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 examples with related informa=on and data on dance musics and their performance in the same period

David Neumeyer The University of Texas at Aus=n neumeyer@mail.utexas.edu 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

INTRODUCTION PART 1: Summary of Caplins form functions for themes and small forms, with examples
CHAPTER 1: Summary of Caplins form functions for themes and small forms A. List of Caplin functions for 2, 4, and 8 bar units B. 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 themes D. Small ternary forms E. Small binary forms CHAPTER 2: Examples of themes and features of small forms (1) A. Theme types: examples B. The contrasting middle (and binary forms, second part), repertoire examples C. Development of a multi-section musical composition using a French contredanse: La Dorly D. 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, WoO8 B. Designs and formal functions for all dances in table format: German Dances, WoO8 C. Designs and formal functions for all dances in score format: Menuets, WoO10 Laendler, WoO11 Contradances, WoO14 Laendler, WoO15

Table of Contents & Introduction, p. 3

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 link B. Theme tables for dances by Beethoven, Hummel, and others CHAPTER 5: Data for theme types in contredanses from Playford (1651) to Beethoven A. "Arquebus" B. Bacquoy-Guedon C. Cherubini D. Clarchies E. Durand F. La Cuisse G. Landrin H. Mozart & Beethoven I. Playford CHAPTER 6: Data for theme types in related keyboard music A. Dandrieu B. Daquin C. Haydn, keyboard sonata ]inales D. Mozart, keyboard sonata ]inales E. Czerny, Op. 139

PART 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. 1790-1830

APPENDICES
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

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

Table of Contents & Introduction, p. 5

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.

CHAPTER 1: Summary of Caplins form functions for themes and small forms

A. BEETHOVEN DANCE EXAMPLES FOR CAPLIN FUNCTIONS The 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 idea Second 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

Chapter 1, p. 7

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 key p5.2. "failed consequent" moves to HC or IAC in same or different key p6. 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.

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

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)

Chapter 1, p. 9

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)

Formal Functions in Themes and Small Forms: Summary, p. 10

C. CAPLIN FUNCTIONS IN TABLE FORMAT The 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 basic idea 3-4 5-6 7-8 1. basic idea, 1. basic idea, exact 1. cadential repeated or varied or varied 2. (rarely) 2. statement- 2. fragmentation, repetition of response (usually, with or without cadence from 5-6 I-V is answered V-I) sequence 3. contrasting idea 3. new idea 4. (rarely) (contrasting) cadential 4. (rarely) cadential (more common: cadential progression begins here with I6 or subdominant harmonies and continues into 7-8) Phrase level 1-4 5-8 1. antecedent 1. consequent 2. presentation 2. continuation 3. compound basic idea ("weak 3. continuation->cadential antecedent") 4. cadential Theme level 1-8 1. period 2. sentence 3. hybrids

Chapter 1, p. 11

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 Belton repetition, 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, n6 contrasting 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 Miran from Clarchies, 28th receuil: La Saint Ange antecedent ends with IAC: from Clarchies, 28th receuil: La Boston Beethoven, Menuets, WoO10, n6 consequent is transposed down a third: Beethoven, Menuets, WoO10, n2 modulating consequent: Beethoven, Menuets, WoO10, n5 trio modulating consequent: Beethoven, Menuets, WoO10, n6 modulating consequent, from La Cuisse, vol. 3: Les Amusemens de Caumont consequent starts on dominant position: Beethoven, Lndler, WoO11, n7 period 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, WoO10 classic 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.

Formal Functions in Themes and Small Forms: Summary, p. 12

Beethoven, Menuets, WoO10, n2 trio Beethoven, Lndler, WoO11, n2 c5. hybrid 2 (antecedent + cadence) Beethoven, Menuets, WoO10, n1 trio c6. hybrid 3 (compound basic idea + continuation) example to be added c7. hybrid 4 (compound basic idea + consequent) Beethoven, Lndler, WoO15, n1 & n2 c8. "hybrid 5" (presentation + consequent) from Clarchies, 28th receuil: add title-recNum23 Beethoven, Lndler, WoO11, n5 consequent is the presentation repeated: Beethoven, Lndler, WoO11, n6 Beethoven, Lndler, WoO15, n3 Table of sixteen-measure or compound themes
1-8 9-16 8-bar-antecedent: 8-bar-consequent repeats -- presentation + continuation components of 8bar- -- compound basic idea + antecedent; continuation can continuation change to continuation- -- antecedent + continuation >cadential 16 BAR SENTENCE* 1-8 9-16 (Classical Form, p. 69) 8-bar-presentation: compound 8-bar-continuation: basic idea + repetition -- 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. 16 BAR PERIOD* (Classical Form, p. 65)

Chapter 1, p. 13

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 type Bars 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 2: Examples of themes and small forms (1)

A. THEME TYPES: EXAMPLES This 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 cadence 2. Sentence 3. Caplin's Hybrid 1: antecedent + continuation 4. Caplin's Hybrid 2: antecedent + cadential 5. 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" + consequent 7. Other "Hybrids" (a): presentation + consequent 8. Other "Hybrids" (b): presentation + cadential 9. Other "Hybrids" (c): "weak antecedent" + cadential Period La 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.

Chapter 2, p. 15

Period with modulating consequent or half cadence J. 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.

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

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

Chapter 2, p. 17

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.

Examples of Themes and Small Forms (1), p. 18

B. CONTRASTING MIDDLE, REPERTOIRE EXAMPLES The 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 idea 5. (rare) period with new idea 6. some combination of the above 7. Binary forms only: continuation or standing on the dominant + consequent 8. Binary forms only: extended cadential function 9. Binary forms only: cadential + post-cadential extension Continuation 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.

Chapter 2, p. 19

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.

Examples of Themes and Small Forms (1), p. 20

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).

Chapter 2, p. 21

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.

Examples of Themes and Small Forms (1), p. 22

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.

Chapter 2, p. 23

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

Examples of Themes and Small Forms (1), p. 24

(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.

Chapter 2, p. 25

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.

Examples of Themes and Small Forms (1), p. 26

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 WALZES To 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).

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

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.

Chapter 3, p. 29

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.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 30

5a & b. small ternary, two versions.

Chapter 3, p. 31

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

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 32

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.

Chapter 3, p. 33

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.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 34

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, WoO7 The 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.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 36

Trio to n1.

Menuet n2 in Bb major.

Chapter 3, p. 37

Trio to n2.

Menuet n3 in G major.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 38

Trio to n3.

Menuet n4 in Eb major.

Chapter 3, p. 39

Trio to n4.

Menuet n5 in C major.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 40

Trio to n5.

Menuet n6 in A major.

Chapter 3, p. 41

Trio to n6.

Menuet n7 in D major.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 42

Trio to n7.

Menuet n8 in Bb major.

Chapter 3, p. 43

Trio to n8.

Menuet n9 in G major.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 44

Trio to n9.

Menuet n10 in Eb major.

Chapter 3, p. 45

Trio to n10.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 46

Menuet n11 in C major.

Trio to n11.

Chapter 3, p. 47

Menuet n12 in F major.

Trio to n12.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 48

Beethoven, 12 German Dances, WoO8 For 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.

Chapter 3, p. 49

Dance n1 in C major.

Dance n2 in A major.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 50

Trio to n2.

Dance n3 in F major.

Chapter 3, p. 51

Trio to n3.

Dance n4 in Bb major.

Trio to n4.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 52

Dance n5 in Eb major.

Trio to n5.

Dance n6 in G major.

Chapter 3, p. 53

Trio to n6.

Dance n7 in C major.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 54

Trio to n7.

Dance n8 in A major.

Chapter 3, p. 55

Trio to n8.

Dance n9 in F major.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 56

Trio to n9.

Dance n10 in D major.

Trio to n10.

Chapter 3, p. 57

Dance n11 in G major.

Trio to n11.

Dance n12 in C major.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 58

Trio to n12.

B. DESIGNS AND FORMAL FUNCTIONS FOR ALL DANCES (TABLE FORMAT) Beethoven, 12 German Dances, WoO8 All 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

Chapter 3, p. 59

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. 2. 2-trio. 3. 3-trio. 4. *4-trio. 5. 5-trio. 6. 6-trio. *7. 7-trio. 8. 8-trio. 9. 9-trio. 10. 10-trio. 11. 11-trio. 12. 12-trio. sentence period with modulating consequent hyb3 (compound basic idea + continuation) -- with strong contrast hyb3 (compound basic idea + continuation) 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. sentence -- with strong contrast presentation + repetition of presentation (!) [Caplin suggests another, equally unusual reading: cadential (failed) + cadential] hyb3 (compound basic idea + continuation), with 3-4 & 5-6 closely related hyb1 (antecedent + continuation->cadential) hyb1 (antecedent + continuation) -- with strong contrast hyb4 (compound basic idea + consequent) [Caplin's reading] compound basic idea + repetition of compound basic idea [Caplin's reading] sentence -- with strong contrast hyb3 (compound basic idea + continuation -- with strong contrast) hyb4 (compound basic idea + consequent) [Caplin's reading] period hyb4 (compound basic idea and consequent) [Caplin's reading] hyb4 (compound basic idea and modulating consequent) [Caplin's reading] hyb4 (compound basic idea + consequent) [Caplin's reading] hyb4 (compound basic idea + consequent) hyb1 (antecedent + continuation) hyb3 (compound basic idea + continuation) hyb3 (compound basic idea + continuation) -- with strong contrast

Second 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:

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 60

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. 2. 2-trio. 3. 3-trio. 4. *4-trio. 5. 5-trio. 6. 6-trio. *7. 7-trio. 8. 8-trio. 9. 9-trio. 10. 10-trio. 11. small binary; 9-12 are contrasting middle (model-sequence), 13-16 are cadential small binary; 9-12 are contrasting middle (based on repetition of a new one-bar motive [related to fragmentation]), 13-16 are cadential small binary; 9-12 are contrasting middle (statement and repetition of a new idea, or model-repetition), 13-16 are cadential after the initial chord 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 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. 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 small ternary; a compact design with contrasting middle (standing on the dominant) in 9-12, and repetition of 5-8 to end small binary; 9-12 are contrasting middle (consisting of a new idea and its varied repetition), 13-16 are cadential small binary; 9-12 are contrasting middle (model (new idea)-sequence), 13-16 are cadential (a transposed repetition of 5-8) small binary; 9-12 are contrasting middle (model-sequence with two-bar units), 13-16 is cadential 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 small binary; 9-12 are contrasting middle (using fragmentation and model- sequence (the model-motive derived from the basic idea)), 13-16 are cadential small binary; 9-12 are contrasting middle (standing on the dominant) and 13-16 are cadential -- thus, the entire second part could be cadential small binary; 9-12 are contrasting middle (model sequence in two-bar units (the motive is new)), 13-16 are cadential 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" small ternary; a compact design with are contrasting middle (model-sequence) in 9-12, and repetition of 5-8 to end small binary; 9-12 are contrasting middle (model-repetition), 13-16 are cadential 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 cadential 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 6-7 small binary; are contrasting middle (model-sequence based on the motive of bars 3 & 7), then even greater fragmentation over the cadential closing phrase

Chapter 3, p. 61

11-trio.

