David Neumeyer: Theory and History of Traditional European Tonal Music

THEORY AND HISTORY OF TRADITIONAL EUROPEAN TONAL MUSIC:

Formal func=ons for phrase, theme, and small forms, following William E. Caplin, Classical Form: A Theory of Formal Func5ons for the Instrumental Music of Haydn, Mozart, and Beethoven (Oxford University Press, 1998),

summary and exampleswith related informa=on and data on dance musics and their

performance in the same period

David NeumeyerThe University of Texas at [email protected]

June 2011; updated and posted March 2012

This document gathers informa2on from my personal website h8p://uts.cc.utexas.edu/~neumeyer/index.html" in a single searchable PDF le, inserts related material from my now defunct blog Hearing Schubert D779n13, and adds a small amount of addi2onal, newly wri8en informa2on and commentary. File created 6 June 2011; last edited 10 March 2012. All original material and the compila2on copyright David Neumeyer 2004-2012. All rights reserved. Distribu2on, in whole or in part, for non-commercial purposes only.

Table of Contents

INTRODUCTIONPART 1: Summary of Caplins form functions for themes and small forms, with examples CHAPTER 1: Summary of Caplins form functions for themes and small formsA. List of Caplin functions for 2, 4, and 8 bar unitsB. List of theme elements (= All the 2, 4, and 8 bar units illustrated using rewritings of a Beethoven German dance)C. Caplin functions in table format Table: components of eight-bar themes Examples from repertoire Table of sixteen-measure and compound themesD. Small ternary formsE. Small binary forms CHAPTER 2: Examples of themes and features of small forms (1)A. Theme types: examplesB. The contrasting middle (and binary forms, second part), repertoire examplesC. Development of a multi-section musical composition using a French contredanse: La DorlyD. Development of a multi-section musical composition using a dance from Hummel's Op 39 (1811): Menuet, Op. 39n1 CHAPTER 3: Examples of themes and small forms (2): Beethoven dance sets A. Designs and formal functions for all dances in score format: German Dances, WoO7 German Dances, WoO8B. Designs and formal functions for all dances in table format: German Dances, WoO8C. Designs and formal functions for all dances in score format: Menuets, WoO10 Laendler, WoO11 Contradances, WoO14 Laendler, WoO15

PART 2: Data for themes and small forms CHAPTER 4: Data on the theme types in the ]irst strains of dances (1): General A. Examples of theme types, gathered in tables and with linkB. Theme tables for dances by Beethoven, Hummel, and others CHAPTER 5: Data for theme types in contredanses from Playford (1651) to BeethovenA. "Arquebus" B. Bacquoy-GuedonC. CherubiniD. ClarchiesE. DurandF. La CuisseG. LandrinH. Mozart & BeethovenI. Playford CHAPTER 6: Data for theme types in related keyboard musicA. DandrieuB. DaquinC. Haydn, keyboard sonata ]inalesD. Mozart, keyboard sonata ]inalesE. Czerny, Op. 139PART 3: Short essays on dance design and performance and related musical compositions in the 18th and early 19th centuries CHAPTER 7: Music from the Menuet engravings that conclude Kellem Tomlinson's The Art

of Dancing (1735) CHAPTER 8: A Deutscher in Schuberts Death and the Maiden Quartet CHAPTER 9: Performance designs for dances, c. 1790-1830APPENDICES APPENDIX 1: Literature References to Caplin and Form Theory APPENDIX 2: Links to music pages in some dance instruction manuals and dance collections reproduced on the American Memory site

Table of Contents & Introduction, p. 3

INTRODUCTION

Until the middle of the nineteenth century in Europe, music and dance were closely linked, both stylistically and socially. The ability to dance skilfully signi]ied both health and education, and the leadership of heads of state, from Elizabeth I of England to Louis XIV of France, insured that dance and its musics were well embedded in the highest levels of culture and politics. Lully gathered a variety of French regional dances and adapted them for use in opera and ballet, in the process generating the genres of dance musics that would remain stable until the late eighteenth century and that were widely adopted in other European countries. After the French Revolution, a similar process was undertaken by the now dominant middle class, as a variety of national dances largely displaced the older menuets, gavottes, and rigaudons: these included waltzes of several types, Scots dances (schottisch or ecossaise), redowas, mazurkas, and eventually polkas. Alongside them, the older group dances continued in the form of quadrilles, but musical styles were no longer associated with speci]ic dance ]igures as in the past (quadrilles used many different musics, including tunes borrowed from opera or from folk or popular repertoires).For most of this time period, individual dances remained short and works of any length were generated by chaining multiple dances together (see Chapter 9 for a list of common forms created this way). Music might be a single strain (typically 8 bars, sometimes more, up to 16 bars), or it might be built in the familiar two-reprise form (most often 8+8, occasionally 8+16) with or without thematic reprise, or two strains might be made into three in a da capo or en rondeau form (ABA, where the ]irst A closes in the tonic key). From these simple forms any number of longer forms could be assembled to suit the needs of the dancers. In more complex versions, these designs were transferred into the third and fourth movements of the sonata and symphony, especially from the early 1770s on: the third movement is the familiar menuet and trio, the fourth is often based on the contredanse and frequently borrows its rondeau (rondo) designs. Especially notable examples occur in works by Haydn and Mozart from this period (see Chapter 6, C and D; also my article The Contredanse, Classical Finales, and Caplins Formal Functions in Music Theory Online: http://www.mtosmt.org/issues/mto.06.12.4/mto.06.12.4.neumeyer.html and its references).Much of the information provided in this volume is intended to supplement the form theory presented in William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York: Oxford University Press, 1998). Most of it is also available through my personal website http://uts.cc.utexas.edu/~neumeyer/index.html or on my now defunct (though not deleted) blog Hearing Schubert D779n13. A small amount of additional, newly written information and commentary has been added.Caplins theory is designed to address the relation of harmony and formal functions in the different movement types one encounters in the Classical sonata, quartet, and symphony. Given that, the large forms of sonata and rondo naturally receive the lions share of

attention, but in presenting and developing his model, Caplin works carefully from the smallest units upward to large forms. The basic unit is the theme, an 8-measure, two-phrase entity that is both building block and referential element for large-scale dramatic and expressive designs that pit themes against areas of less rigorously formed musical material (Caplin calls this a contrast of tight knit and loose forms). Because of the meticulous attention given to small-scale, theme units, Caplins theory is also very well-suited to style studies of dance musics. I undertook such a study in connection with the article mentioned above, but also for the sake of teaching, and to satisfy my own curiosity. The material of Chapters 1 & 2 were meant as reference for students in a graduate form and analysis class where we use Classical Form as the textbook. Chapter 1 lists characteristics of the theme units and provides an alternative way of looking at them by writing multiple versions of the ]irst half of a Beethoven German dance. The chapter also provides basic reference information and links to repertoire for 16-bar units and small forms. Chapter 2 offers repertoire examples for all the theme types, along with analysis narratives for a French contredanse (probably from the ]irst decade of the nineteenth century) and a menuet from Hummels Op. 39 (1811). Chapter 3, which concludes Part 1, has a large number of additional repertoire examples, all from Beethoven, but these pieces were originally analyzed to answer a style question: how well do these functional dances (that is, music meant speci]ically for social dancing) collate with their cousins in the concert repertoire? Generalizations offered under each section include some negatives: the period does not appear very often, contrary to expectations about its conventionality, but hybrid theme types are very common; and the terminology does not align well with strong contrasts between phrases that are not motivically based, an especially important issue in waltzes (German dances and Laendler). On the other hand, the second sections of binary forms tend to follow expectations, most often combining a contrasting middle with a cadential function. Laendler are also unexpectedly dif]icult to categorize because, unlike menuets, where variety is a virtue, Laendler are often highly repetitious.The chapters of Part 2 consist of tables of data for the ]irst sections (strains) of a wide variety of dance pieces as old as seventeenth-century English country dances (Playford), ranging across the eighteenth century in French sources, and reaching as far as the Viennese Classical composers and their contemporaries. At the beginning of Chapter 4 I offer at least one conclusion that can be drawn from all this material: as with the Beethoven dances discussed in Chapter 2, perhaps the most important insight is a realization of the variety of thematic classes employed in these musics: an historical narrative that charts a path from the eighteenth-century period to the 19th-century sentence is much too simplistic, even setting Playford aside as an inexplicable outlier. One can indeed see a sharp trend toward limiting designs to the period in the second half of the eighteenth century, but the hybrid antecedent + continuation, common in the earlier French contredanses, remains important also. And in the early nineteenth century, one does not see an equally sharp turn toward the sentence; if anything, it would appear that the earlier variety of designs is recovered.

Table of Contents & Introduction, p. 5

CHAPTER 1:

Summary of Caplins form functions for themes and small forms

A. BEETHOVEN DANCE EXAMPLES FOR CAPLIN FUNCTIONSThe following section includes the content of the web page http://uts.cc.utexas.edu/~neumeyer/Beethoven_exxs.html PLEASE NOTE: Throughout this Lile you will Lind live links -- clicking on them will take you out of this PDF Lile to web pages opened in your browser window.The information here is meant for study and as an aid to memory, to increase facility in using William Caplin's terms for formal functions in phrases and themes (sentence, period, and their hybrids). I am grateful to Professor Caplin for his detailed comments on the original set of lists and examples presented here (in an email message 10 September 2005).The Oxford University Press page for this title: http://www.oup.com/us/catalog/general/subject/Music/MusicTheoryAnalysisComposition/?view=usa&ci=9780195143997 B. LIST OF THEME ELEMENTS:

