Despite its popularity in the wind band repertoire, Frank Ticheli's Symphony No. 2 has garnered little analytical attention. This paper presents a formal and narrative analysis of the third movement, "Apollo Unleashed," which Ticheli describes as a "quasi sonata form" that features a "varied recapitulation" initiated by a "false return" of the primary theme. However, the movement lacks a recapitulatory rotation—the primary theme is never stated in the tonic key following developmental space, and the return of the tonic coincides with the onset of the secondary theme. I argue that the movement's formal structure becomes legible when construed as a dialogue with the Type 2 sonata rather than the standard Type 3 format. Using Byron Almén's discursive strategies (2008), I also examine how the Type 2 sonata reinforces the movement's comic narrative trajectory, involving a combination of epiphany and synthesis. Drawing on insights from semiotics and topic theory, I illustrate how the tonal resolution achieves an integrative reconciliation between the primary and secondary thematic materials, securing a comic victory of synthesis over disunity.