12. 12-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) small binary; new melodic material throughout -- 9-12 stands on the dominant, 13-16 is continuation->cadential 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

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 62

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.

Chapter 3, p. 63

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

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 64

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.

Chapter 3, p. 65

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

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 66

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.

Chapter 3, p. 67

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

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 68

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 Werke WoO11 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

Chapter 3, p. 69

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.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 70

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.

Chapter 3, p. 71

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.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 72

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.

Chapter 3, p. 73

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.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 74

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.

Chapter 3, p. 75

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.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 76

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."

Chapter 3, p. 77

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.

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 78

Formal Functions in Beethoven, 6 Lndrische Tnze, WoO15: Scores from the Beethoven Werke From 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

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 80

Chapter 3, p. 81

Formal Functions in Themes and Small Forms: Examples from Beethoven, p. 82

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 LINKS The following section includes the content of the web page http://uts.cc.utexas.edu/ ~neumeyer/themes_tables.html The 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 examined Period 2 = Period with modulating consequent or half cadence antec+cont = Caplin's Hybrid 1: antecedent+continuation

Themes: Data, p. 84

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"+consequent pres+cons = Caplin's Hybrid 4: presentation+consequent
Composer or compiler "Arquebus" Bacquoy-Guedon Bacquoy-Guedon Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Cherubini Clarchies Clarchies Clarchies Clarchies Clarchies La Cuisse Czerny Dandrieu Daquin Durand Hummel Hummel Hummel Hummel Hummel Hummel Hummel Title or type of work contredanses contredanses menuets German dances, WoO7</td German dances, WoO8 Menuets, WoO10 ante weak weak pres Tota Perio Period Senten c ant ant +con Link l d 2 ce +co +cont +cons s nt 162 112 33 4 4 0 0 2 link 31 21 24 19 12 6 0 3 1 1 0 1 3 1 3 10 43 6 8 7 59 5 14 5 19 3 4 5 2 2 4 9 16 0 3 1 2 0 0 1 0 0 2 0 0 0 0 0 28 0 8 2 1 0 1 2 3 1 0 1 5 7 7 3 7 1 0 6 0 2 0 8 16 5 1 1 2 6 3 2 2 0 6 7 11 11 6 10 3 14 7 1 2 0 1 1 0 2 1 15 6 1 0 1 3 4 2 3 0 0 16 3 7 5 6 0 0 0 2 9 0 0 0 0 0 0 0 3 1 1 0 0 0 4 0 0 0 0 0 3 0 4 1 1 0 0 1 4 0 3 3 0 4 1 0 0 0 0 0 0 0 0 0 1 0 3 0 1 3 0 3 4 1 link 0 link 1 link link1 link2 0 link 0 2 link 2 link 0 link 1 link 0 link 0 link 7 link 7 link 0 link 0 link 0 link 3 link 5 link 0 link 1 link 0 link 1 link 0 link 2 link 0 link 0 link 0 link 0 link

Laendler, WoO11 1 German Dances, 7 WoO13 contredanses, WoO14 11 Laendler, WoO15 Laendler, WoO42 contredanses contredanses waltzes mazurkas sauteuse anglaise 6 8 13 74 13 9 9

139 104

contredanses 100 Les Etrennes, op. 32 24 (waltzes) keyboard works 27 keyboard works contredanses op.23 menuets, op. 24 German dances, op. 25 op. 27 op. 28 op. 31 op. 39 14 22 7 24 23 25 23 20 25

Chapter 4, p. 85 German dances, op. 44 op. 45 contredanses contredanses

Hummel Hummel Landrin Marschner Mozart Playford Weber

9 22 110 6

2 6 46 0 32 47 2

0 5 11 0 0 0 2

3 2 4 1 9 26 2

3 4 3 1 9 36 6

1 3 0 0 1 0 7

0 0 0 1 0 0 0

0 link 2 link 0 link 2 link 0 link 4 link 1 link

contredanses (all) 54 contredanses (all 232 editions) [German dances], op. 20 4

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 period period with modulating consequent or HC sentence hybrid (antecedent + continuation) hybrid (weak antecedent + consequent) hybrid (weak antecedent + continuation) hybrid (presentation + consequent) total 3 3 7 7 1 2 1 pieces n5trio,n9trio,n11 n3trio,n8trio,n11trio n1,n2,n2trio,n4,n4trio,n6trio,n7trio n3,n5,n6,n7,n9,n10,n12trio n1trio n10trio,n12 n8

Beethoven, WoO8: page link; and score link

Theme type total pieces period 1 n9 period with modulating consequent or HC 1 n2 sentence 3 n1,n4,n7trio hybrid (antecedent + continuation) 1 n11trio hybrid (weak antecedent + consequent) 4 n6trio,n8trio,n9trio,n11 n2trio,n3,n3trio,n5,n5trio,n6,n8,n12,n12tri hybrid (weak antecedent + continuation) 9 o

Themes: Data, p. 86

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 period period with modulating consequent or HC sentence hybrid (antecedent + continuation) total 1 2 7 2 pieces n2 n5trio, n6 n1, n3, n3trio, n4, n4trio, n5, n6trio n1trio,n2trio,

Beethoven, WoO11: score link

Theme type period hybrid (antecedent + continuation) hybrid (weak antecedent + consequent) hybrid (presentation + consequent) tota pieces l 1 n7 1 3 2 n2 n1, n3, n4, n5, n6

Beethoven, WoO13: score link

Theme type period hybrid (antecedent + continuation) hybrid (presentation + consequent) total pieces 1 1 2 n7 n2 n1, n3, n4 n5, n6

hybrid (weak antecedent + consequent) 3

Beethoven, WoO14: page link; and score link

Theme type tota pieces l 3 n5, n8, n9 n1, n3 n2, n4, n6, n7, n11, n12 n10

period period with modulating consequent 1 or HC sentence hybrid (weak antecedent + continuation) 6 1

Chapter 4, p. 87

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 period hybrid (weak antecedent + consequent) hybrid (presentation + consequent) tota pieces l 1 n5 n1, n2, n4, 4 n6 1 n3

Beethoven, WoO42: score link

Theme type period sentence hybrid (antecedent + continuation) hybrid (weak antecedent + consequent) tota pieces l n1, n3trio, 3 n6trio 2 n2, n4 2 1 n3, n5 n6

Brahms, Liebeslieder_Walzer, op. 52 (keyboard edition): score link

Theme type period sentence hybrid (antecedent + continuation) hybrid (presentation + consequent) tota pieces l 2 n4, n11 n2, n3, n10, n13, 5 n14 2 2 n12, n16 n7, n15

Brahms, Neue Liebeslieder_Walzer, op. 65 (keyboard edition): score link

Theme type sentence hybrid (antecedent + continuation) total pieces n6, n10, n11 n1, n2, n4 (truncated), n9 n3, n5 n13 4 2

period with modulating consequent or HC 3

hybrid (weak antecedent + continuation) 1

Themes: Data, p. 88

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 period sentence hybrid (antecedent + continuation) hybrid (weak antecedent + continuation) hybrid (presentation + consequent) total 5 6 4 4 5 pieces n1, n4, n6, n17, n24 n5, n11, n12, n21, n22, n23 n7, n13, n15, n20 n10, n14, n16, n19 n2, n3, n8, n9, n18

Heller, Laendler und Walzer, op. 97: score link

Theme type period sentence hybrid (presentation + consequent) tota pieces l n1, n5, n7, n9, 5 n10 2 n3, n4 1 n8

Hummel, Ballo ongaresi, op. 23: score link

Theme type period hybrid (weak antecedent + consequent) hybrid (presentation + consequent) tota pieces l n1, n2, 3 n7 n3, n4, 3 n5 1 n6

Hummel, 12 menuets, op. 24: score link

Theme type period period with modulating consequent or HC sentence hybrid (antecedent + continuation) tot pieces al 4 n3trio, n4trio, n9trio, n11trio 1 6 n10trio

n1trio, n6, n7, n9, n10, n12 n1, n2, n2trio, n3, n4, n5, n5trio, n6trio, n7trio, n8, 13 n8trio, n11, n12trio

Chapter 4, p. 89

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 period period with modulating consequent or HC sentence hybrid (antecedent + continuation) hybrid (weak antecedent + consequent) hybrid (weak antecedent + continuation) hybrid (presentation + consequent) total pieces 5 2 7 3 1 3 2 n3, n7, n7trio, n8, n8trio, n5, n5trio, n1trio, n2, n2trio, n6trio, n9trio, n10, n12, n2trio, n4, n4trio, n12trio n1, n6, m9, n11, n11trio,

Hummel, Dances for the Apollo Saal, op. 27: score link
Theme type period period with modulating consequent or HC sentence hybrid (antecedent + continuation) hybrid (weak antecedent + consequent) tota pieces l 2 n1trio, n9trio, 3 11 7 2 n1, n5trio, n7trio n2, n2trio, n3, n5, n6trio1, n7, n9, n10trio, n11, n11trio, n12trio n3trio, n4, n4trio, n6, n8, n8trio, n12 n6trio2, n10,

Hummel, Dances for the Apollo Saal, op. 28: score link
Theme type period period with modulating consequent or HC sentence tota pieces l 2 n3, n6trio, n9trio, 1 11 n12trio n1, n3trio, n4, n4trio, n5trio, n6, n7, n7trio, n8, n11trio, n12, n1trio, n2trio, n5, n9, n10, n2, n8trio, n10trio, n11,

hybrid (antecedent + continuation) 5 hybrid (weak antecedent + 4 continuation)

Themes: Data, p. 90

Hummel, Dances for the Apollo Saal, op. 31: score link . NB: These are live links.
Theme type period sentence hybrid (antecedent + continuation) hybrid (weak antecedent + continuation) hybrid (presentation + consequent) total pieces: M=menuet, D=Deutsche 4 M.n1trio, M.n2trio, M.n6, D.n1trio 6 M.n1, M.n2, M.n4, D.n1, D.n4trio, D.n5 6 M.n3, M.n3trio, M.n5, M.n5trio, M.n6trio, D.n2 1 3 D.n3 M.n4trio, D.n2trio, D.n3trio