1-2, 3-4: Two-bar units within the ]irst four bars (of eight) normally function in one of three classes:First two bars: basic ideaSecond two bars: repetition of the basic idea contrasting idea Note: under "repetition of the basic idea," Caplin distinguishes three types: (1) exact, (2) statement-response, and (3) sequential. I would add (4) "varied" as an alternative to "exact" for cases of minor embellishment.5-6, 7-8: Two-bar units within the second four bars (of eight) function in a variety of ways, including all those named above plus small model-sequence groups, fragmentation with or without sequence, cadential, and (rarely) new material. 1-4, 5-8: Four-bar units function in one of six classes: First four bars: p1. presentation p2. antecedent

p3. compound basic idea (**NB: I strongly prefer "weak antecedent" to Caplin's "compound basic idea.")Second four bars: p4. continuation (sub-class: p4.1. "continuation->cadential") p5. consequent sub-classes: p5.1. "modulating consequent" to PAC in another keyp5.2. "failed consequent" moves to HC or IAC in same or different keyp6. cadential My view is that the distinctions between "continuation," "continuation->cadential," and "cadential" lean too heavily in the direction of prioritizing harmony and, in any case, are often too ]ine to be all that useful. In teaching, I say that "cadential" means the cadential progression (which could mean an ECP with I6) starts in bar 5, "continuation->cadential" means it starts in bar 6, and "continuation" means bar 7.1-8: Eight-bar units function in one of seven classes (I have added an eighth): c1. period c2. sentence c3. period with modulating consequent c4. hybrid 1 (antecedent + continuation) c5. hybrid 2 (antecedent + cadence) c6. hybrid 3 (compound basic idea ["weak antecedent"] + continuation) c7. hybrid 4 (compound basic idea ["weak antecedent"] + consequent) c8. "hybrid 5" (presentation + consequent)Caplin's seven classes make up the list of all the eight-bar functional units commonly found in the music of the Vienna School. Only three from all possible combinations of the four-bar units are missing: 1. presentation + consequent, which I have added because it is occasionally found in social dances: 2. presentation + cadential; and 3. compound basic idea ["weak antecedent"] + cadential. I will add 2 & 3 to the list if I ever ]ind any instances of them in music.The examples below are all based on the ]irst eight bars of Beethoven, 12 German Dances, WoO8, no. 2 (composed in 1795, about the same time as the Trios, Op. 1, and the Piano Sonatas, Op. 2). Beethoven's original is under c3 (period with a modulating consequent -- because the perfect authentic cadence is to V, not to I). I have composed a presentation and a compound basic idea ["weak antecedent"], building on Beethoven's basic idea (mm. 1-2), and I have also supplied new consequent, continuation, and cadential phrases. The consequent restates the basic idea literally, after which a cadence follows (c1 below). The continuation starts with a one-bar idea derived from the basic idea, applies sequence to it, then comes to a cadence (c2). The cadential phrase is very close to the continuation except that an unstable I6 already supports bar 5 and thus expands the cadential progression across the entire phrase (c5). All units are labelled to match the lists above.

Chapter 1, p. 7

Note that to make some of these combinations work correctly throughout the eight bars, you will have to delete the pickup note to bar 5.

c1. period

c2. sentence

c3. period with modulating consequent

c4. hybrid 1 (antecedent + continuation)

Formal Functions in Themes and Small Forms: Summary, p. 8

c5. hybrid 2 (antecedent + cadence)

c6. hybrid 3 (compound basic idea ["weak antecedent"] + continuation)

c7. hybrid 4 (compound basic idea ["weak antecedent"] + consequent)

c8. "hybrid 5" (presentation + consequent)

Chapter 1, p. 9

C. CAPLIN FUNCTIONS IN TABLE FORMATThe following section includes the content of the web page http://uts.cc.utexas.edu/~neumeyer/Caplin_table.html TABLE: COMPONENTS OF EIGHT-BAR THEMES 2-bar level 1-2 3-4 5-6 7-8basic idea 1. basic idea, repeated or varied 2. statement-response (usually, I-V is answered V-I) 3. contrasting idea 4. (rarely) cadential

1. basic idea, exact or varied 2. fragmentation, with or without sequence 3. new idea (contrasting)4. (rarely) cadential (more common: cadential progression begins here with I6 or subdominant harmonies and continues into 7-8)

1. cadential 2. (rarely) repetition of cadence from 5-6

Phrase level 1-4 5-8 1. antecedent 2. presentation 3. compound basic idea ("weak antecedent")1. consequent 2. continuation 3. continuation->cadential 4. cadentialTheme level 1-81. period 2. sentence 3. hybrids


Examples from repertoire

NB: These are live links -- they will take you out of this PDF Lile to web pages opened in your browser window.

Some examples for bars 3-4: repetition, exact: Clarchies, 28th receuil: La Beltonrepetition, varied: Beethoven, Menuets, WoO10, n1 repetition, varied: Beethoven, Menuets, WoO10, n1 statement-response: Beethoven, Menuets, WoO10, n5 contrasting idea: Beethoven, Menuets, WoO10, n2 trio contrasting idea: Beethoven, Menuets, WoO10, n6contrasting idea -- from La Cuisse, vol. 3: Les Amusemens de Caumont. Note: Nearly 90 of the 100 contredances in La Cuisses' three volumes are periods: see the statistics here: La Cuisse, table of theme types. Some examples of periods: very clear example, from Clarchies, 28th receuil: La Miranfrom Clarchies, 28th receuil: La Saint Angeantecedent ends with IAC: from Clarchies, 28th receuil: La Boston Beethoven, Menuets, WoO10, n6consequent is transposed down a third: Beethoven, Menuets, WoO10, n2modulating consequent: Beethoven, Menuets, WoO10, n5 triomodulating consequent: Beethoven, Menuets, WoO10, n6modulating consequent, from La Cuisse, vol. 3: Les Amusemens de Caumontconsequent starts on dominant position: Beethoven, Lndler, WoO11, n7period with a failed consequent in both dance and trio, from La Cuisse, vol. 3: La languedocienne. See the note above about statistics for the 100 dances in La Cuisse's three volumes.Some examples of sentences: Numbers 1, 3, 4, 5, and the trios to nos. 4 & 6 in this set: Beethoven, Menuets, WoO10classic sentence, with fragmentation and sequence in continuation, from the waltzes at the end of Clarchies, 28th receuil: Waltz, p. 34. Note: 16 of the nearly 75 waltzes in Clarchies are sentences: you can ]ind them using the statistics here: Clarchies, table of theme types. Some examples of hybrids: c4. hybrid 1 (antecedent + continuation) very clear example in the trio, from Clarchies, 28th receuil: Waltz, p. 35, trio very clear example in the trio, from Clarchies, 28th receuil: Waltz, p. 42, trio. The antecedent + continuation model is prominent in Clarchies, but even more so in Bacquoy-Guedon: you can ]ind examples using the statistics here: Bacquoy-Guedon, table of theme types.

Chapter 1, p. 11

Beethoven, Menuets, WoO10, n2 trio Beethoven, Lndler, WoO11, n2c5. hybrid 2 (antecedent + cadence) Beethoven, Menuets, WoO10, n1 trioc6. hybrid 3 (compound basic idea + continuation) example to be addedc7. hybrid 4 (compound basic idea + consequent) Beethoven, Lndler, WoO15, n1 & n2c8. "hybrid 5" (presentation + consequent) from Clarchies, 28th receuil: add title-recNum23Beethoven, Lndler, WoO11, n5consequent is the presentation repeated: Beethoven, Lndler, WoO11, n6 Beethoven, Lndler, WoO15, n3 Table of sixteen-measure or compound themes16 BAR PERIOD* 1-8 9-16(Classical Form, p. 65) 8-bar-antecedent: -- presentation + continuation -- compound basic idea + continuation -- antecedent + continuation

8-bar-consequent repeats components of 8bar-antecedent; continuation can change to continuation->cadential16 BAR SENTENCE* 1-8 9-16(Classical Form, p. 69) 8-bar-presentation: compound basic idea + repetition 8-bar-continuation: -- its second phrase is often continuation->cadential or cadential -- "compressed continuation" is only 4 bars; or 4 bars (with cadence) + 4 bars either repetition or post-cadential extension *Although the note-by-note contents of a 16-bar small binary form and a 16-bar period or sentence could conceivably be identical, the binary form is distinct because of the repetitions of the two parts.


D. SMALL TERNARY FORMS 16-bar type: The small ternary may run no more than 16 bars (as 8+8) if the ]inal four repeat the basic idea at the original level and a cadence follows. 24-bar type: normally 8 + 16, where 9-16 = contrasting middle; 17-24 = recapitulation with PAC in the home key. 32-bar type: normally 16 + 16, where 17-24 = contrasting middle; 25-32 = recapitulation with PAC in the home key. A variant of the 32-bar-small ternary is 8+24, where the ]irst part is a standard 8-bar period or sentence and the second part typically includes an extended contrasting middle.The "contrasting middle" consists of a continuation (with or without a new basic idea), standing on the dominant (usually with a new idea), sentence or -- rarely -- period (with new idea), or for longer pieces some combination of the above. Some examples of small ternary forms and their components: Numbers 4 & 6, and the trios to nos. 2, 3, 5, & 6 in this set: Menuets, WoO10 The ]irst three dances in this set: Beethoven, Lndler, WoO11 Examples of techniques for the contrasting middle: Contrasting Middle, set 1 E. SMALL BINARY FORMS Bars 1-8: any period, sentence, or hybrid typeBars 9-16: (1) contrasting middle + continuation (or continuation-->cadential, or cadential); (2) contrasting middle and "consequent" (new b.i. and c.i.); (3) new sentence; (4) cadential; (5) (not common) cadential plus post-cadential extension. NOTE: With respect to harmony, if bar 9 is stable on the tonic, then the odds increase that 9-16 will be a new sentence;if bar 9 is a clearly de]ined subdominant type, then 9-16 are probably cadential; if bar 9 is stable on the dominant or unstable on any harmony, 9-12 are most likely contrasting middle.NOTE: Although the note-by-note contents of a 16-bar small binary form and a 16-bar period or sentence could conceivably be identical, the binary form is distinct because of the repetitions of the two parts (and also because elements of the "contrasting middle" function are almost routine: bars 9-12 in the 16 bar themes make very strong ties to the beginning). Some examples of small binary forms: Numbers 1, 2, 3, & 5, and the trios to nos. 1 & 4 in this set: Menuets, WoO10 The last four dances (4-7) in this set: Beethoven, Lndler, WoO11 All six dances in this set: Beethoven, Lndler, WoO15

Chapter 1, p. 13

CHAPTER 2:

Examples of themes and small forms (1)

A. THEME TYPES: EXAMPLESThis set of examples is taken mostly from eighteenth-century sources earlier than the classical Viennese repertoire covered in Classical Form. Most come from the keyboard works of J. J. Fux and are meant to offer clear-cut instances of each theme type. 1. Period 1a. Period with modulating consequent or half cadence2. Sentence3. Caplin's Hybrid 1: antecedent + continuation4. Caplin's Hybrid 2: antecedent + cadential5. Caplin's Hybrid 3: "weak antecedent" + continuation **NB: I strongly prefer "weak antecedent" to Caplin's "compound basic idea." 6. Caplin's Hybrid 4: "weak antecedent" + consequent7. Other "Hybrids" (a): presentation + consequent8. Other "Hybrids" (b): presentation + cadential9. Other "Hybrids" (c): "weak antecedent" + cadential PeriodLa Cuisse, contredanse "La Victorieuse," ]irst strain. The second strain also has the melodic shapes and sequence of a period but is harmonically unstable, as it opens in D major but moves to and closes in A major. It might be better to invoke Caplins theme-like unit as the category label for this second strain.

