither adopting coda-rhetoric nor functioning as true interpolations that suspend the progress of the recapitulation.

In Haydn's sonatas, a P-based passage falling between S and C in a recapitulation often plays an integral role in the achievement of both tonal and rhetorical closure of the movement. These statements typically fall into one of three categorizes. The first entails a seemingly "extra" P statement, the second uses the additional P-statement to compensate for an earlier iteration that had been truncated or weakened, while the last reorders a trimodular block (TMB) to place the P- based portion last. Combining Sonata Theory with Schenkerian analysis, this paper illustrates each schema in turn through analysis of three representative works by Haydn: String Quartet Op. 50, No. 5/IV, String Quartet Op. 50, No. 3/I, and Symphony No. 94/I ("Surprise"). In each case, the P-based module proves crucial to the final stages of the sonata.