Hummel, Dances for the Apollo Saal, op. 39: page link; score link
Theme type period period with modulating consequent or HC sentence tot pieces: M=menuet, D=Deutsche al M.n2trio1, M.n4trio, D.n1trio3, D.n2trio1, D.n2trio3, 9 D.n2trio4, D.n3trio1, D.n3trio3, D.n4trio3 1 M.n2trio2 10 M.n1trio, M.n4, M.n5, M.n5trio, D.n1, D.n1trio4, D.n2trio2, D.n3, D.n4trio1, D.n4trio2

hybrid (weak antecedent + 1 M.n2 consequent) hybrid (presentation + 4 M.n6trio, D.n1trio1, D.n2, D.n3trio2 consequent)

Hummel, 12 German Dances, op. 44: page link; score link

Theme type period sentence hybrid (antecedent + continuation) hybrid (weak antecedent + continuation) total 2 3 3 1 pieces n1trio, n11trio n2, n7, n7trio, n10trio n1, n6, n11 n6trio

Hummel, Dances for the Apollo Saal, op. 45: score link
Theme type period period with modulating consequent or HC sentence hybrid (antecedent + continuation) hybrid (weak antecedent + continuation) hybrid (presentation + consequent) tota pieces: M=menuet, D=Deutsche l M.n1trio, M.n2trio, M.n3, M.n3trio, D.n2trio, 6 D.n6trio 5 2 4 3 2 M.n2, M.n4trio, M.n5, M.n5trio, M.n6trio D.n2, D.n4 M.n1, M.n4, D.n1, D.n3 M.n6, D.n5, D.n6 D.n1trio, D.n3trio

Chapter 4, p. 91

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) sentence hybrid (antecedent + continuation) hybrid (weak antecedent + consequent) hybrid (presentation + consequent) 16-bar theme tota piece l s 1 n3 1 1 2 1 n6 n2 n1, n4 n5

Weber, Allemandes, op. 4: score link

Theme type period period with modulating consequent or HC sentence hybrid (antecedent + continuation) hybrid (weak antecedent + continuation) hybrid (presentation + consequent) total 2 2 2 6 7 1 pieces n1, n3trio n2, n6 n8, n10 n2trio, n4trio, n5, n5trio, n7trio, n8trio n1trio, n3, n4trio, n7, n9, n9trio, n10trio n6trio

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 CENTURY This 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 STRAIN Three 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: Period with modulating consequent Period with half cadence Sentence: Hybrid (antecedent + continuation): Hybrid (presentation + consequent): *4-bar theme Other (presentation + presentation) (column totals) # 112 30 3 4 4 5 2 2 162

Chapter 5, p. 93

2. THEME TYPES IN VOLUME ORDER

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

Themes: Historical Data, p. 94

1,33 1,34 1,35 1,36 1,37 1,38 1,39 1,40 1,41 1,42 1,43 1,44 1,45 1,46 1,47 1,48 1,49 1,50 1,51 1,52 1,53 1,54 1,55 1,56 1,57 1,58 1,59 1,60 1,61 1,62 1,63 1,64 1,65 1,66 1,67

La mont-au-ciel La belle pinture de Lucy L'esprit folet Le Wauxhall de Londres La barbella La mignonnette Le ballet des Guirlandes Les amusements de Chevalier La rejouissante La nouvelle d'Auphine La nouvelle Lise Les batteurs en grange La colise Le chevalier oblique Les plaisirs de Chevalier La nouvelle terpsicore Le balet du colisee Le retour franais Limpromptu de Rossignol Le caprice de Gaudrot Les ftes villageoises Les amusements de Dusuel Les quatre berceaux La jardiniere L'ouverture du colise L'ambigu comique Les plaisirs du colise Les dlices franais La joute Le rends-vous de la jeunesse Les petites etrennes Le palais de l'amour La bizarre Les plaisirs champestres de la valle de M. La nouvelle Aime

Period with modulating consequent Period Period Period Period Period with modulating consequent Period Period with Period with Period Period Period Period with Period with Period with Sentence Period Period Period Period Period Sentence Period Period Period with Period Period Period with modulating consequent Period Sentence Period Period Period with half cadence Period with modulating consequent Period with modulating consequent

Chapter 5, p. 95

1,68 1,69 1,70 1,71 1,72 1,73 1,74 1,75 1,76 1,77 1,78 1,79 1,80 1,81 1,82 1,83 1,84 1,85 1,86 1,87 1,88 1,89 1,90 1,91 1,92 1,93 1,94 1,95 1,96 1,97 1,98 1,99 1,100 2,1

La Dauberval La petite javott L'alexandrine Le parfait cotentement La fricasse ; Carabo La nouvelle Guillet La rose La nouvelle Dailly La petite Angelique La soissonnoise La boullongne La violette L'amoureux de quinze ans La nouvelle victoire La rosiere La Provence Les tems perdu La sduisante La pense de Vallette La societ de Battu La chasse de Desnoyers La blondelle La tonnelliere Les traits galants Les quatre commeres La simonnette La bertrand Les plaisirs de L'isle Adam Les soires de Passy La voisine La glorieuse La lison La clef des coeurs. La belle-poule et la L'arguza [v. 2]

Period Period Other: presentation + presentation Period with modulating consequent Period Hybrid (antecedent + continuation Period Period Period Period with modulating consequent Sentence Period Other: presentation + presentation Period with modulating consequent Period Period with modulating consequent Period with modulating consequent Period Period Period Period Period with modulating consequent Period with modulating consequent Period Period with modulating consequent Period Period Period Period Period Period Period (primitive) Hybrid (presentation + consequent) Period

Themes: Historical Data, p. 96

2,2 2,3 2,4 2,5 2,6 2,7 2,8 2,9 2,10 2,11 2,12 2,13 2,14 2,15 2,16 2,17 2,18 2,19 2,20 2,21 2,22 2,23 2,24 2,25 2,26 2,27 2,28 2,29 2,30 2,31 2,32 2,33 2,34 2,35 2,36

Les deux jaloux et Les troqueurs L'automne et La camille Potpourrie L'insurgente et L'anglaise americaine La chasse de Silvie La Voltaire & La Franklein La d'Orvillier Le lundy & Le jeudy La petite charmante La cleophille Les bonnes amie La Louise La dubreuil La bagatelle La rose nouvelle Potpoury franais Les plaisirs de crteille La promenade du colisee Le cadrille de la puce La puce L't Les plaisir de Chenonceaux La babiolle La chasse d'amour La rejouissanse dartois Lajax L'amour quteur La pracontalle Les pois ram Le bataillon carr Potpourrie La perrier Le herisson et la pie L'alcimadure et La villageoise Les plaisirs de Montreuille

Period Period with modulating consequent -- not in the score ]ile Period with modulating consequent Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period *4-bar theme Period with modulating consequent Period Period Period Period with modulating consequent Period Period with modulating consequent Period with half cadence Hybrid (antecedent + continuation) Period Period Period Period with half cadence Period

Chapter 5, p. 97

2,37 3,1 3,2 3,3 3,4 3,5 3,6 5,1 5,2 5,3 5,4 5,5 5,6 5,7 5,8 5,9 5,10 5,11 5,12 5,13 5,14 5,15 5,16 5,17 5,18 5,19 5,20

La piere dsmant et La villetier Les plaisirs de Flore [v. 3] La vertu L'aimable jeunesse La cour de Paphos L'Adonis La mignonette La perreau -- [v. 5] Les quatre comtesses Quadrille anglais Quadrille allemand Les quatre princes La promenade de mesdames La nouvelle Therese Le nouveau quadrille anglais L'ouverture des assembles Les amusemens de Mndouze La Danemark, ou, La n[ouvel]le Trawandal La suze La gat La voluptueuse Les plaisirs de Carel L'impromptu La Esther Les grace allemandes La Flore Le ballet allemand

Period Hybrid (presentation + presentation) Period Period with modulating consequent Hybrid (presentation + consequent) Period with modulating consequent Period with modulating consequent Period Period Period Period Hybrid (antecedent + continuation) Period Hybrid (presentation + consequent) Period Hybrid (antecedent + continuation) Period Period Period Period Period Period Period Hybrid (presentation + consequent) Period Period Period

3. TABLE 2 SORTED BY THEME TYPE (COLUMN 3)

Vol/# 2,4 1,31 2,22 Title Potpourrie Les moissonneurs L't

Theme types -- not in the score ]ile *4-bar theme *4-bar theme

Themes: Historical Data, p. 98

1,73 2,31 5,5 5,9 1,100 3,4 5,7 5,17 3,1 1,70 1,80 1,1 1,2 1,3 1,4 1,5 1,6 1,7 1,8 1,9 1,10 1,11 1,12 1,13 1,14 1,15 1,16 1,18 1,19 1,20 1,22 1,23 1,24 1,25 1,26

La nouvelle Guillet Le bataillon carr Les quatre princes L'ouverture des assembles La clef des coeurs. La cour de Paphos La nouvelle Therese La Esther Les plaisirs de Flore [v. 3] L'alexandrine L'amoureux de quinze ans Les plaisirs de l'Arquebuse [v. 1] La jasuel Les quatres nieces Les graces allemandes La nouvelle yorck La brandebourg La Lucille L'toile La chasse de Diane Le petite Battu La petite eclusel Les plaisirs de la chasse La nouvelle de Lille La Zelmire Tambourin allemand La petite laitiere Les amusements du Wauxhall Les soires amusantes La nouvelle ferret L'ouverture des ftes de Torr La Robert La nouvelle Sguin L'ouverture des ftes de Belleville La nouvelle brunswick

Hybrid (antecedent + continuation Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + presentation) Other: presentation + presentation Other: presentation + presentation Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period

Chapter 5, p. 99

1,28 1,29 1,30 1,32 1,34 1,35 1,36 1,37 1,39 1,42 1,43 1,44 1,49 1,50 1,51 1,52 1,53 1,55 1,56 1,58 1,59 1,61 1,63 1,64 1,68 1,69 1,72 1,74 1,75 1,76 1,79 1,82 1,85 1,86 1,87

La troyenne La chasse Les plaisirs de Tanlay Les plaisirs de la jeunesse La belle pinture de Lucy L'esprit folet Le Wauxhall de Londres La barbella Le ballet des Guirlandes La nouvelle d'Auphine La nouvelle Lise Les batteurs en grange Le balet du colisee Le retour franais Limpromptu de Rossignol Le caprice de Gaudrot Les ftes villageoises Les quatre berceaux La jardiniere L'ambigu comique Les plaisirs du colise La joute Les petites etrennes Le palais de l'amour La Dauberval La petite javott La fricasse ; Carabo La rose La nouvelle Dailly La petite Angelique La violette La rosiere La sduisante La pense de Vallette La societ de Battu

Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period

Themes: Historical Data, p. 100

1,88 1,91 1,93 1,94 1,95 1,96 1,97 1,98 2,1 2,2 2,6 2,7 2,8 2,9 2,10 2,11 2,12 2,13 2,14 2,15 2,16 2,17 2,18 2,19 2,20 2,21 2,24 2,25 2,26 2,28 2,32 2,33 2,34 2,36 2,37

La chasse de Desnoyers Les traits galants La simonnette La bertrand Les plaisirs de L'isle Adam Les soires de Passy La voisine La glorieuse La belle-poule et la L'arguza [v. 2] Les deux jaloux et Les troqueurs La chasse de Silvie La Voltaire & La Franklein La d'Orvillier Le lundy & Le jeudy La petite charmante La cleophille Les bonnes amie La Louise La dubreuil La bagatelle La rose nouvelle Potpoury franais Les plaisirs de crteille La promenade du colisee Le cadrille de la puce La puce La babiolle La chasse d'amour La rejouissanse dartois L'amour quteur Potpourrie La perrier Le herisson et la pie Les plaisirs de Montreuille La piere dsmant et La villetier

Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period

Chapter 5, p. 101

3,2 5,1 5,2 5,3 5,4 5,6 5,8 5,10 5,11 5,12 5,13 5,14 5,15 5,16 5,18 5,19 5,20 1,17 1,21 1,27 1,99 1,40 1,41 1,45 1,46 1,47 1,57 1,60 1,66 1,67 1,71 1,77 1,81 1,83 1,84

La vertu La perreau -- [v. 5] Les quatre comtesses Quadrille anglais Quadrille allemand La promenade de mesdames Le nouveau quadrille anglais Les amusemens de Mndouze La Danemark, ou, La n[ouvel]le Trawandal La suze La gat La voluptueuse Les plaisirs de Carel L'impromptu Les grace allemandes La Flore Le ballet allemand La petulante Le dserteur La nouvelle corbeil La lison Les amusements de Chevalier La rejouissante La colise Le chevalier oblique Les plaisirs de Chevalier L'ouverture du colise Les dlices franais Les plaisirs champestres de la valle de M. La nouvelle Aime Le parfait cotentement La soissonnoise La nouvelle victoire La Provence Les tems perdu

Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period with modulating consequent Period with modulating consequent Period with modulating consequent Period (primitive) Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent

Themes: Historical Data, p. 102

1,89 1,90 1,92 2,3 2,5 2,23 2,27 2,29 3,3 3,5 3,6 1,65 2,30 2,35 1,33 1,38 1,48 1,54 1,62 1,78

La blondelle La tonnelliere Les quatre commeres L'automne et La camille L'insurgente et L'anglaise americaine Les plaisir de Chenonceaux Lajax La pracontalle L'aimable jeunesse L'Adonis La mignonette La bizarre Les pois ram L'alcimadure et La villageoise La mont-au-ciel La mignonnette La nouvelle terpsicore Les amusements de Dusuel Le rends-vous de la jeunesse La boullongne

Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with half cadence Period with half cadence Period with half cadence Period with modulating consequent Period with modulating consequent Sentence Sentence Sentence Sentence

Chapter 5, p. 103

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 STRAIN Four Tables: 1. Summary by theme type 2. Theme types in volume order; 3. Table 2 sorted by theme type (column 3). 4. Sorted by menuet/contredanse, then by theme type

1. SUMMARY BY THEME TYPE:

Function in Lirst strain Hybrid (antecedent + continuation) Hybrid (presentation + consequent) Period Period (modulating consequent) Sentence Total Menuet Contre- all types danses 14 3 17 0 0 0 7 21 1 6 16 5 31 1 6 16 12 52

2. THEME TYPES IN VOLUME ORDER

# 1 2 3 4 5 6 7a 7b Title (approx) 1.Air [for Menuet] 2.Air [for Menuet] 3.Air [for Menuet] 4.Air [for Menuet] 5.Air [for Menuet] 6.Air [for Menuet] 1.Menuets Trio First strain form Sentence Hybrid (antecedent + continuation) Sentence Sentence Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation)

Themes: Historical Data, p. 104

8a 8b 9a 9b 10a 10b 11 12 13 14 15 16 17 18 19a 19b 20a 20b 21a 21b 22a 22b 23 24 25a 25b 26a 26b 27a 27b 28a 28b 29a 29b 30a

2.Menuets Trio 3.Menuets trio 4.Menuets trio 5.Menuets 6.Menuets 1.Air [for contredanse] 2.Air [for contredanse] 3.Air [for contredanse] 4.Air [for contredanse] 5.Air [for contredanse] 6.Air [for contredanse] 1.contredanse 2.contredanse 3.contredanse 4.contredanse 5.contredanse 6.contredanse menuet passepied [for menuet] forlane [for contredanse] contredanse francaise contredanse angloise contredanse allemande

Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Sentence Sentence Sentence Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Sentence Hybrid (antecedent + continuation) Period Hybrid (presentation + consequent) Sentence Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Hybrid (antecedent + continuation) Period (modulating consequent) Period (modulating consequent) Sentence Period (modulating consequent) Period (modulating consequent) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Sentence Sentence Period Period Period (modulating consequent)

Chapter 5, p. 105

30b 31a 31b 32 33a 33b 34 35 36 menuet bon[for contredanse?] menuet vicieux [for contredanse?] menuet le rvrance [with dance ]igures] marche [for contredanse?] rigaudon [for contredanse?]

Period (modulating consequent) contredanse allemande o boiteuse Period Period Period Period (modulating consequent) Period (modulating consequent) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Sentence

3. TABLE 2 SORTED BY THEME TYPE (COLUMN 3)

# 2 5 6 7a 7b 8a 8b 9a 9b 12 13 15 21a 25a 25b 34 35 17 16 29a 29b 31a menuet bon[for contredanse?] menuet vicieux [for contredanse?] 5.Air [for contredanse] 4.Air [for contredanse] contredanse angloise Title (approx) 2.Air [for Menuet] 5.Air [for Menuet] 6.Air [for Menuet] 1.Menuets Trio 2.Menuets Trio 3.Menuets trio 6.Menuets 1.Air [for contredanse] 3.Air [for contredanse] 3.contredanse menuet First strain form Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (presentation + consequent) Period Period Period contredanse allemande o boiteuse Period

Themes: Historical Data, p. 106

31b 32 19a 19b 20a 20b 21b 22a 23 24 26a 26b 27a 27b 30a 30b 33a 33b 1 3 4 10a 10b 11 14 18 22b 28a 28b 36 menuet le rvrance [with dance ]igures] contredanse francaise 1.Air [for Menuet] 3.Air [for Menuet] 4.Air [for Menuet] 4.Menuets Trio 5.Menuets 2.Air [for contredanse] 6.Air [for contredanse] rigaudon [for contredanse?] contredanse allemande forlane [for contredanse] 4.contredanse 5.contredanse 6.contredanse passepied [for menuet] 2.contredanse marche [for contredanse?] 1.contredanse

Period Period Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence

4. SORTED BY MENUET/CONTREDANSE, THEN BY THEME TYPE

# Title (approx) First strain formal functions

Chapter 5, p. 107

2 5 6 7a 7b 8a 8b 9a 9b 12 25a 25b 34 35 1 3 4 10a 10b 11 36

2.Air [for Menuet] 5.Air [for Menuet] 6.Air [for Menuet] 1.Menuets Trio 2.Menuets Trio 3.Menuets trio 6.Menuets menuet menuet bon[for contredanse?] menuet vicieux [for contredanse?] 1.Air [for Menuet] 3.Air [for Menuet] 4.Air [for Menuet] 4.Menuets trio 5.Menuets menuet le rvrance [with dance ]igures] 1.Air [for contredanse] 3.Air [for contredanse] 3.contredanse 5.Air [for contredanse] 4.Air [for contredanse] contredanse angloise contredanse allemande o boiteuse marche [for contredanse?] 1.contredanse 2.contredanse

Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Sentence Sentence Sentence Sentence Sentence Sentence Sentence

13 15 21a 17 16 29a 29b 31a 31b 32 19a 19b 20a

Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (presentation + consequent) Period Period Period Period Period Period Period (modulating consequent) Period (modulating consequent) Period (modulating consequent)

Themes: Historical Data, p. 108

20b 21b 22a 23 24 26a 26b 27b 30a 30b 33a 33b 14 18 22b 28a 28b contredanse francaise 2.Air [for contredanse] 6.Air [for contredanse] rigaudon [for contredanse?] contredanse allemande 4.contredanse 5.contredanse 6.contredanse passepied [for menuet]

Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Period (modulating consequent) Sentence Sentence Sentence Sentence Sentence

Chapter 5, p. 109

C. CHERUBINI, CONTREDANSES FOR ORCHESTRA Luigi Cherubini, Contredanses fr Orchester, ed. Claudio Gallico und Sergio Albertini. Frankfurt ; New York : H. Litolff's Verlag/C.F. Peters, (c1971). THEME TYPES IN THE FIRST STRAIN All 2/4 contredanses except as noted
# 1 2 3 4 5 Title La ]lorentine La thresita La joseph La nouvelle crole Contredanse villageoise Pas saut contredanse # of strains keys 3 3 3 3 2 D-A-Dm D-A-Dm Dm-Dm-DM Dm-Dm-DM G-G Theme period period Period Period Period with modulating consequent Period with modulating consequent Antecedent + continuation Period Period Period In 6/8; In 6/8; 2d strain ends on V In 6/8; 2d strain ends in III Notes

G-G

7 8 9 10 11 12 [13]

Menuet villageois 2 Air de danse La melfort La bachanale Contredanse Contredanse La bonne amiti 3 3 3 3 3 3

C G-G-Gm D-D-Dm D-D-Dm

In 3/4

Dm-Dm-Bb to Period F D-D-Dm C-C-Cm Period Period In 6/8;