Period with modulating consequent or half cadenceJ. J. Fux, 4 Suites, no. 4, Gavotte. Source: DT volume, facsimile on IMSLP.

Sentence J. J. Fux, 12 Menuets, no. 12.

Caplin's Hybrid 1: antecedent + continuation J. J. Fux, 12 Menuets, no. 1.

Chapter 2, p. 15

Caplin's Hybrid 2: antecedent + cadential Georg Bhm, Suite no. 2, Rigaudon, trio.

Caplin's Hybrid 3: "weak antecedent" + continuation **NB: I strongly prefer "weak antecedent" to Caplin's "compound basic idea." J. J. Fux, 4 Suites, no. 2, Passepied.

Caplin's Hybrid 4: "weak antecedent" + consequent Beethoven, German Dances, WoO8, n6trio

Examples of Themes and Small Forms (1), p. 16

Other "Hybrids" (a): presentation + consequent"Arquebus," La Clef de Coeurs, ]irst strain.The second and third strains are close variants of the ]irst; these might easily have arisen in performance. It is very rare, however, to see strains as variations in the published contredanse repertoire. The second strain transforms the ]irst into an antecedent-continuation pair. The third strain is a presentation-consequent pair like the ]irst strain.Other "Hybrids" (b): presentation + cadential No example yet.Other "Hybrids" (c): "weak antecedent" + cadential No example yet.

Chapter 2, p. 17

B. CONTRASTING MIDDLE, REPERTOIRE EXAMPLESThe second parts of small binary and small ternary forms are quite predictable overall. The dif]iculty comes in distinguishing among the various possible components. The goal of this page is to supplement that study with a few clear-cut examples, all drawn from early Haydn piano sonatas. 1. continuation phrase (with a new basic idea) Note: Variants (continuation-->cadential, or cadential) are possible. 2. continuation phrase (without a new basic idea)3. standing on the dominant (usually with a new idea)4. sentence with new idea5. (rare) period with new idea6. some combination of the above7. Binary forms only: continuation or standing on the dominant + consequent8. Binary forms only: extended cadential function9. Binary forms only: cadential + post-cadential extensionContinuation phrase (with a new basic idea) Haydn, an early Sonata in E Major, Finale theme. Caplin describes the ]irst section as a period with failed consequent (88, Ex. 7.1), because of the unusual move to V of vi, Haydn's quirky way of undermining expectations in what otherwise is a very straightforward 2/4 contredanse. The second section is an 8-bar continuation phrase that is a sequence of a new basic idea, plus a quick cadence at the end.


Continuation phrase (without a new basic idea) Haydn, Divertimento [sonata] in C major, Menuet. A four-measure continuation phrase ending on a HC, followed by a full reprise of the A section.

Chapter 2, p. 19

Standing on the dominant Haydn, Sonata in G Major, Allegro (]inale). Four measures of standing on the dominant (piano), followed by a repetition of same with inverted counterpoint (forte).Examples of Themes and Small Forms (1), p. 20

Haydn, Sonata in G Major, Presto (]inale), Trio. The dominant doesn't have to be a pedal point.

Haydn, Sonata in D Major, menuet. The dominant doesn't have to be a pedal point.

Chapter 2, p. 21

Sentence (with or without a new idea) Haydn, Sonata in G Major, Presto (]inale). A classic sentence in the tonally expressive area of the contrasting middle.

Haydn, Sonata in A Major, Menuet with variations, theme. Another classic sentence, but here the entire second section is a variant form of the ]irst.


Haydn, Sonata in F Major, Scherzo (]inale). A classic sentence in the tonally expressive area of the contrasting middle.Chapter 2, p. 23

(Rare) Period with or without new idea Haydn, early Sonata in D Major, menuet. The basic idea of the second period (mm. 9-16) uses the same opening motivic bit but is essentially new.

Haydn, Sonata in A Major, Finale. See above under sentence (with or without a new idea). The entire second section is a variant form of the ]irst.


Some combination of the above Haydn, Divertimento [sonata] in C major, Trio of the Menuet. An extended continuation phrase (which can be considered cadential throughout) starts with fragmentation of the main motive then introduces a new motive.

Haydn, an early Sonata in A major, Menuet. A truncated (2 + 4) sentence built on the original basic idea.

Chapter 2, p. 25

Haydn, another early Sonata in A major, Menuet. The 2d strain starts with 4 bars of a simple standing on the dominant, followed by a 6-bar truncated sentence on an entirely new idea.

Binary forms only: continuation or standing on the dominant, plus consequent Haydn, an early Sonata in E Major, Finale theme. A variation of the theme (see Continuation phrase above), this is a clear period with modulating consequent. Mm. 9-12 are a simple standing on the dominant with fragmentation of the basic idea. The ]inal four bars a little less obvious: a varied version of the consequent (mm. 5.8).

Binary forms only: extended cadential function Binary forms only: cadential + post-cadential extension No examples found as of yet.


C. DEVELOPMENT OF A MULTI-SECTION MUSICAL COMPOSITION USING A FRENCH CONTREDANSE, LA DORLY, FROM LOUIS JULIEN CLARCHIES, RECUEIL DES CONTRE-DANSES ET WALZESTo provide additional examples of themes and small forms, I have reproduced and adapted a contredanse from a volume in a large collection of dances published in Paris by Louis Julien Clarchies and reproduced on the Library of Congress American Memory site, in the section "An American Ballroom Companion: Dance Instruction Manuals." Bibliographic information may be found at Clarchies. NB: These are live links -- they will take you out of this PDF Lile to web pages opened in your browser window.The page for the dance "La Dorly" is: Receuil 28, no. 3: La Dorly. The 28th volume is the only one in the Library of Congress' collection that arranges its dances in the ]ive-part sequence of the early nineteenth-century quadrille (or group dance for four couples); three such sets are formed by nos. 1-5, 6-10, and 11-15, respectively. By mid-century, the quadrille had expanded to six parts, but the third position (called "la poule") remained the same. All dances of the quadrille are contredanses in either of the traditional meters (2/4 or 6/8); the distinctions between the dances derive from the ]igures, not from the music.List of examples: 1. Clarchies' original ]irst strain with an analysis of formal functions after Caplin. 2. "strophic form" (= the ]irst strain repeated ad hoc). 3. compound theme (16-bar period). 4. small binary. 5. small ternary. 6. "rondeau" (= Clarchies' original (three strains).

1. Clarchies' original ]irst strain with an analysis of formal functions after Caplin. A hybrid theme, with antecedent and continuation.

2. "strophic form" (= the ]irst strain repeated ad hoc). The simplest possible way to create a small form is by literal (or slightly varied) repetition. This has its uses in the context of social dancing.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 28

3. compound theme (16-bar period). I altered the cadence in bar 8 to produce an 8-bar antecedent, then added an 8-bar consequent to complete the theme. (Writing a 16-bar sentence would have required more extensive alterations of the original strain.)

4. small binary.

Chapter 3, p. 29

5a & b. small ternary, two versions. Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 30

6. "rondeau" (= Clarchies' original (three strains).

Chapter 3, p. 31

D. DEVELOPMENT OF A MULTI-SECTION MUSICAL COMPOSITION USING ANOTHER DANCE: HUMMEL, MENUET, OP. 39N1:Johann Hummel's original orchestral dances for the Apollo-Saal, an enormous Viennese establishment that included over two dozen halls and other features, were published simultaneously in keyboard versions. Opus 39 includes menuets and German dances for the 1811 Carneval season (roughly, New Years to Ash Wednesday). A facsimile of this publication can be found on IMSLP: Hummel, op39.

For this example, I will gradually "construct" the dance. A sharply pro]iled sentence begins: a dominant-level "answer" to the basic idea, followed by a third statement aligned with the beginning of an ECP that runs through the second phrase.

As it happens, the passage above is the consequent of a 16mm period, where the antecedent is built very similarly. Unfortunately, Caplin's terminology does become confusing here: remember that an 8mm sentence can serve as the antecedent of a 16mm period.


And -- as it happens -- the 16mm period above is the A-section of a small ternary form: see below, where the contrasting middle consists of a standing on the dominant passage (using the b.i.) interrupted for a HC, and the reprise is truncated, offering yet another version of a sentence.

And -- there is a trio, based on a melody from a popular opera, Joseph Weigl's Die Schweizer Familie, also known to be a particular favorite of the young Franz Schubert. The A section is another sentence. After a brief contrasting middle, the "reprise" is a bit of a surprise: the contrasting idea that begins the continuation in section A becomes the starting point of a conventional period.

Chapter 3, p. 33

Here, then, is the entire composition.


CHAPTER 3:

Examples of themes and small forms (2): Beethoven dance sets

A. DESIGNS AND FORMAL FUNCTIONS FOR ALL DANCES (SCORE FORMAT)

Beethoven, 12 Menuets, WoO7The Menuets in WoO7 and the German Dances, WoO8, were composed in 1795, about the same time as the Trios, Op. 1, and the Piano Sonatas, Op. 2. Both sets were composed for orchestra. Although the publisher Artaria announced that the piano arrangements were by Beethoven himself, there is no conclusive evidence that it is true -- such arrangements were commonly produced by employees of the publisher -- although it should be said that the arranger was clearly a pianist, because the pieces do lie well under the hands. For PDF ]iles of both orchestral and piano solo versions of the Menuets, go here: IMSLP page for WoO7. Note: this is a live link.Menuet n1 in D major.

Trio to n1.

Menuet n2 in Bb major.


Trio to n2.

Menuet n3 in G major.

Chapter 3, p. 37

Trio to n3.

Menuet n4 in Eb major.


Trio to n4.

Menuet n5 in C major.

Chapter 3, p. 39

Trio to n5.

Menuet n6 in A major.


Trio to n6.

Menuet n7 in D major.

Chapter 3, p. 41

Trio to n7.

Menuet n8 in Bb major.


Trio to n8.

Menuet n9 in G major.

Chapter 3, p. 43

Trio to n9.

Menuet n10 in Eb major.


Trio to n10.

Chapter 3, p. 45

Menuet n11 in C major.

Trio to n11.


Menuet n12 in F major.

Trio to n12.

