18 MINUET/TRIO FORM
621
A subordinate theme then begins at m. 13 and exhibits many of
the loosen-ing devices typical of that function. A presentation in
mm. 1316 is followed by an extended continuation, which leads to a
deceptive cadence at m. 24. A new cadential unit (based on the
second half of the main theme but also alluding to the continuation
of the subordinate theme) brings complete closure at m. 28.
Th e entire A section of this minuet thus resembles a miniature
sonata exposition.
Contrasting Middle (B Section)
Th e B section of the minuet brings many of the same harmonic,
tonal, and formal characteristics of a contrasting middle in small
ternary form: loose non-conventional organization, emphasis on the
home-key dominant, sequential harmonies, closure in the home key
with a half cadence or dominant arrival.
But whereas the B section of the small ternary is relatively
simple and short, that of a minuet is usually more complex and oft
en lasts considerably longer than the preceding A section. Th us
certain techniques appear there that rarely fi nd a place in the
modest scope of the small ternary.
For example, the contrasting middle of a minuet might bring an
inter-polated episode of new material in a relatively remote tonal
region. Or a false recapitulation may appear toward the end of the
B section. In some cases, the section may even feature
model-sequence technique in a manner reminiscent of a developmental
core.
An important consideration for the B sections organization and
functional expression is whether or not its preceding exposition
modulates.
If the A section has presented main-theme, transition, and
subordinate-theme functions, the B section has the opportunity of
expressing a rudimentary sense of development by exploring
addi-tional tonal regions.
If the earlier A section is exclusively a main theme (because of
its resid-ing entirely in the home key), the B section usually
provides the funda-mental tonal contrast of the minuet by
modulating to, and confi rming, a subordinate key.
B Section Follows a Modulating A Section In cases where the
exposition of a minuet is modulatory, the B section is free either
to touch on other tonal regions or, quite oft en, to return to the
home key and conclude there with dominant harmony. Th e
phrase-structural orga-nization tends to be loose and
nonconventional, with an emphasis on continu-ational traits
(fragmentation, model-sequence, harmonic acceleration).
Brief tonicizations of various regions occur frequently,
although it is uncommon for the section to confi rm a development
key with a cadence. In the simplest cases, the B section consists
entirely of a standing on the dominant.
18_WilliamECaplin_C18.indd 621 8/27/2013 2:36:36 PM