Themes: Historical Data, p. 110

D. LOUIS JULIEN CLARCHIES (1769-1814), RECUEIL DES CONTRE-DANSES ET WALZES (A PARIS: CHEZ FRERE, [179-?-1815?]), --several volumes as they are represented in the partial set on the Library of Congress American Memory site, Dance Instruction Manuals section: Clarchies. From the description given under bibliographical information: "By the end of the eighteenth century, publishers were regularly offering collections of music appropriate for dancing contredanses, quadrilles, and waltzes. This large collection contains music for waltzes and sets of contredanses, scored for two treble instruments. . . .Each vol. of 45 p. contains several contre-danses, each accompanied by dance instructions, followed by several waltzes and (in most vols.) other dances." In the tables below, I have supplied page number, title, key, and theme-type for the ]irst strain in all dances from the ten volumes: the volumes are nos. 12, 13, 16, 17, 20, "21-22," 23, 25, 26, and 28. Theme-types are named using the terminology of William Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York: Oxford University Press, 1998). I follow Caplin's expanded de]inition of "antecedent," which includes phrases ending with unstable tonic harmony (IAC), but I use "continuation" rather than "consequent" for phrases beginning with the basic idea stated at non-tonic levels. The latter are mentioned under "Notes." I have not indicated form-types, except under "Notes" for anomalies. Almost all of the contredanses and sauteuses are written in three strains, with the ]irst and second in the principal key and the third in the relative or parallel minor (for major-key dances) or in the relative major (for minor-key dances). The familiar "dal segno" sign at the end of second and third strains indicates a rondeau design (ABACA or strains 1-2-1-3-1), but the needs of performance for social dancing would have dictated how the strains were arranged (and how often each was repeated). Also note that the harmony (almost) always closes with a perfect authentic cadence to the tonic of the strain. The waltzes and mazurkas are written in four strains that are obviously meant to be played in pairs, as the harmony is often open at the end of the ]irst strain (but always closed at the end of the second) and the key often changes for the third and fourth strains. The result in performance might be a dance-trio arrangement (1-2-3-4-1-2) or an alternativo design (1-2-3-4-1-2-3-4).

THEME TYPES IN THE FIRST STRAIN Two tables:

1. Summary of all volumes
2. All volumes, sorted alphabetically by theme-type, then within each theme-type by title

Chapter 5, p. 111

1. Summary of all volumes:

Theme-type Period: Sentence: Hybrid (antecedent + continuation): # 168 31 23 Contre- danses 104 8 15 7 3 2 -- -- 139 Waltzes Mazury Sauteuse Anglaise 43 16 6 6 1 1 1 -- 74 6 5 1 -- 1 -- -- -- 13 8 1 -- -- -- -- -- -- 9 7 1 1 -- -- -- -- -- 9

Hybrid (presentation + consequent): 13 Hybrid (compound basic idea + 5 continuation): 16-bar period (sentence + sentence): 3 16-bar period (period + period): Unknown: (column totals) 1 1 245

2. All volumes, sorted by theme-type, then alphabetically within each theme-type by title:
Vol. 23 25 23 "21" 20 17 26 17 26 16 17 13 "21" 13 13 17 25 20 17 Page 38 10 20 24 42 44 44 12 8 20 10 16 26 6 18 24 24 20 18 title Waltzer La paix de louis xviii La petitte zenobie Le revenant Waltzer Anglaise Anglaise La amine La ]lorantine La folie La foliot La frderic de bades La gallina La isidore La mimire La nouvelle threse La olindine La petite ]lore La raucoure Key F Bb D D G D F D Am Dm D D G A D Am D D D Theme-type in Lirst strain 16-bar period (period + period) 16-bar period (sentence + sentence) 16-bar period (sentence + sentence) 16-bar period (sentence + sentence) 16-bar period (sentence + sentence) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation)

Themes: Historical Data, p. 112

"21" 13 16 12 12 12 20 25 25 "21" "21" "21" 17 13 26 16 25 20 20 25 12 20 20 20 "21" 26 26 16 16 17 20 23 25 26

12 2 28 34 36 38 32 38 40 20 2 22 26 33 16 18 20 6 8 6 8 30 36 38 42 34 38 44 45 44 45 45 45 45

La sirie L'elegante Mazury Waltzer Waltzer Waltzer Waltzer Waltzer La ferrol La petitte luce La sta. carolina Mazuri Waltzer La bonnay La borghes La folie d'espagne La Herminie La mgriny La prudence Les bardes Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Anglaise Anglaise Anglaise Anglaise Anglaise Anglaise Anglaise

G Em Em G G F G D D D D D C Am F Dm G Eb Bb Dm D C Bb G G F C F F A D C F

Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (compound basic idea + continuation) Hybrid (compound basic idea + continuation) Hybrid (compound basic idea + continuation) Hybrid (compound basic idea + continuation) Hybrid (compound basic idea + continuation) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Period Period Period Period Period Period period

Waltzer charmante Gabrielle D

Chapter 5, p. 113

"21" "21" 23 12 26 20 25 26 25 28 16 16 13 "21" "21" 25 16 "21" 12 16 25 20 25 12 12 16 20 12 26 "21" 26 13 16 25 16

18 38 12 16 2 4 2 26 4 8 12 22 24 14 4 30 2 8 18 16 26 12 28 2 20 24 22 4 24 34 10 12 10 12 14

L ambroisine L hermite La amable La ammone La blaya La belty La berry La Bianca La bien veillance La boston La bougainville La bourbon le blanc La caroline La casimir La catiche La charasse La Christian La clara La clelie La clmentine La clrine La clorinde La cochoise La colenele La corinthia La dalambert La dana La delicate La drosy La dutaillis La esmini La Eugene La flicit La fracobe La frdrika

A F Em E A D Bb F Bb Bb G D Em G D Bm Dm G A D Bb Bm D G Em Bb D E Gm D D D Em Bb Am

Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period

Themes: Historical Data, p. 114

12 23 23 16 25 26 28 17 "21" 20 28 28 25 28 26 28 17 "21" 12 23 26 28 20 28 23 17 23 23 23 "21" 20 23 13 13 23

22 10 18 4 18 4 10 6 10 14 20 22 22 24 6 4 8 6 6 14 18 28 24 14 8 20 30 4 2 16 10 16 20 4 22

La gosselina La Hoffmann La holtherman La hortense La hugue La imadine La jenny La Josephine La joyeuse La judicia La kesville La Laurence La laurise La locadie La lorance La loranzo La malet La maltilda La marchale La mariette La matias La mendoce La mimi La miran La nouvelle bion La nouvelle caroline La nouvelle gigue La nouvelle ricarre La oliviez La paterne La paul rode La petite l'abb La petite lore La petite volange La petitte bichonne

Bb Eb Am Em F D Bb D D D A D Dm E A Bb D G C E E D Eb D A Em G Am Em Em G A Em Am Gm

Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period

Chapter 5, p. 115

23 23 "21" 12 17 16 26 17 28 13 12 28 28 23 13 16 28 25 17 17 25 13 "21" "21" "21" 20 17 20 26 13 26 "21" 17 17

26 28 30 14 14 26 8 12 16 16 10 12 30 12 24 8 6 18 14 22 2 8 22 32 28 36 16 4 18 30 14 28 40 27 30

La petitte lefevre La petitte lorette La pomme dor La poulete La robertine La rodolphe La rose La royal La sa]ie La saint ange La thresia La torea La trufaldin La valbonne La vallette La veritable imperial La victoire La weemor La zizi La zizine La zobede L'aimable L'austerlitz Le fete du hameau Le jardin des princes Le petitte poly Le roi de rome Le tambourin Le vetilleuse Les lys L'estphanie L'toile L'isidore Mazuri Mazuri

G Em A A Am F Am Dm F A D G G Em Bb A Am Em Bb D A Bb C E G D Dm A Bb Bb G F A A F

Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period

Themes: Historical Data, p. 116

17 16 16 16 12 12 13 17 20 23 25 25 26 12 13 13 13 13 13 13 13 13 13 16 17 17 17 17 17 20 20 20 20 20 20

31 36 38 26 24 44 44 45 44 42 42 44 43 40 26 30 31 35 38 39 40 42 44 40 32 36 38 40 42 26 27 28 34 37 40

Mazuri Mazury Mazury Mazury, ou Waltz russe Pantalon Sauteuse Sauteuse Sauteuse Sauteuse Sauteuse Sauteuse Sauteuse Sauteuse Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer

G Bb G D F C D D F Gm Dm F D F Bb Gm G D Bb Bb G Am D C A C Bb Eb Cm G G C Bb Eb D

Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period

Chapter 5, p. 117

20 "21" "21" "21" 23 23 23 23 25 25 25 25 26 26 26 26 26 28 28 28 28 23 28 12 20 26 26 28 23 25 26 17 17 16 16

41 43 44 45 32 33 36 40 32 34 36 37 35 36 39 40 42 32 36 40 44 44 2 10 2 14 22 6 6 16 20 28 29 30 32

Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Anglaise La belton La chasse La chicaneuse La cristabel La d'arcos La dorly La fesey La nimanne La servol Mazuri Mazuri Mazury Mazury

D Bb D G G C Bb Bb G D C F G Bb F C D Bb Bb C Bb A Bb F Am G Bb Bb G C F Bb Eb F C

Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence

Themes: Historical Data, p. 118

16 16 12 12 12 12 12 13 13 13 13 17 26 26 28 28 28 23

34 42 26 28 30 32 42 28 32 34 36 34 32 33 34 38 42 34

Mazury Sauteuse Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer

Em C F C F G F G F G C D F F D Bb F D

Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Unknown

Volume-by-volume data Volume 12:

Page 2 4 6 8 10 12 14 16 18 title La colenele La delicate La marchale Les bardes La chasse La torea La poulete La ammone La clelie Key G E C Dm F G A E A Theme-type in Lirst strain Period Period Period Hybrid (presentation + consequent) Sentence Period Period Period Period "primitive theme": every two bar unit is the b.i.; only the cadences differ Notes

Chapter 5, p. 119

20 22 24 26 28 30 32 34 36 38 40 42 44

La corinthia La gosselina Pantalon Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Sauteuse

Em Bb F F C F G G G F F F C

Period Period Period Sentence Sentence Sentence Sentence Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Period Sentence Period Erroneous F major signature

Volume 13:
Page 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 31 title L'elegante La petite volange La isidore La veritable imperial La thresia La Eugene L'estphanie Key Em Am A A D D G Theme-type in Lirst strain Hybrid (antecedent + continuation) Period Hybrid (antecedent + continuation) Period Period Period Period Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Period Period Period Period Sentence Period Period Notes

La frderic de bades D La mimire La petite lore L'austerlitz La caroline Waltzer Waltzer Waltzer Waltzer D Em C Em Bb G Gm G

Themes: Historical Data, p. 120

32 33 34 35 36 38 39 40 42 44 44

Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Sauteuse

F C G D C Bb Bb G Am D D

Sentence Hybrid (compound basic idea + continuation) Sentence Period Sentence Period Period Period Period Period Period