Chapter 3, p. 47

Beethoven, 12 German Dances, WoO8For PDF ]iles of both orchestral and piano solo versions, go here: IMSLP page for WoO8. The page includes a facsimile of the ]irst edition of the piano solo version, digitized by the Beethoven-Haus, Bonn.Formal functions are supplied using William Caplin's terminology. Conclusions to be drawn about the ]irst strains include: (1) the surprising variety of forms -- or, to put this negatively, the "stereotypical" period is by no means the most common type: in fact it only appears once, although six dances use the "weak antecedent" [compound basic idea] plus consequent, nor is the sentence so common as one might expect (it appears three times), (2) the large number of hybrid forms, and (3) the weakness of the functional terminology at capturing a strong sense of contrast between bars 1-4 and 5-8 -- it is evident that the label "continuation" is too broad, but it is, on the other hand, dif]icult to think what might effectively distinguish a "contrasting phrase" from a continuation. Nevertheless, the idea of immediate and sharp contrast between phrases (and strains) is a particular feature of the waltz, one that is related to a similar tendency in later 18th-century menuets and that persists -- as a contrast of strains -- far into the waltz's later history.Conclusions about the second strains (and overall form): Four of the dances are small ternary forms, the other nineteen are small binaries, but, as was the case in the ]irst strains, details of the formal functions for the complete dances vary quite a bit. Most, however, do follow expected patterns: (1) in 9-12, contrasting middle (using standing on the dominant, fragmentation, or model-sequence based on an idea from part one (or a new idea)); (2) in 13-16, sixteen of the dances spread a cadential function across the phrase. Note: I use the term "model-repetition" for the case where a two-measure model is stated, but then literally repeated rather than transposed or signi]icantly varied.


Dance n1 in C major.

Dance n2 in A major.

Chapter 3, p. 49

Trio to n2.

Dance n3 in F major.


Trio to n3.

Dance n4 in Bb major.

Trio to n4.

Chapter 3, p. 51

Dance n5 in Eb major.

Trio to n5.

Dance n6 in G major.


Trio to n6.


Chapter 3, p. 53

Trio to n7.

Dance n8 in A major.


Trio to n8.

Dance n9 in F major.

Chapter 3, p. 55

Trio to n9.

Dance n10 in D major.

Trio to n10.


Dance n11 in G major.

Trio to n11.


Chapter 3, p. 57

Trio to n12.

B. DESIGNS AND FORMAL FUNCTIONS FOR ALL DANCES (TABLE FORMAT)

Beethoven, 12 German Dances, WoO8All dances and trios are 16 bars, as 8+8 with both strains repeated. Most of the twenty three dances are cast as small binaries; four are small ternary forms. All but the ]irst dance have trios; the set also has a lengthy coda with Posthorn solos (this 133-bar coda is essentially an independent piece). All dances except the ]irst, therefore, are cast in a compound ternary design (dance--trio--dance da capo), though of course in performance for dancing these designs may have been altered substantially. They were very possibly played in the 'alternativo' manner that is still employed in Strauss waltzes of the mid-nineteenth century. Mozart already refers to this in notes for his K. 509 (1787): "Each German dance has its trio or rather 'alternativo' - after the 'alternativo' the dance is repeated, then comes the 'alternativo' again; it then goes via the introduction into the next dance."[conclusions repeated from previous section] Conclusions to be drawn from the table below include: (1) the surprising variety of forms (or, to put this negatively, the "stereotypical" period is by no means the most common type), (2) the large number of hybrid forms (two "deviant" types are marked with *), and (3) the weakness of the functional terminology at capturing a strong sense of contrast between bars 1-4 and 5-8 -- it is evident that the label "continuation" is too broad, but it is, on the other hand, dif]icult to think what might effectively


distinguish a "contrasting phrase" from a continuation. Nevertheless, the idea of immediate and sharp contrast between phrases (and strains) is a particular feature of the waltz, one that is related to a similar tendency in later 18th-century menuets and that persists -- as a contrast of strains -- far into the waltz's later history.First strains: 1. sentence2. period with modulating consequent 2-trio. hyb3 (compound basic idea + continuation) -- with strong contrast3. hyb3 (compound basic idea + continuation) 3-trio. hyb3 (compound basic idea + cadential) -- the cadence may be understood as occurring in mm.5-6 or 7-8. The former emphasizes the echo effect, the latter acknowledges the power of temporal symmetries in dance music.4. sentence -- with strong contrast *4-trio. presentation + repetition of presentation (!) [Caplin suggests another, equally unusual reading: cadential (failed) + cadential] 5. hyb3 (compound basic idea + continuation), with 3-4 & 5-6 closely related5-trio. hyb1 (antecedent + continuation->cadential) 6. hyb1 (antecedent + continuation) -- with strong contrast 6-trio. hyb4 (compound basic idea + consequent) [Caplin's reading]*7. compound basic idea + repetition of compound basic idea [Caplin's reading] 7-trio. sentence -- with strong contrast 8. hyb3 (compound basic idea + continuation -- with strong contrast)8-trio. hyb4 (compound basic idea + consequent) [Caplin's reading]9. period9-trio. hyb4 (compound basic idea and consequent) [Caplin's reading]10. hyb4 (compound basic idea and modulating consequent) [Caplin's reading]10-trio. hyb4 (compound basic idea + consequent) [Caplin's reading]11. hyb4 (compound basic idea + consequent)11-trio. hyb1 (antecedent + continuation) 12. hyb3 (compound basic idea + continuation) 12-trio. hyb3 (compound basic idea + continuation) -- with strong contrastSecond strains: Four of the dances are small ternary forms, the rest are small binaries, but, as was the case in the ]irst strains, details of the formal functions for the complete dances vary quite a bit. Most, however, do follow expected patterns:

Chapter 3, p. 59

in 9-12, contrasting middle (using standing on the dominant, fragmentation, or model-sequence based on an idea from part one (or a new idea)); in 13-16, sixteen of the twenty three dances spread a cadential function across the phrase. Note: I use the term "model-repetition" for the case where a two-measure model is stated, but then literally repeated rather than transposed or signi]icantly varied.1. small binary; 9-12 are contrasting middle (model-sequence), 13-16 are cadential2. small binary; 9-12 are contrasting middle (based on repetition of a new one-bar motive [related to fragmentation]), 13-16 are cadential2-trio. small binary; 9-12 are contrasting middle (statement and repetition of a new idea, or model-repetition), 13-16 are cadential after the initial chord3. small binary; 9-12 are contrasting middle (standing on the dominant with two-measure units), 13-16 are a continuation whose melodic elements can be heard as an inversion of the basic idea 3-trio. small binary; 9-12 are contrasting middle (uses fragmentation but arrives at a PAC on the dominant); bars 13-14 are cadential with an echo in bars 15-16.4. small binary; 9-12 are an unusual "standing on ii6" which uses fragmentation in the melody; the whole of the second strain could easily be described as cadential*4-trio. small ternary; a compact design with contrasting middle (standing on the dominant) in 9-12, and repetition of 5-8 to end5. small binary; 9-12 are contrasting middle (consisting of a new idea and its varied repetition), 13-16 are cadential5-trio. small binary; 9-12 are contrasting middle (model (new idea)-sequence), 13-16 are cadential (a transposed repetition of 5-8)6. small binary; 9-12 are contrasting middle (model-sequence with two-bar units), 13-16 is cadential6-trio. small ternary; a compact design with contrasting middle (fragmentation, or one-bar-level-sequential passage) in 9-12, and repetition of 5-8 to end *7. small binary; 9-12 are contrasting middle (using fragmentation and model-sequence (the model-motive derived from the basic idea)), 13-16 are cadential 7-trio. small binary; 9-12 are contrasting middle (standing on the dominant) and 13-16 are cadential -- thus, the entire second part could be cadential8. small binary; 9-12 are contrasting middle (model sequence in two-bar units (the motive is new)), 13-16 are cadential 8-trio. small ternary; a compact design with an unusual repetition of a one-bar motive supported by the IV harmony in 9-12, and repetition of 5-8 to end: the overall result is "cadential" 9. small ternary; a compact design with are contrasting middle (model-sequence) in 9-12, and repetition of 5-8 to end 9-trio. small binary; 9-12 are contrasting middle (model-repetition), 13-16 are cadential 10. small binary; 9-12 are contrasting middle (standing on the dominant with the sequence of a new one-bar model), 13-16 are cadential -- thus, all of the second part is cadential10-trio. small binary; all of the second part is cadential, as standing on the dominant is extended into the closing phrase -- a two-bar ]igure (not quite a model) is derived from bars 6-711. small binary; are contrasting middle (model-sequence based on the motive of bars 3 & 7), then even greater fragmentation over the cadential closing phrase


11-trio. small binary; 9-12 is are contrasting middle (a new phrase which closes on a half cadence to V but cannot really be called standing on the dominant), 13-16 literally repeat the continuation of part one (the only instance of a true Baroque-style "balanced binary" form in WoO8)12. small binary; new melodic material throughout -- 9-12 stands on the dominant, 13-16 is continuation->cadential 12-trio. small binary; 9-12 are contrasting middle (standing on the dominant), 13-16 is cadential with a melodic shape roughly the inverse of 5-8 C. DESIGNS AND FORMAL FUNCTIONS FOR ALL DANCES (SCORE FORMAT)

Beethoven, 6 Menuets, WoO10: designs and formal functions These dances were composed for orchestra in 1796; the piano arrangements might have been made by Beethoven himself, but there is no conclusive evidence that this is true. The occasion for which the dances were written is unknown, as is their function for dancing or listening (of course, it could easily have been both). The fact that the opening key does return at the end but by means of an implausible move (D major -> C) undermines the notion that the menuets were meant to be played as a group. The scores used here come from the ]irst Beethoven complete works edition: Werke. Vollstndige kritisch durchgesehene berall berechtigte Ausgabe (Leipzig, Breitkopf & Hartel (1864-90)), Series 18: Kleinere Stcke fr das Pianoforte. Each of the six Menuets has a trio. All twelve dances are 16 bars long, in an 8+8 format. The following are small ternary forms -- no. 2; no. 2 trio; no. 3 trio; no. 4; no. 5 trio; no. 6; no. 6 trio -- though some judgments had to be made about what is suf]icient to declare bar 13ff a reprise, a common problem in such small forms. The other dances are small binaries. The score for each dance and trio pair is given below preceded by a description of the formal functions in each of the strains. Note that, for simplicity's sake (because these forms are so small), I have used "Part" to label each segment enclosed in repeat signs, whether or not the form is small binary or small ternary (for the latter, Caplin uses ABA). About the ]irst strains, the conclusions to be drawn are (1) that they follow the simpler models more closely than do, for example, the waltzes of WoO8; (2) that, despite this, they don't often observe the "textbook" expectation of the parallel period that one is likely to associate with a traditional dance like the menuet.About the second strains, it is ]irst of all surprising that there are no extended (16-bar) units with 8-bar literal reprises, of the kind that are very familiar from the menuet movements in the sonata and symphony repertoire. Second, the results are very similar to

Chapter 3, p. 61

those for WoO8 for bars 9-12 (contrasting middle, using standing on the dominant, fragmentation, or model-sequence based on an idea from part one (or a new idea)); but quite different for bars 13-16 -- in WoO8, sixteen of the twenty three dances spread a cadential function across the phrase, but in WoO10 only one does so: ]ive use a continuation function and six attempt reprises of varying degrees of clarity. No. 1: small binary. Part 1: sentence. Part 2: contrasting middle (standing on the dominant) + continuation (variant of bars 5-8)

No. 1, trio: small binary. Part 1: hybrid (antecedent + cadential). Part 2: contrasting middle (model-sequence) + continuation. The latter is almost identical melodically to 5-8 but tonic harmony is reached in bar 14.


No. 2: small binary. Part 1: period (The effect is clear even if the basic idea is transposed down a third in bars 5-6.). Part 2: hybrid (antecedent + continuation). Remarkably, the continuation is a partial reprise of mm. 5-8.

No. 2, trio: small ternary. Part 1: hybrid (antecedent + continuation). Part 2: contrasting

Chapter 3, p. 63

middle (standing on the dominant) + reprise. The cadential function takes over very quickly here (by the last beat of bar 13).

No. 3: small binary. Part 1: sentence. Bars 5-8 might be cadential rather than continuation, depending on how you read beats 2-3 of bar 6. Part 2: contrasting middle (model-repetition) + continuation. Though I have labelled bars 9-12 "contrasting middle," they have strong presentation qualities, too: only the unstable tonic prevents our calling Part 2 another sentence. Bars 13-16 are virtually identical to 5-8.


No. 3, trio: small ternary. Part 1: hybrid (presentation + continuation->cadential). There is strong contrast between the two phrases. Part 2: contrasting middle (model-sequence -- standing on the dominant?) + reprise.

No. 4: small ternary. Part 1: sentence (here again the continuation is a sharp contrast to the presentation). Part 2: contrasting middle (model-sequence, standing on the dominant) + reprise

Chapter 3, p. 65

No. 4, trio: small binary. Part 1: sentence (fragmentation using a single motive runs throughout the dance). Part 2: contrasting middle (model-sequence) + continuation

No. 5: small binary. Part 1: sentence. Part 2: contrasting middle (model-sequence) + cadential. Bars 5-8 provide the melodic ]igures in 13-16, which might have been considered a reprise (bar 13 = bar 1) except for the I6 that drives harmonic (and cadential) function to the fore.


No. 5, trio: small ternary. Part 1: period (antecedent + modulating consequent, the awkward bit here being that the modulation occurs immediately, in bar 5). Part 2: contrasting middle (fragmentation, sequence) + reprise (=a literal transposition of 5-8 from dominant to tonic level).

No. 6: small ternary. Part 1: period (antecedent + modulating consequent). Part 2: contrasting middle (model-sequence, standing on the dominant) + reprise

Chapter 3, p. 67

No. 6, trio: small ternary. Part 1: sentence. Part 2: contrasting middle (model-sequence) + reprise. The latter is weak -- 13-16 might have been called continuation instead.

Formal Functions in Beethoven, 7 Lndrische Tnze, WoO11: Scores from the Beethoven WerkeWoO11 was composed in 1799. It consists of seven dances (without trios) and a coda which continues the ]igures of the seventh dance. All the dances but no. 2 are 16 bars; no. 2 is 24 in an 8+16 design that includes a literal reprise of mm. 1-8. Since all the dances are in D major, it seems obvious that this entire set is what would be called a waltz some 20-30 years later by Josef Lanner and Johann Strauss, sr.: several short dances played in succession, with some probably acting as trios to others. The set shows strongly the violinistic arpeggio ]igures characteristic of the Lndler. The scores used here come from the ]irst Beethoven complete works edition: Werke. Vollstndige kritisch durchgesehene berall berechtigte Ausgabe (Leipzig, Breitkopf & Hartel (1864-90)), Series 18: Kleinere Stcke fr das Pianoforte. Unlike menuets, where variety was a virtue prized as much as symmetry, Lndler were often highly repetitious, as these excellent imitations of the traditional style by Beethoven amply demonstrate. Note in particular how often the rhythms of a four-bar phrase are


repeated, intact, in others, even those in the "contrasting middle" that opens Part 2 in most of these dances. No. 1: small ternary. Part 1: "weak period," or compound basic idea, repeated. Part 2: contrasting middle (cadential, with repetition of one-bar idea) + reprise.

Chapter 3, p. 69

No. 2: small ternary. Part 1: hybrid, or antecedent + continuation (with identical rhythms). Part 2: contrasting middle (cadential, using basic idea), repeated to make 8 bars + 8-bar reprise.

No. 3: small ternary. Part 1: "weak period," or compound basic idea, repeated. Part 2: contrasting middle (standing on the dominant) + reprise.


No. 4: small binary. Part 1: "weak period," or compound basic idea, repeated but varied. Part 2: cadential (with new one-bar idea) + the same repeated.

No. 5: small binary. Part 1: hybrid, or presentation + consequent (the entire eight bars, however, also being cadential). Part 2: sentence-like, or presentation from Part 1, now in the subdominant key, followed by cadential, a variant of the cadence from Part 1.

Chapter 3, p. 71

No. 6: small binary. Part 1: hybrid, or presentation + consequent (=same, repeated). Part 2: hybrid, or compound basic idea + same, repeated.

No. 7: small binary. Part 1: period, where consequent starts with dominant position of the basic idea. Part 2: cadential phrase + reprise (?), both using rhythms of the antecedent.


Beethoven, 7 Contradances, WoO14: Formal functions after Caplin (score format)The contradances, WoO14, are understood as 12 in the nineteenth-century Breitkopf edition of Beethoven's works (go to IMSLP page). Five of those dances are not by Beethoven and were deleted here. Contradance n1 in C major. = Breitkopf n1. Combining standing-on-the-dominant with a cadential phrase was a favorite device of the Viennese composers.

Chapter 3, p. 73

Contradance n2 in A major. = Breitkopf n2. The presentation is on a dominant pedal (sustained notes in the horns in the orchestral version).

Contradance n3 in Bb major. = Breitkopf n4. See no. 1 for a comment on design of the second strain.


Contradance n4 in Eb major. = Breitkopf n5 A classic period in the ]irst strain.

Trio to n4. Following the model of Clarchies's collections (see n7, trio, below), it is likely that no. 4 was to be played en rondeau, that is, ]irst strain--second strain--]irst strain--trio--]irst strain. The design of the trio strain is simple, with the "inverted response" we have already seen in no.1 and which appears again in the trio of no. 7.

Chapter 3, p. 75

Contradance n5 in Eb major. = Breitkopf n7. This famous little piece has a very clear-cut design, once again with the combined standing-on-the-dominant and cadential phrase of which the Viennese composers were quite fond.

Contradance n6 in A major. = Breitkopf n9. The cadential function stretched over the entire strain is unusual, but more so is the "standing on the subdominant."


Contradance n7 in C major. = Breitkopf n10

Trio to n7. Following the model of Clarchies's collections (see n4, trio, above), it is likely that no. 7 was to be played en rondeau, that is, ]irst strain--second strain--]irst strain--trio--]irst strain. The design of the trio strain is simple, with the "inverted response" we have already seen in no.1 and the trio of no. 4.

Chapter 3, p. 77

Formal Functions in Beethoven, 6 Lndrische Tnze, WoO15: Scores from the Beethoven WerkeFrom 1802, these dances are very similar to those of WoO11 in that they are a group meant to be performed together, in the manner of a waltz by Josef Lanner and Johann Strauss, sr. This set also shows strongly the violinistic arpeggio ]igures characteristic of the Lndler. There are six dances and a coda which continues the ]igures of no. 6. Each dance is in 16 bars; all are in D major except no. 4, which is in the parallel minor. The scores used here come from the ]irst Beethoven complete works edition: Werke. Vollstndige kritisch durchgesehene berall berechtigte Ausgabe (Leipzig, Breitkopf & Hartel (1864-90)), Series 18: Kleinere Stcke fr das Pianoforte. Unlike menuets, where variety was a virtue prized as much as symmetry, Lndler were often highly repetitious, as these excellent imitations of the traditional style by Beethoven amply demonstrate (the same was true of WoO11). If anything, these Lndler are even simpler (that is, more repetitious) than those in WoO11. No. 1: small binary. Part 1: hybrid, or compound basic idea + consequent (=same, repeated). Part 2: cadential (with new one-bar idea) + the same repeated (as in WoO11, n4). No. 2: small binary. Part 1: hybrid, or compound basic idea + consequent (=same, repeated). Part 2: cadential phrase, repeated. No. 3: small binary. Part 1:hybrid, or presentation + consequent (=same, repeated). Part 2: contrasting middle + cadential (=transposition of the contrasting middle phrase!). No. 4: small binary. Part 1: hybrid, or compound basic idea + consequent (=same, repeated). Part 2: cadential, with phrase repeated as if a consequent. No. 5: small binary. Part 1: period (?). Bars 3-4 apply fragmentation and repetition to the basic idea. In this context, that might be enough to qualify as "contrasting idea." Part 2: period, but with fragmentation and sequence worked in. No. 6: small binary. Part 1: hybrid, or compound basic idea + consequent (=same, repeated). Part 2: cadential, with phrase repeated as if a consequent.