Alt: period where consequent starts as dominant-level "response"

Volume 16:
Page 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 title La Christian La hortense La victoire La rose La flicit La bougainville La frdrika La clmentine La borghes La folie Key Dm Em Am Am Em G Am D F Dm Theme-type in Lirst strain Period Period Period Period Period Period Period Period Hybrid (presentation + consequent) Hybrid (antecedent + continuation) Period Period Period Hybrid (antecedent + continuation) Sentence Sentence 1/2 3/4 5 6. Alt: period where consequent starts as dominant-level "response" Notes

La bourbon le blanc D La dalambert Mazury, ou Waltz russe Mazury Mazury Mazury Bb D Em F C

Chapter 5, p. 121

34 36 38 40 42 44 45

Mazury Mazury Mazury Waltzer Sauteuse Anglaise Anglaise

Em Bb G C C C F

Sentence Period Period Period Sentence Period Period

7. Alt: period where consequent starts as dominant- level "response" 8 9 10, but labeled waltz, not mazurka 1 2

Volume 17:
Page 2 4 6 8 10 12 14 16 18 20 22 24 26 27 28 29 30 31 32 34 title La zobede Le tambourin La Josephine La malet La foliot La amine La robertine La sa]ie La raucoure Key A A D D D D Am F D Theme-type in Lirst strain Notes Period Period Period Period Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Period Period Hybrid (antecedent + continuation) Period Period Hybrid (antecedent + continuation) Hybrid (compound basic idea + continuation) Period Sentence Sentence Period Period Period Sentence Alt: period where consequent starts on non-tonic level(here, ii)

La nouvelle caroline Em La zizine D La nouvelle threse Am Mazuri Mazuri Mazuri Mazuri Mazuri Mazuri Waltzer Waltzer D A Bb Eb F G A D

1. Alt: Consequent starting on dominant level 2 3 4 5 [6] [1] 2

Themes: Historical Data, p. 122

36 38 40 42 44 44 45

Waltzer Waltzer Waltzer Waltzer Anglaise Anglaise Sauteuse

C Bb Eb Cm D F D

Period Period Period Period Hybrid (antecedent + continuation) Period Period

3 4 5 6

Volume 20:
Page 2 4 6 8 10 12 14 16 18 20 22 24 26 27 28 30 32 34 36 37 38 40 title La chicaneuse La belty La Herminie La mgriny La paul rode La clorinde La judicia Le roi de rome Le vetilleuse La petite ]lore La dana La mimi Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Key Am D G Eb G Bm D Dm Bb D D Eb G G C D G Bb C Eb Bb D Theme-type in Lirst strain Notes Sentence Period Hybrid (presentation + consequent) Hybrid (presentation + consequent) Period Period Period Period Period Hybrid (antecedent + continuation) Period Period Period Period Period Hybrid (presentation + consequent) Hybrid (antecedent + continuation) Period Hybrid (presentation + consequent) Period Hybrid (presentation + consequent) Period 1 2 3 4 5 6 7 8 9 10

Chapter 5, p. 123

41 42 44 45

Waltzer Waltzer Sauteuse Anglaise

D G F A

Period

11

16-bar period (sentence + 12. ]irst strain is 16 bars in 3/8 sentence) meter Period Period 1/2

"Volume 21-22":
Page 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 43 44 title La petitte luce La catiche La maltilda La clara La joyeuse La sirie La casimir La paterne L ambroisine La ferrol La sta. carolina Le revenant La gallina Le jardin des princes La pomme dor La dutaillis Le petitte poly L hermite L'isidore Waltzer Waltzer Waltzer Key D D G G D G G Em A D D D G G A D D F A G Bb D Theme-type in Lirst strain Notes Hybrid (compound basic idea + continuation) Period Period Period Period Hybrid (antecedent + continuation) Period Period Period Hybrid (compound basic idea + continuation) Hybrid (compound basic idea + continuation) 16-bar period (sentence + sentence) Hybrid (antecedent + continuation) Period Period Period Period Period Period Period Hybrid (presentation + consequent) Period Period "Par Julien". Figure Pantalon. (The ]irst ]ive pieces create a quadrille.) Julien. Figure et. Julien. Figure poule. Julien. Figure et. Julien. Figure ]inale Arr. Julien. "Pour la naissance du Roi de Rom" Rose Rose Rose Rose Lavocat. Alt: consequent starts at dominant-level Lavocat. Incorrectly notated as two strains. Lavocat. Alt: period where consequent starts at dominant- level Marin pichon Marin pichon Marin pichon Dubois Dubois Dubois Dubois

Le fete du hameau E

Themes: Historical Data, p. 124

45

Waltzer

Period

Volume 23:
Page 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 33 34 title La oliviez La fesey La nouvelle bion La Hoffmann La amable La mariette La petite l'abb La holtherman La petitte zenobie Key Em G A Eb Em E A Am D Theme-type in Lirst strain Notes Period Period Sentence Period Period Period Period Period Period 16-bar period (sentence + Notated as if two strains, but sentence) the second is marked "]in" Period Period Period Period Period Period Period Unknown 1 2 [3] "La reine d'holande." Peculiar metric shape: 16-bar theme would require two bars of introduction (without melody); as 14 bars, is 6 + 8, where an initial 4 is extended by 2. 4 5 [6] 1/2 1 2

La nouvelle ricarre Am

La petitte bichonne Gm La vallette La petitte lefevre La petitte lorette La nouvelle gigue Waltzer Waltzer Waltzer Bb G Em G G C D

36 38 40 42 44 45

Waltzer Waltzer Waltzer Sauteuse Anglaise Anglaise

Bb F Bb Gm A D

Period 16-bar period (period + period) Period Period Sentence Period

Volume 25:

Chapter 5, p. 125

Page 2

title La berry

Key Bb

Theme-type in Lirst strain Period

Notes Headed "Quadrille du Duc de Berry," which probably applies to nos. 1-5, as the dance ]igures are very close to those described for the titled movements of the quadrille in volume 28 (q.v.)

4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 37 38 40 42 44 45

La bien veillance La prudence L'aimable

Bb Bb Bb

Period Hybrid (presentation + consequent) Period 16-bar period (sentence + sentence) Period Period Sentence Period Hybrid (presentation + consequent) Period Hybrid (antecedent + continuation) Period Period Period Period Period Period Period Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Period Period Period

La paix de louis xviii Bb La fracobe La zizi La nimanne La hugue La folie d'espagne La laurise La olindine La clrine La cochoise La charasse Waltzer Waltzer Waltzer Waltzer Waltzer Bb Bb C F Dm Dm D Bb D Bm G D C F D

1 2 3 4 5. The ]irst two strains clearly form one unit, as a small binary form 6 1 2 1/2

Waltzer charmante D Gabrielle Sauteuse Dm Sauteuse Anglaise F C

Volume 26:

Themes: Historical Data, p. 126

Page 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 33 34 35 36 38 39 40 42 43 44 45

title La blaya La imadine La lorance La ]lorantine La esmini La royal La cristabel La bonnay La matias La servol La d'arcos La drosy La Bianca L'toile Les lys Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Sauteuse Anglaise Anglaise

Key A D A Am D Dm G Am E F Bb Gm F F Bb F F G G Bb F F C D D F F

Theme-type in Lirst strain Period Period Period Hybrid (antecedent + continuation) Period Period Sentence Hybrid (presentation + consequent) Period Sentence Sentence Period Period Period Period Sentence Sentence Hybrid (presentation + consequent) Period Period Hybrid (presentation + consequent) Period Period Period Period Hybrid (antecedent + continuation) period

Notes

8-bar theme is followed by 8 bars of cadential extension (!)

1 2 3 4 5 6 7 8 9 1 2

Volume 28:
Page title Key Theme-type in Lirst strain Notes

Chapter 5, p. 127

La belton

Bb

Sentence

4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44

La loranzo La dorly La boston La jenny La valbonne La miran La saint ange La weemor La kesville La Laurence La locadie La rodolphe La mendoce La trufaldin Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer Waltzer

Bb Bb Bb Bb Em D A Em A D E F D G Bb D Bb Bb C F Bb

Period Sentence Period Period Period Period Period Period Period Period Period Period Period Period Period Sentence Period Sentence Period Sentence Period

Headed "1er Quadrille" and includes nos. 1-5. The common names for each dance are given under the instructions for the dance ]igure, here, pantalon. Figure L'te Figure La poule Figure La trnis Figure: no title []inale] Headed "2e Quadrille" Figure Pantalon Figure L'te Figure La poule Figure La trnis Figure: no title []inale] Headed "3e Quadrille" Figure Pantalon Figure L'te Figure La poule Figure La polonaise Figure: no title []inale] 1 2 3 4 5 6 7

Themes: Historical Data, p. 128

E. Durand, Contredanses (manuscript), theme types [--] Durand, Cayer de contredances (18th century). Beziers : Societe de Musicologie de Languedoc, 1984. Facsimile of the Ms. 1203 located in the Bibliotheque Municipale d'Avignon. THEME TYPES IN THE FIRST STRAIN Two Tables: 1. Theme types in volume order 2. Sorted by theme type (column 3). NB: Spellings uncertain for many of these.
# 1 2 Title La belle zpherine La reunion d'Amour et des Graces L'heureuse Julie Les plaisirs champetre Sa charmante italiene Les plaisirs de Marseille # of strains keys 3 4 (2+2) G-G-G D-D-Dm-Dm Theme Period Sentence Notes

3 4

4 (2+2) 4 (2+2)

C---Cm D-Dm

period period with modulating consequent Period Period

in small ternary order: 1-2-1-3-4-3-1-2-1 Trio in small ternary order

5 6

4 (2+2) 5 (3+2)

Eb-Eb D

Actually 2 pieces: contra in 3 strains + a version of same as a 3/8 [waltz?] in two strains in small ternary order: 1-2-1-3-4-3-1-2-1 In small ternary order Trio in small ternary order In small ternary order In small ternary order In small ternary order

7 8 9 10 11 12

La seduisanttes

4 (2+2)

C---Cm C F-F-Dm-F Gm G G

period Period Period Period Period Period

La petitte lutisse 2 [?] La prfferee La lindorlaid [?] La veille du chateau Les musical de luness [?] 4 (2+2) 2 2 2

Chapter 5, p. 129

13 14 15 16 17 18 19 20 21 22

Valse no. 1 [Valse] No. 2 [Valse] No. 3 [Valse] No. 4 [Valse] No. 5 [Valse] No. 6 [Valse] No. 7 [Valse] No. 8 [Valse] No. 9 [Valse] No. 10