Chapter 3, p. 79

Chapter 3, p. 81

PART 2:

Data for themes and small forms

CHAPTER 4:

Data on theme types in the Lirst strains of dances (1): General

A. EXAMPLES OF THEME TYPES, AFTER WILLIAM E. CAPLIN, GATHERED IN TABLES AND WITH LINKSThe following section includes the content of the web page http://uts.cc.utexas.edu/~neumeyer/themes_tables.htmlThe table below gathers data from several other pages on theme types in dance or dance-in]luenced pieces from a period roughly 1730-1820 (with a substantial drop back in time for Playford's collections). Follow the links for additional information and musical scores.Please understand that the information displayed here is not "cut and dried," a set of simple measurements. As Caplin makes abundantly clear throughout Classical Form, the assignment of labels for thematic elements often involves a judgment call. Nevertheless, I believe that the information in the table below, taken as a whole, offers useful insights into formal design in dances and some related musics. First among those insights is the variety of thematic classes employed: the historical narrative (derived by Caplin from Schoenberg but shared by many scholars) that charts a path from the 18th-century period to the 19th-century sentence is not just overly simplistic, it is simply wrong. One can indeed see a sharp trend toward limiting designs to the period in the second half of the 18th century, but the hybrid antecedent + continuation remains important also. And in the early 19th century, one does not see an equally sharp turn toward the sentence; instead, it would appear that the earlier variety of designs is recovered.Numbers will not always sum to the "Total" column because of other data (4-bar or 16-bar themes) not included here. Follow the links for additional information. NB: These are live links -- they will take you out of this PDF Lile to web pages opened in your browser window.Legend:

Total = the total number of pieces in the collection examinedPeriod 2 = Period with modulating consequent or half cadenceantec+cont = Caplin's Hybrid 1: antecedent+continuation

weak ant+cont = Caplin's Hybrid 2: "weak antecedent"+continuation **NB: I strongly prefer "weak antecedent" to Caplin's "composite basic idea." weak ant+cons = Caplin's Hybrid 3: "weak antecedent"+consequentpres+cons = Caplin's Hybrid 4: presentation+consequent

Composer or compiler

Title or type of work

Total

Period

Period 2

Sentence

antec+cont

weak ant+cont

weak ant+cons

pres+cons

Link

"Arquebus" contredanses 162 112 33 4 4 0 0 2 linkBacquoy-Guedon contredanses 31 6 16 5 3 0 0 1 linkBacquoy-Guedon menuets 21 0 0 7 14 0 0 0 linkBeethoven German dances, WoO7

Hummel German dances, op. 44 9 2 0 3 3 1 0 0 linkHummel op. 45 22 6 5 2 4 3 0 2 linkLandrin contredanses 110 46 11 4 3 0 0 0 linkMarschner contredanses 6 0 0 1 1 0 1 2 linkMozart contredanses (all) 54 32 0 9 9 1 0 0 linkPlayford contredanses (all editions) 232 47 0 26 36 0 0 4 linkWeber [German dances], op. 4 20 2 2 2 6 7 0 1 link B. THEMES TABLES--FORMAL FUNCTIONS AFTER CAPLIN, FOR DANCES BY BEETHOVEN AND OTHERS Note: Only eight-bar themes are included here. Beethoven, WoO7: score link NB: These are live links -- they will take you out of this PDF Lile to web pages opened in your browser window.

Theme type total piecesperiod 3 n5trio,n9trio,n11period with modulating consequent or HC 3 n3trio,n8trio,n11triosentence 7 n1,n2,n2trio,n4,n4trio,n6trio,n7triohybrid (antecedent + continuation) 7 n3,n5,n6,n7,n9,n10,n12triohybrid (weak antecedent + consequent) 1 n1triohybrid (weak antecedent + continuation) 2 n10trio,n12hybrid (presentation + consequent) 1 n8 Beethoven, WoO8: page link; and score link

Theme type total piecesperiod 1 n9period with modulating consequent or HC1 n2sentence 3 n1,n4,n7triohybrid (antecedent + continuation) 1 n11triohybrid (weak antecedent + consequent) 4 n6trio,n8trio,n9trio,n11 hybrid (weak antecedent + continuation) 9 n2trio,n3,n3trio,n5,n5trio,n6,n8,n12,n12trio

Chapter 4, p. 85

Beethoven, WoO10: page and score link; and score link. NB: These are live links -- they will take you out of this PDF Lile to web pages opened in your browser window.

Theme type total piecesperiod 1 n2period with modulating consequent or HC 2 n5trio, n6sentence 7 n1, n3, n3trio, n4, n4trio, n5, n6trio hybrid (antecedent + continuation) 2 n1trio,n2trio, Beethoven, WoO11: score link

Theme type total piecesperiod 1 n7hybrid (antecedent + continuation) 1 n2hybrid (weak antecedent + consequent) 3 n1, n3, n4, hybrid (presentation + consequent) 2 n5, n6Beethoven, WoO13: score link

Theme type total piecesperiod 1 n7hybrid (antecedent + continuation) 1 n2hybrid (weak antecedent + consequent) 3 n1, n3, n4hybrid (presentation + consequent) 2 n5, n6

Beethoven, WoO14: page link; and score link Theme type total piecesperiod 3 n5, n8, n9period with modulating consequent or HC 1 n1, n3sentence 6 n2, n4, n6, n7, n11, n12hybrid (weak antecedent + continuation) 1 n10

Themes: Data, p. 86

Beethoven, WoO15: page link; and score link to version for two violins and bass. NB: These are live links -- they will take you out of this PDF Lile to web pages opened in your browser window.

Theme type total piecesperiod 1 n5hybrid (weak antecedent + consequent) 4 n1, n2, n4, n6hybrid (presentation + consequent) 1 n3Beethoven, WoO42: score link

Theme type total piecesperiod 3 n1, n3trio, n6triosentence 2 n2, n4hybrid (antecedent + continuation) 2 n3, n5hybrid (weak antecedent + consequent) 1 n6Brahms, Liebeslieder_Walzer, op. 52 (keyboard edition): score link

Theme type total piecesperiod 2 n4, n11sentence 5 n2, n3, n10, n13, n14hybrid (antecedent + continuation) 2 n12, n16hybrid (presentation + consequent) 2 n7, n15Brahms, Neue Liebeslieder_Walzer, op. 65 (keyboard edition): score link

Theme type total piecesperiod with modulating consequent or HC 3 n6, n10, n11sentence 4 n1, n2, n4 (truncated), n9hybrid (antecedent + continuation) 2 n3, n5hybrid (weak antecedent + continuation) 1 n13

Chapter 4, p. 87

Czerny, Les Etrennes, 24 Waltzes, op. 32: score link. NB: These are live links -- they will take you out of this PDF Lile to web pages opened in your browser window.

Theme type total piecesperiod 5 n1, n4, n6, n17, n24sentence 6 n5, n11, n12, n21, n22, n23hybrid (antecedent + continuation) 4 n7, n13, n15, n20hybrid (weak antecedent + continuation) 4 n10, n14, n16, n19hybrid (presentation + consequent) 5 n2, n3, n8, n9, n18Heller, Laendler und Walzer, op. 97: score link

Theme type total piecesperiod 5 n1, n5, n7, n9, n10sentence 2 n3, n4hybrid (presentation + consequent) 1 n8Hummel, Ballo ongaresi, op. 23: score link

Theme type total piecesperiod 3 n1, n2, n7hybrid (weak antecedent + consequent) 3 n3, n4, n5hybrid (presentation + consequent) 1 n6Hummel, 12 menuets, op. 24: score link

Theme type total piecesperiod 4 n3trio, n4trio, n9trio, n11trio period with modulating consequent or HC 1 n10triosentence 6 n1trio, n6, n7, n9, n10, n12hybrid (antecedent + continuation) 13 n1, n2, n2trio, n3, n4, n5, n5trio, n6trio, n7trio, n8, n8trio, n11, n12trio

Themes: Data, p. 88

Hummel, 12 German dances, op. 25: score link. NB: These are live links -- they will take you out of this PDF Lile to web pages opened in your browser window.

Theme type total piecesperiod 5 n3, n7, n7trio, n8, n8trio, period with modulating consequent or HC 2 n5, n5trio, sentence 7 n1trio, n2, n2trio, n6trio, n9trio, n10, n12, hybrid (antecedent + continuation) 3 n2trio, n4, n4trio, hybrid (weak antecedent + consequent) 1 n12triohybrid (weak antecedent + continuation) 3 n1, n6, m9, hybrid (presentation + consequent) 2 n11, n11trio,

Hummel, Dances for the Apollo Saal, op. 27: score link

Theme type total piecesperiod 2 n1trio, n9trio, period with modulating consequent or HC 3 n1, n5trio, n7triosentence 11 n2, n2trio, n3, n5, n6trio1, n7, n9, n10trio, n11, n11trio, n12triohybrid (antecedent + continuation) 7 n3trio, n4, n4trio, n6, n8, n8trio, n12hybrid (weak antecedent + consequent) 2 n6trio2, n10, Hummel, Dances for the Apollo Saal, op. 28: score link

Theme type total piecesperiod 2 n3, n6trio, n9trio, period with modulating consequent or HC 1 n12triosentence 11 n1, n3trio, n4, n4trio, n5trio, n6, n7, n7trio, n8, n11trio, n12, hybrid (antecedent + continuation) 5 n1trio, n2trio, n5, n9, n10, hybrid (weak antecedent + continuation) 4 n2, n8trio, n10trio, n11,

Chapter 4, p. 89

Hummel, Dances for the Apollo Saal, op. 31: score link . NB: These are live links.

Theme type total pieces: M=menuet, D=Deutscheperiod 4 M.n1trio, M.n2trio, M.n6, D.n1triosentence 6 M.n1, M.n2, M.n4, D.n1, D.n4trio, D.n5hybrid (antecedent + continuation) 6 M.n3, M.n3trio, M.n5, M.n5trio, M.n6trio, D.n2hybrid (weak antecedent + continuation) 1 D.n3hybrid (presentation + consequent) 3 M.n4trio, D.n2trio, D.n3trioHummel, Dances for the Apollo Saal, op. 39: page link; score link

Theme type total pieces: M=menuet, D=Deutscheperiod 9 M.n2trio1, M.n4trio, D.n1trio3, D.n2trio1, D.n2trio3, D.n2trio4, D.n3trio1, D.n3trio3, D.n4trio3period with modulating consequent or HC 1 M.n2trio2sentence 10 M.n1trio, M.n4, M.n5, M.n5trio, D.n1, D.n1trio4, D.n2trio2, D.n3, D.n4trio1, D.n4trio2hybrid (weak antecedent + consequent) 1 M.n2hybrid (presentation + consequent) 4 M.n6trio, D.n1trio1, D.n2, D.n3trio2Hummel, 12 German Dances, op. 44: page link; score link

Theme type total piecesperiod 2 n1trio, n11triosentence 3 n2, n7, n7trio, n10triohybrid (antecedent + continuation) 3 n1, n6, n11hybrid (weak antecedent + continuation) 1 n6trioHummel, Dances for the Apollo Saal, op. 45: score link

Theme type total pieces: M=menuet, D=Deutscheperiod 6 M.n1trio, M.n2trio, M.n3, M.n3trio, D.n2trio, D.n6trioperiod with modulating consequent or HC 5 M.n2, M.n4trio, M.n5, M.n5trio, M.n6triosentence 2 D.n2, D.n4hybrid (antecedent + continuation) 4 M.n1, M.n4, D.n1, D.n3hybrid (weak antecedent + continuation) 3 M.n6, D.n5, D.n6hybrid (presentation + consequent) 2 D.n1trio, D.n3trio

Themes: Data, p. 90

Marschner, contredanses, op. 53: page link 1; and page link 2; and score link. NB: These are live links -- they will take you out of this PDF Lile to web pages opened in your browser window.