2 4 (dance with trio) 2 2 2 2 2 3 2 2

C C-F C C C C C C C C

Period Period Period Period Period Period Period Period Sentence Period Dominant version Dominant version

By theme type.
# 1 3 5 6 Title La belle zpherine L'heureuse Julie Sa charmante italiene Les plaisirs de Marseille

# of strains keys 3 4 (2+2) 4 (2+2) 5 (3+2) G-G-G C---Cm Eb-Eb D

Theme Period period Period Period

Notes

in small ternary order: 1-2-1-3-4-3-1-2-1

Actually 2 pieces: contra in 3 strains + a version of same as a 3/8 [waltz?] in two strains in small ternary order: 1-2-1-3-4-3-1-2-1 In small ternary order Trio in small ternary order In small ternary order In small ternary order In small ternary order

7 8 9 10 11 12 13 14

La seduisanttes

4 (2+2)

C---Cm C F-F-Dm-F Gm G G C C-F

Period Period Period Period Period Period Period Period

La petitte lutisse 2 [?] La prfferee La lindorlaid [?] La veille du chateau Les musical de luness [?] Valse no. 1 [Valse] No. 2 4 (2+2) 2 2 2 2 4 (dance with trio)

Themes: Historical Data, p. 130

15 16 17 18 19 20 22 4

[Valse] No. 3 [Valse] No. 4 [Valse] No. 5 [Valse] No. 6 [Valse] No. 7 [Valse] No. 8 [Valse] No. 10 Les plaisirs champetre La reunion d'Amour et des Graces [Valse] No. 9

2 2 2 2 2 3 2 4 (2+2)

C C C C C C C D-Dm

Period Period Period Period Period Period Period period with modulating consequent Sentence Trio in small ternary order Dominant version Dominant version

4 (2+2)

D-D-Dm-Dm

21

Sentence

Chapter 5, p. 131

F. LA CUISSE, LE RPERTOIRE DES BALS, OU THEORIE-PRATIQUE DES CONTREDANSES, DCRITES D'UNE MANIERE AISE AVEC DES FIGURES DMONSTRATIVES POUR LES POUVOIR DANSER FACILEMENT, AUXQUELLES ON A AJOUT LES AIRS NOTS. 1762 Three volumes as they are represented in the partial set on the Library of Congress American Memory site, Dance Instruction Manuals section: http://memory.loc.gov/cgi-bin/ query/r?ammem/musdibib:@]ield(NUMBER+@od1(musdi+213)) Three tables: 1. Summary by theme types in the ]irst strain 2. In numerical (volume) order, with theme type in the ]irst strain 3. Table 2 sorted by theme type In the tables: Vol. 1 = 1-29 Vol. 2 = 30-63 Vol. 3 = 64-99 1. Summary by theme types in the ]irst strain *16-bar period Hybrid (antecedent + continuation) Hybrid (presentation + consequent) Other Period Period with modulating consequent Period with half cadence Sentence (total) 1 3 3 4 59 26 2 2 100

2. In numerical (volume) order, with theme type in the ]irst strain

# 1 2 3 4 5 theme type Period Period Period Period Period title La marquise La mienne La fontaine L'originale La victorieuse

Themes: Historical Data, p. 132

6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40

Period Period Period Period Hybrid (antecedent + continuation) Period Period Period Period with modulating consequent Period Period with modulating consequent Period Period Period with modulating consequent Period with modulating consequent *16-bar period Period with modulating consequent Period Period with modulating consequent Hybrid (presentation + consequent) Period Hybrid (antecedent + continuation) Period Period with modulating consequent Other (*4-bar theme + continuation) Period with modulating consequent Period Period with modulating consequent Period Period Hybrid (antecedent + continuation) Period Period Period with modulating consequent Period

Air de la bionni L'intime Les 4 veuves Le tambourin daquin La nouvelle angloise La bonne-foy La griel Les 4. cousins Le moulinets briss Les 4. doubles allemandes La dubois Ma favorite Les amusements de clichy les ftes d'orleans L'ortie menuet Les amusemens de la loire La jolie d'orleans Les fontaines du loiret La nouvelle singuliere Les absences La le franc Les N.elles etrennes La nouvelle provence La ]leury Les delices de la paix Les festes de paphos La nouvelle on ne s'avise jamais de tout Les spectacles La bellon La perle L'espagnolette La bonne anne La beaudri La societ

Chapter 5, p. 133

41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75

Period with modulating consequent Period Period with modulating consequent Period with modulating consequent Period Period Period Period Sentence Period Period Period Period Period Period Period with modulating consequent Period Period with modulating consequent Period Other (presentation + presentation) Period with modulating consequent Period Period Period Period with half cadence Period with modulating consequent Period Hybrid (presentation + consequent) Period Period Period Period with modulating consequent Period with half cadence Period Period with modulating consequent

Les talens Les babillardes La bellote Les boulevards d'orleans La cocote Les jolis garons La greque Les nimphes La strasbourgeoise La nouvelle cascade de st cloud La dauvergne La carel La jardin enchant Les quadrilles La trop courte La hessoise La moscovite Les graces La n.elle garel La pontlevoy les caprices La st george La le blond Les passes-passes La languedocienne Les amusemens de caumont Les vacances La tiroloise La pesche L'equile La zelie Les 2 frres La thrse Les plaisirs grecs Le bucheron

Themes: Historical Data, p. 134

76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100

Period Period with modulating consequent Period Hybrid (presentation + consequent) Other (*4-bar theme repeated) Period with modulating consequent Period Period Period with modulating consequent Period with modulating consequent Period Period Period Period Period Period Period Period with modulating consequent Period Other (b.i. repeated 4 times) Period Period with modulating consequent Period with modulating consequent sentence Period

La clairon La coaslin La malvielle Les marmotes La marseilloise La critique La nouvelle denis La georgette La Rosalie Les chos de passy La pas de calais La windsor Le devin de village La folie La nouvelle angelique Les arcades La roucouleuse Les 4 vents La fantasie La mouvante Les amusements de denis La sophie La Suisse angloise Le jardin royal Les moeurs du temps

3. Table 2 sorted by theme type, then alphabetically by title

# 21 27 10 25 36 theme type *16-bar period Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (presentation + consequent) Hybrid (antecedent + continuation) title menuet La le franc La nouvelle angloise La nouvelle singuliere La perle

Chapter 5, p. 135

68 79 30 80 95 60 6 35 38 11 52 76 45 51 94 89 3 83 47 12 53 23 63 78 1 2 57 59 50 90 82 86 69 92 40

Hybrid (presentation + consequent) Hybrid (presentation + consequent) Other (*4-bar theme + continuation) Other (*4-bar theme repeated) Other (b.i. repeated 4 times) Other (presentation + presentation) Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period

La tiroloise Les marmotes La ]leury La marseilloise La mouvante La pontlevoy Air de la bionni La bellon La bonne anne La bonne-foy La carel La clairon La cocote La dauvergne La fantasie La folie La fontaine La georgette La greque La griel La jardin enchant La jolie d'orleans La le blond La malvielle La marquise La mienne La moscovite La n.elle garel La nouvelle cascade de st cloud La nouvelle angelique La nouvelle denis La pas de calais La pesche La roucouleuse La societ

Themes: Historical Data, p. 136

62 55 5 87 71 88 9 70 8 13 15 26 18 96 91 42 32 46 100 28 48 64 74 54 34 67 37 7 4 17 84 85 65 73 39

Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period with modulating consequent Period with modulating consequent Period with half cadence Period with half cadence Period with modulating consequent

La st george La trop courte La victorieuse La windsor La zelie Le devin de village Le tambourin daquin L'equile Les 4 veuves Les 4. cousins Les 4. doubles allemandes Les absences Les amusements de clichy Les amusements de denis Les arcades Les babillardes Les festes de paphos Les jolis garons Les moeurs du temps Les N.elles etrennes Les nimphes Les passes-passes Les plaisirs grecs Les quadrilles Les spectacles Les vacances L'espagnolette L'intime L'originale Ma favorite La Rosalie Les chos de passy La languedocienne La thrse La beaudri

Chapter 5, p. 137

43 77 81 16 56 33 29 97 98 75 14 72 93 66 22 44 61 31 19 24 58 41 20 49 99

Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Sentence sentence

La bellote La coaslin La critique La dubois La hessoise La nouvelle on ne s'avise jamais de tout La nouvelle provence La sophie La Suisse angloise Le bucheron Le moulinets briss Les 2 frres Les 4 vents Les amusemens de caumont Les amusemens de la loire Les boulevards d'orleans les caprices Les delices de la paix les ftes d'orleans Les fontaines du loiret Les graces Les talens L'ortie La strasbourgeoise Le jardin royal

Themes: Historical Data, p. 138

G. LANDRIN, POTPOURRI FRANOIS DES CONTRE-DANSE ANCIENNE TEL QUIL SE DANSE CHEZ LA REINE ... , AS IT IS REPRESENTED IN THE PARTIAL SET ON THE LIBRARY OF CONGRESS' AMERICAN MEMORY SITE. C. 1760 Title page for the ]irst dance: http://memory.loc.gov/cgi-bin/ampage? collId=musdi&]ileName=245//musdi245.db&recNum=2&itemLink=r?ammem/ musdibib:@]ield(NUMBER+@od1(musdi+245))&linkText=0 THEME TYPES IN THE FIRST STRAIN Two tables: 1. Summary by theme types in the ]irst strain 2. Dances in volume order, with theme type in the ]irst strain 3. Table 2 sorted by theme-type, then alphabetically by title 1. Potpourri francaise---------------------------------------------------------------- summary table All volumes: Theme-type Period: Period with anomaly (length or cadence) Sentence: Hybrid (antecedent + continuation): 4-bar theme 6-bar theme (3+3) 16-bar period (column total) # 46 11 4 3 44 1 1 110

the ]irst set appears to be corrupted (2 pieces by #6 and not in correct order); after that, all sets have nine contredanses. #,# 1,1 1,2 1,3 Title Les visites Le cotillon La bretonne length 4+8 8+8+ds 4+4 Theme type 4-bar theme Period 4-bar theme

Chapter 5, p. 139

1,4 1,5 1,6 1,7 1,8 1,9 [1,9a]