Theme type (Lirst strain) totalpiecessentence 1 n3hybrid (antecedent + continuation) 1 n6hybrid (weak antecedent + consequent) 1 n2hybrid (presentation + consequent) 2 n1, n416-bar theme 1 n5

Weber, Allemandes, op. 4: score link

Theme type total piecesperiod 2 n1, n3trioperiod with modulating consequent or HC 2 n2, n6sentence 2 n8, n10hybrid (antecedent + continuation) 6 n2trio, n4trio, n5, n5trio, n7trio, n8triohybrid (weak antecedent + continuation) 7 n1trio, n3, n4trio, n7, n9, n9trio, n10triohybrid (presentation + consequent) 1 n6trio

Chapter 4, p. 91

CHAPTER 5:

Data on theme types in the Lirst strains of dances (2): Data for theme types in contredanses from Playford (1651) to Beethoven

A. [CONTREDANSES; DESCRIPTION DES FIGURES, PLAN DES FIGURES]. ALTERNATE TITLES: PLAISIRS DE L'ARQUEBUSE OR RECUEIL DE DANSES. 18TH CENTURYThis volume is reproduced in facsimile on the Library of Congress American Memory website, Dance Instruction Manuals section: http://memory.loc.gov/cgi-bin/query/r?ammem/musdibib:@]ield(NUMBER+@od1(musdi+096)) NB: These are live links -- they will take you out of this PDF Lile to web pages opened in your browser window.Theme-types are named using the terminology of William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York: Oxford University Press, 1998). For more information, go to my Beethoven Examples page: http://uts.cc.utexas.edu/~neumeyer/Beethoven_exxs.html. THEME TYPES IN THE FIRST STRAINThree Tables: 1. Summary by theme type; 2. Theme types in volume order; 3. Table 2 sorted by theme type (column 3).1. SUMMARY BY THEME TYPE:Theme-type #Period: 112Period with modulating consequent 30Period with half cadence 3Sentence: 4Hybrid (antecedent + continuation): 4Hybrid (presentation + consequent): 5*4-bar theme 2Other (presentation + presentation) 2 (column totals) 162

2. THEME TYPES IN VOLUME ORDERVol/# Title Theme types1,1 Les plaisirs de l'Arquebuse [v. 1] Period 1,2 La jasuel Period 1,3 Les quatres nieces Period 1,4 Les graces allemandes Period 1,5 La nouvelle yorck Period 1,6 La brandebourg Period 1,7 La Lucille Period 1,8 L'toile Period 1,9 La chasse de Diane Period 1,10 Le petite Battu Period 1,11 La petite eclusel Period 1,12 Les plaisirs de la chasse Period 1,13 La nouvelle de Lille Period 1,14 La Zelmire Period 1,15 Tambourin allemand Period 1,16 La petite laitiere Period 1,17 La petulante Period with modulating consequent1,18 Les amusements du Wauxhall Period 1,19 Les soires amusantes Period 1,20 La nouvelle ferret Period 1,21 Le dserteur Period with modulating consequent1,22 L'ouverture des ftes de Torr Period 1,23 La Robert Period 1,24 La nouvelle Sguin Period 1,25 L'ouverture des ftes de Belleville Period 1,26 La nouvelle brunswick Period 1,27 La nouvelle corbeil Period with modulating consequent1,28 La troyenne Period 1,29 La chasse Period 1,30 Les plaisirs de Tanlay Period 1,31 Les moissonneurs *4-bar theme1,32 Les plaisirs de la jeunesse Period

Chapter 5, p. 93

1,33 La mont-au-ciel Period with modulating consequent1,34 La belle pinture de Lucy Period 1,35 L'esprit folet Period 1,36 Le Wauxhall de Londres Period 1,37 La barbella Period 1,38 La mignonnette Period with modulating consequent1,39 Le ballet des Guirlandes Period 1,40 Les amusements de Chevalier Period with1,41 La rejouissante Period with1,42 La nouvelle d'Auphine Period 1,43 La nouvelle Lise Period 1,44 Les batteurs en grange Period 1,45 La colise Period with1,46 Le chevalier oblique Period with1,47 Les plaisirs de Chevalier Period with1,48 La nouvelle terpsicore Sentence1,49 Le balet du colisee Period 1,50 Le retour franais Period 1,51 Limpromptu de Rossignol Period 1,52 Le caprice de Gaudrot Period 1,53 Les ftes villageoises Period 1,54 Les amusements de Dusuel Sentence1,55 Les quatre berceaux Period 1,56 La jardiniere Period 1,57 L'ouverture du colise Period with1,58 L'ambigu comique Period 1,59 Les plaisirs du colise Period 1,60 Les dlices franais Period with modulating consequent1,61 La joute Period 1,62 Le rends-vous de la jeunesse Sentence1,63 Les petites etrennes Period 1,64 Le palais de l'amour Period 1,65 La bizarre Period with half cadence1,66 Les plaisirs champestres de la valle de M. Period with modulating consequent1,67 La nouvelle Aime Period with modulating consequent

Themes: Historical Data, p. 94

1,68 La Dauberval Period 1,69 La petite javott Period 1,70 L'alexandrine Other: presentation + presentation1,71 Le parfait cotentement Period with modulating consequent1,72 La fricasse ; Carabo Period 1,73 La nouvelle Guillet Hybrid (antecedent + continuation1,74 La rose Period 1,75 La nouvelle Dailly Period 1,76 La petite Angelique Period 1,77 La soissonnoise Period with modulating consequent1,78 La boullongne Sentence1,79 La violette Period 1,80 L'amoureux de quinze ans Other: presentation + presentation1,81 La nouvelle victoire Period with modulating consequent1,82 La rosiere Period 1,83 La Provence Period with modulating consequent1,84 Les tems perdu Period with modulating consequent1,85 La sduisante Period 1,86 La pense de Vallette Period 1,87 La societ de Battu Period 1,88 La chasse de Desnoyers Period 1,89 La blondelle Period with modulating consequent1,90 La tonnelliere Period with modulating consequent1,91 Les traits galants Period 1,92 Les quatre commeres Period with modulating consequent1,93 La simonnette Period 1,94 La bertrand Period 1,95 Les plaisirs de L'isle Adam Period 1,96 Les soires de Passy Period 1,97 La voisine Period 1,98 La glorieuse Period 1,99 La lison Period (primitive)1,100 La clef des coeurs. Hybrid (presentation + consequent)2,1 La belle-poule et la L'arguza [v. 2] Period

Chapter 5, p. 95

2,2 Les deux jaloux et Les troqueurs Period 2,3 L'automne et La camille Period with modulating consequent2,4 Potpourrie -- not in the score ]ile2,5 L'insurgente et L'anglaise americaine Period with modulating consequent2,6 La chasse de Silvie Period 2,7 La Voltaire & La Franklein Period 2,8 La d'Orvillier Period 2,9 Le lundy & Le jeudy Period 2,10 La petite charmante Period 2,11 La cleophille Period 2,12 Les bonnes amie Period 2,13 La Louise Period 2,14 La dubreuil Period 2,15 La bagatelle Period 2,16 La rose nouvelle Period 2,17 Potpoury franais Period 2,18 Les plaisirs de crteille Period 2,19 La promenade du colisee Period 2,20 Le cadrille de la puce Period 2,21 La puce Period 2,22 L't *4-bar theme2,23 Les plaisir de Chenonceaux Period with modulating consequent2,24 La babiolle Period 2,25 La chasse d'amour Period 2,26 La rejouissanse dartois Period 2,27 Lajax Period with modulating consequent2,28 L'amour quteur Period 2,29 La pracontalle Period with modulating consequent2,30 Les pois ram Period with half cadence2,31 Le bataillon carr Hybrid (antecedent + continuation)2,32 Potpourrie Period 2,33 La perrier Period 2,34 Le herisson et la pie Period 2,35 L'alcimadure et La villageoise Period with half cadence2,36 Les plaisirs de Montreuille Period


2,37 La piere dsmant et La villetier Period 3,1 Les plaisirs de Flore [v. 3] Hybrid (presentation + presentation)3,2 La vertu Period 3,3 L'aimable jeunesse Period with modulating consequent3,4 La cour de Paphos Hybrid (presentation + consequent)3,5 L'Adonis Period with modulating consequent3,6 La mignonette Period with modulating consequent5,1 La perreau -- [v. 5] Period 5,2 Les quatre comtesses Period 5,3 Quadrille anglais Period 5,4 Quadrille allemand Period 5,5 Les quatre princes Hybrid (antecedent + continuation)5,6 La promenade de mesdames Period 5,7 La nouvelle Therese Hybrid (presentation + consequent)5,8 Le nouveau quadrille anglais Period 5,9 L'ouverture des assembles Hybrid (antecedent + continuation)5,10 Les amusemens de Mndouze Period 5,11 La Danemark, ou, La n[ouvel]le Trawandal Period 5,12 La suze Period 5,13 La gat Period 5,14 La voluptueuse Period 5,15 Les plaisirs de Carel Period 5,16 L'impromptu Period 5,17 La Esther Hybrid (presentation + consequent)5,18 Les grace allemandes Period 5,19 La Flore Period 5,20 Le ballet allemand Period 3. TABLE 2 SORTED BY THEME TYPE (COLUMN 3) Vol/# Title Theme types2,4 Potpourrie -- not in the score ]ile1,31 Les moissonneurs *4-bar theme2,22 L't *4-bar theme

Chapter 5, p. 97

1,73 La nouvelle Guillet Hybrid (antecedent + continuation2,31 Le bataillon carr Hybrid (antecedent + continuation)5,5 Les quatre princes Hybrid (antecedent + continuation)5,9 L'ouverture des assembles Hybrid (antecedent + continuation)1,100 La clef des coeurs. Hybrid (presentation + consequent)3,4 La cour de Paphos Hybrid (presentation + consequent)5,7 La nouvelle Therese Hybrid (presentation + consequent)5,17 La Esther Hybrid (presentation + consequent)3,1 Les plaisirs de Flore [v. 3] Hybrid (presentation + presentation)1,70 L'alexandrine Other: presentation + presentation1,80 L'amoureux de quinze ans Other: presentation + presentation1,1 Les plaisirs de l'Arquebuse [v. 1] Period 1,2 La jasuel Period 1,3 Les quatres nieces Period 1,4 Les graces allemandes Period 1,5 La nouvelle yorck Period 1,6 La brandebourg Period 1,7 La Lucille Period 1,8 L'toile Period 1,9 La chasse de Diane Period 1,10 Le petite Battu Period 1,11 La petite eclusel Period 1,12 Les plaisirs de la chasse Period 1,13 La nouvelle de Lille Period 1,14 La Zelmire Period 1,15 Tambourin allemand Period 1,16 La petite laitiere Period 1,18 Les amusements du Wauxhall Period 1,19 Les soires amusantes Period 1,20 La nouvelle ferret Period 1,22 L'ouverture des ftes de Torr Period 1,23 La Robert Period 1,24 La nouvelle Sguin Period 1,25 L'ouverture des ftes de Belleville Period 1,26 La nouvelle brunswick Period


1,28 La troyenne Period 1,29 La chasse Period 1,30 Les plaisirs de Tanlay Period 1,32 Les plaisirs de la jeunesse Period 1,34 La belle pinture de Lucy Period 1,35 L'esprit folet Period 1,36 Le Wauxhall de Londres Period 1,37 La barbella Period 1,39 Le ballet des Guirlandes Period 1,42 La nouvelle d'Auphine Period 1,43 La nouvelle Lise Period 1,44 Les batteurs en grange Period 1,49 Le balet du colisee Period 1,50 Le retour franais Period 1,51 Limpromptu de Rossignol Period 1,52 Le caprice de Gaudrot Period 1,53 Les ftes villageoises Period 1,55 Les quatre berceaux Period 1,56 La jardiniere Period 1,58 L'ambigu comique Period 1,59 Les plaisirs du colise Period 1,61 La joute Period 1,63 Les petites etrennes Period 1,64 Le palais de l'amour Period 1,68 La Dauberval Period 1,69 La petite javott Period 1,72 La fricasse ; Carabo Period 1,74 La rose Period 1,75 La nouvelle Dailly Period 1,76 La petite Angelique Period 1,79 La violette Period 1,82 La rosiere Period 1,85 La sduisante Period 1,86 La pense de Vallette Period 1,87 La societ de Battu Period

Chapter 5, p. 99

1,88 La chasse de Desnoyers Period 1,91 Les traits galants Period 1,93 La simonnette Period 1,94 La bertrand Period 1,95 Les plaisirs de L'isle Adam Period 1,96 Les soires de Passy Period 1,97 La voisine Period 1,98 La glorieuse Period 2,1 La belle-poule et la L'arguza [v. 2] Period2,2 Les deux jaloux et Les troqueurs Period 2,6 La chasse de Silvie Period 2,7 La Voltaire & La Franklein Period 2,8 La d'Orvillier Period 2,9 Le lundy & Le jeudy Period 2,10 La petite charmante Period 2,11 La cleophille Period 2,12 Les bonnes amie Period 2,13 La Louise Period 2,14 La dubreuil Period 2,15 La bagatelle Period 2,16 La rose nouvelle Period 2,17 Potpoury franais Period 2,18 Les plaisirs de crteille Period 2,19 La promenade du colisee Period 2,20 Le cadrille de la puce Period 2,21 La puce Period 2,24 La babiolle Period 2,25 La chasse d'amour Period 2,26 La rejouissanse dartois Period 2,28 L'amour quteur Period 2,32 Potpourrie Period 2,33 La perrier Period 2,34 Le herisson et la pie Period 2,36 Les plaisirs de Montreuille Period 2,37 La piere dsmant et La villetier Period


3,2 La vertu Period 5,1 La perreau -- [v. 5] Period 5,2 Les quatre comtesses Period 5,3 Quadrille anglais Period 5,4 Quadrille allemand Period 5,6 La promenade de mesdames Period 5,8 Le nouveau quadrille anglais Period 5,10 Les amusemens de Mndouze Period 5,11 La Danemark, ou, La n[ouvel]le Trawandal Period 5,12 La suze Period 5,13 La gat Period 5,14 La voluptueuse Period 5,15 Les plaisirs de Carel Period 5,16 L'impromptu Period 5,18 Les grace allemandes Period 5,19 La Flore Period 5,20 Le ballet allemand Period 1,17 La petulante Period with modulating consequent1,21 Le dserteur Period with modulating consequent1,27 La nouvelle corbeil Period with modulating consequent1,99 La lison Period (primitive)1,40 Les amusements de Chevalier Period with modulating consequent1,41 La rejouissante Period with modulating consequent1,45 La colise Period with modulating consequent1,46 Le chevalier oblique Period with modulating consequent1,47 Les plaisirs de Chevalier Period with modulating consequent1,57 L'ouverture du colise Period with modulating consequent1,60 Les dlices franais Period with modulating consequent1,66 Les plaisirs champestres de la valle de M. Period with modulating consequent1,67 La nouvelle Aime Period with modulating consequent1,71 Le parfait cotentement Period with modulating consequent1,77 La soissonnoise Period with modulating consequent1,81 La nouvelle victoire Period with modulating consequent1,83 La Provence Period with modulating consequent1,84 Les tems perdu Period with modulating consequent

Chapter 5, p. 101

1,89 La blondelle Period with modulating consequent1,90 La tonnelliere Period with modulating consequent1,92 Les quatre commeres Period with modulating consequent2,3 L'automne et La camille Period with modulating consequent2,5 L'insurgente et L'anglaise americaine Period with modulating consequent2,23 Les plaisir de Chenonceaux Period with modulating consequent2,27 Lajax Period with modulating consequent2,29 La pracontalle Period with modulating consequent3,3 L'aimable jeunesse Period with modulating consequent3,5 L'Adonis Period with modulating consequent3,6 La mignonette Period with modulating consequent1,65 La bizarre Period with half cadence2,30 Les pois ram Period with half cadence2,35 L'alcimadure et La villageoise Period with half cadence1,33 La mont-au-ciel Period with modulating consequent1,38 La mignonnette Period with modulating consequent1,48 La nouvelle terpsicore Sentence1,54 Les amusements de Dusuel Sentence1,62 Le rends-vous de la jeunesse Sentence1,78 La boullongne Sentence


B. BACQUOY-GUEDON, MTHODE POUR EXERCER L'OREILLE A LA MESURE, DANS L'ART DE LA DANSE (1785?)This volume is reproduced in facsimile on the Library of Congress American Memory website, Dance Instruction Manuals section. The section with music is: "Seconde partie, contenant des airs de diffrens mouvemens, pour exercer l'oreille la mesure, dans le menuet & dans la contre-danse.": Second partie The last page of music is: Last page.THEME TYPES IN THE FIRST STRAINFour Tables: 1. Summary by theme type2. Theme types in volume order; 3. Table 2 sorted by theme type (column 3).4. Sorted by menuet/contredanse, then by theme type1. SUMMARY BY THEME TYPE:

Function in Lirst strain Menuet types

Contre-danses

allHybrid (antecedent + continuation) 14 3 17Hybrid (presentation + consequent) 0 1 1Period 0 6 6Period (modulating consequent) 0 16 16Sentence 7 5 12 Total 21 31 522. THEME TYPES IN VOLUME ORDER# Title (approx) First strain form1 1.Air [for Menuet] Sentence2 2.Air [for Menuet] Hybrid (antecedent + continuation)3 3.Air [for Menuet] Sentence4 4.Air [for Menuet] Sentence5 5.Air [for Menuet] Hybrid (antecedent + continuation)6 6.Air [for Menuet] Hybrid (antecedent + continuation)7a 1.Menuets Hybrid (antecedent + continuation)7b Trio Hybrid (antecedent + continuation)

Chapter 5, p. 103

8a 2.Menuets Hybrid (antecedent + continuation)8b Trio Hybrid (antecedent + continuation)9a 3.Menuets Hybrid (antecedent + continuation)9b trio Hybrid (antecedent + continuation)10a 4.Menuets Sentence10b trio Sentence11 5.Menuets Sentence12 6.Menuets Hybrid (antecedent + continuation)13 1.Air [for contredanse] Hybrid (antecedent + continuation)14 2.Air [for contredanse] Sentence15 3.Air [for contredanse] Hybrid (antecedent + continuation)16 4.Air [for contredanse] Period17 5.Air [for contredanse] Hybrid (presentation + consequent)18 6.Air [for contredanse] Sentence19a 1.contredanse Period (modulating consequent)19b Period (modulating consequent)20a 2.contredanse Period (modulating consequent)20b Period (modulating consequent)21a 3.contredanse Hybrid (antecedent + continuation)21b Period (modulating consequent)22a 4.contredanse Period (modulating consequent)22b Sentence23 5.contredanse Period (modulating consequent)24 6.contredanse Period (modulating consequent)25a menuet Hybrid (antecedent + continuation)25b Hybrid (antecedent + continuation)26a passepied [for menuet] Period (modulating consequent)26b Period (modulating consequent)27a forlane [for contredanse] Period (modulating consequent)27b Period (modulating consequent)28a contredanse francaise Sentence28b Sentence29a contredanse angloise Period29b Period30a contredanse allemande Period (modulating consequent)


30b Period (modulating consequent)31a contredanse allemande o boiteuse Period31b Period32 marche [for contredanse?] Period33a rigaudon [for contredanse?] Period (modulating consequent)33b Period (modulating consequent)34 menuet bon[for contredanse?] Hybrid (antecedent + continuation)35 menuet vicieux [for contredanse?] Hybrid (antecedent + continuation)36 menuet le rvrance [with dance ]igures] Sentence3. TABLE 2 SORTED BY THEME TYPE (COLUMN 3) # Title (approx) First strain form2 2.Air [for Menuet] Hybrid (antecedent + continuation)5 5.Air [for Menuet] Hybrid (antecedent + continuation)6 6.Air [for Menuet] Hybrid (antecedent + continuation)7a 1.Menuets Hybrid (antecedent + continuation)7b Trio Hybrid (antecedent + continuation)8a 2.Menuets Hybrid (antecedent + continuation)8b Trio Hybrid (antecedent + continuation)9a 3.Menuets Hybrid (antecedent + continuation)9b trio Hybrid (antecedent + continuation)12 6.Menuets Hybrid (antecedent + continuation)13 1.Air [for contredanse] Hybrid (antecedent + continuation)15 3.Air [for contredanse] Hybrid (antecedent + continuation)21a 3.contredanse Hybrid (antecedent + continuation)25a menuet Hybrid (antecedent + continuation)25b Hybrid (antecedent + continuation)34 menuet bon[for contredanse?] Hybrid (antecedent + continuation)35 menuet vicieux [for contredanse?]

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