La boulangere Les bois Les petits ballets La petite bastienne Le ballet hollandois Les biscuits Menuets nouveaux de mr. lahante 1 [1,9b] Menuets nouveaux de mr. lahante 1 2,1 La cadrille 2,2 La capricieuse 2,3 La carvagnolle 2,4 La course italienne 2,5 La coquette 2,6 Le cavalier 2,7 La casandre 2,8 La colombe 2,9 Le cotillon 3,1 3,2 3,3 3,4 3,5 3,6 3,7 3,8 3,9 4,1 4,2 4,3 4,4 4,5 4,6 La marthiny Linsulaire Le nerraire Les jolies filles La petite nanette Les marionettes Les ormeauz Les madelonettes Les noces La lanterne magique La nouvelle charte La menagerie Les fanfares de st. cloux Les portraits ala mode Le printems

4+6 4+8 8+8+ds+8+ds 8+8 4+8+ds 4+8 10+16 8+16 with reprise 8+8+ds 8+8 8+8 4+12 4+8 4+16 4+8 8+8+ds 8+8

4-bar theme 4-bar theme Period Period 4-bar theme 4-bar theme Antecedent+continuation Sentence Period Period with HC Period 4-bar theme 4-bar theme 4-bar theme 4-bar theme Period Period with modulating consequent Period 4-bar theme 4-bar theme Period with modulating consequent 4-bar theme 4-bar theme Period 4-bar theme Period Period with modulating consequent Period 4-bar theme 4-bar theme Sentence Period

Themes: Historical Data, p. 140

4,7 4,8 4,9 5,1 5,2 5,3 5,4 5,5 5,6 5,7 5,8 5,9 6,1 6,2 6,3 6,4 6,5 6,6 6,7 6,8 6,9 7,1 7,2 7,3 7,4 7,5 7,6 7,7 7,8 7,9 8,1 8,2 8,3 8,4

La petite provence Liorondelle La destres La petite provencalle La piere fritoie Le carillon dunkerque Les carmes La camargos Les capucins de meudons La dragonne Le double inconstence Les drapeaux Danse francoie La foire de brie L'allemande suie La lionnoise Madelon friquet La nonine La neuvenne La provencalle Les paniers Les ages Les 13 cantont La royal La gigue anglaise La silvie La nouvelle anglaise Petit jean Les 4 soeurs La toute travers Les cereaux La scimballe La petite paysanne La brancas

Period 4-bar theme Period 4-bar theme Period Sentence Period Period Period 4-bar theme 4-bar theme Period 4-bar theme Period Period Period Period 4-bar theme Period 6-bar theme (3+3) 4-bar theme Period 4-bar theme Period with HC Period with modulating consequent Period Period 4-bar theme Period Period Period 4-bar theme Period with modulating consequent Period

Chapter 5, p. 141

8,5 8,6 8,7 8,8 8,9 9,1 9,2 9,3 9,4 9,5 9,6 9,7 9,8 9,9 10,1 10,2 10,3 10,4 10,5 10,6 10,7 10,8 10,9 11,1 11,2 11,3 11,4 11,5 11,6 11,7 11,8 11,9 12,1 12,2 12,3

La suze La villette La traci La fitz-james La simonette Les plaisirs de la socit Les pendours Le diable an lair La volupteuse La toute traver Les comeres La therse Les tableaus La racrocheuse La sgure ou lison La ture Lensiene anglaise La suzette La troteuse La mahoni La queueduchat Lensiene venitiene Les petit ras La marquise Les voleurs La chambor La n[ouve]lle venitiene Le prince hugunne La villesmondoise La marche espagnolle Lindulgence Lancien corde chae 1er tambourin de chartre 2e tambourin de chartre Les brgers

Period Period with modulating consequent 4-bar theme 4-bar theme 4-bar theme Period Sentence 4-bar theme Period Period 4-bar theme 4-bar theme Period 4-bar theme 4-bar theme 4-bar theme Period Antecedent + continuation Period 4-bar theme Period Antecedent + continuation 4-bar theme Period 4-bar theme 4-bar theme 4-bar theme Period 4-bar theme 4-bar theme Period Period 16-bar period Period Period

Themes: Historical Data, p. 142

12,4 12,5 12,6 12,7 12,8 12,9

Lencienne dauphine Les braeurs La bien tot faite La bavaroise Les petites faveur La nacron

Period with IAC Period Period Period with HC Period (4+6) 4-bar theme

BY THEME TYPE: #,# 12,1 1,1 1,3 1,4 1,5 1,8 1,9 2,4 2,5 2,6 2,7 3,2 3,3 3,5 3,6 3,8 4,3 4,4 4,8 5,1 5,7 5,8 6,1 6,6 Title 1er tambourin de chartre Les visites La bretonne La boulangere Les bois Le ballet hollandois Les biscuits La course italienne La coquette Le cavalier La casandre Linsulaire Le nerraire La petite nanette Les marionettes Les madelonettes La menagerie Les fanfares de st. cloux Liorondelle La petite provencalle La dragonne Le double inconstence Danse francoie La nonine length 4+8 4+4 4+6 4+8 4+8+ds 4+8 4+12 4+8 4+16 4+8 Theme type 16-bar period 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme

Chapter 5, p. 143

6,9 7,2 7,7 8,2 8,7 8,8 8,9 9,3 9,6 9,7 9,9 10,1 10,2 10,6 10,9 11,2 11,3 11,4 11,6 11,7 12,9 6,8 10,4 10,8 [1,6a] 1,2 1,6 1,7 2,1 2,3 2,8 3,1 3,7 3,9 4,2

Les paniers Les 13 cantont Petit jean La scimballe La traci La fitz-james La simonette Le diable an lair Les comeres La therse La racrocheuse La sgure ou lison La ture La mahoni Les petit ras Les voleurs La chambor La n[ouve]lle venitiene La villesmondoise La marche espagnolle La nacron La provencalle La suzette Lensiene venitiene Menuets nouveaux de mr. lahante 1 Le cotillon Les petits ballets La petite bastienne La cadrille La carvagnolle La colombe La marthiny Les ormeauz Les noces La nouvelle charte

10+16 8+8+ds 8+8+ds+8+ds 8+8 8+8+ds 8+8 8+8+ds

4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 4-bar theme 6-bar theme (3+3) Antecedent + continuation Antecedent + continuation Antecedent+continuation Period Period Period Period Period Period Period Period Period Period

Themes: Historical Data, p. 144

4,6 4,7 4,9 5,2 5,4 5,5 5,6 5,9 6,2 6,3 6,4 6,5 6,7 7,1 7,5 7,6 7,8 7,9 8,1 8,4 8,5 9,1 9,4 9,5 9,8 10,3 10,5 10,7 11,1 11,5 11,8 11,9 12,2 12,3 12,5

Le printems La petite provence La destres La piere fritoie Les carmes La camargos Les capucins de meudons Les drapeaux La foire de brie L'allemande suie La lionnoise Madelon friquet La neuvenne Les ages La silvie La nouvelle anglaise Les 4 soeurs La toute travers Les cereaux La brancas La suze Les plaisirs de la socit La volupteuse La toute traver Les tableaus Lensiene anglaise La troteuse La queueduchat La marquise Le prince hugunne Lindulgence Lancien corde chae 2e tambourin de chartre Les brgers Les braeurs

Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period

Chapter 5, p. 145

12,6 12,8 2,2 7,3 12,7 12,4 2,9 3,4 4,1 7,4 8,3 8,6

La bien tot faite Les petites faveur La capricieuse La royal La bavaroise Lencienne dauphine Le cotillon Les jolies filles La lanterne magique La gigue anglaise La petite paysanne La villette

8+8

8+8

[1,6b] Menuets nouveaux de mr. lahante 1 4,5 Les portraits ala mode 5,3 Le carillon dunkerque 9,2 Les pendours

8+16 with reprise

Period Period (4+6) Period with HC Period with HC Period with HC Period with IAC Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Sentence Sentence Sentence Sentence

(appendix); Landrin contredanses (LOC) Set of ANGLAISES http://memory.loc.gov/cgi-bin/query/r?ammem/musdibib:@]ield(NUMBER+@od1(musdi +246))

# 1 2 3 4 5

Type anglaise anglaise anglaise anglaise anglaise

Title blac danse cosack the Cr[?] of Rochester de le reine de le reine

Theme type *4-bar theme *4-bar theme Period *4-bar theme Period

Themes: Historical Data, p. 146

6 7 8

anglaise anglaise anglaise

de le reine de le reine de chez l'embasadeur

Period with modulating consequent Period sentence

Chapter 5, p. 147

H. CONTREDANSES BY MOZART AND BEETHOVEN (INCLUDING ATTRIBUTED AND SPECIOUS WORKS): THEME TYPES IN THE FIRST STRAIN Three tables: 1. Summary by theme types in the ]irst strain 2. Dances in chronological order (K or WoO numbers), with theme type in the ]irst strain 3. Table 2 sorted by theme-type 1. Summary by theme types in the ]irst strain Contredanses by theme-type (from Mozart, Beethoven list below): *these include the incorrectly attributed pieces Theme-type Period: Sentence: Hybrid (antecedent + continuation): Hybrid (compound basic idea + continuation): 16-bar period 16-bar sentence Unknown: (column totals) # 37 15 9 2 1 1 1 66 Mozart* 32 9 9 1 1 1 1 54 Beethoven* 5 6 0 1 0 0 0 12

2. Dances in chronological order (K or WoO numbers), with theme type in the ]irst strain
Name Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart K./D./ Title op 101 4 contredanses, 1 101 101 101 123 267/ 271c 267/ 271c 267/ 271c 4 contredanses, 2 4 contredanses, 3 4 contredanses, 4 Contredanse 4 contredanses, 1 4 contredanses, 2 4 contredanses, 3 Theme-type in Lirst strain Notes Period Period Sentence Period 16-bar period Period Period Period* "gavotte" *The antecedent closes with a PAC on I In 3/4 "gavotte" "gavotte"

Themes: Historical Data, p. 148

Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart

267/ 271c 269b 269b 462 462 462 462 462 462 463 463 510 510 510 510 510 510 510 510 510 534 535 565 587 603 603 609 609 609 609 609

4 contredanses, 4 2 contredanses for Count Czernin, 1 2 contredanses for Count Czernin, 3 6 Contredanses, 1 6 Contredanses, 2 6 Contredanses, 3 6 Contredanses, 4 6 Contredanses, 5 6 Contredanses, 6 2 Contredanses with minuets 2 Contredanses with minuets 9 Contredanses (Doubtful), 1 9 Contredanses, 2 9 Contredanses, 3 9 Contredanses, 4 9 Contredanses, 5 9 Contredanses, 6 9 Contredanses, 7 9 Contredanses, 8 9 Contredanses, 9 Contredanse Contredanse "La Battaille" 2 Contredanses Contredanse 2 Contredanses, 1 2 Contredanses, 2 5 Contredanses, 1 5 Contredanses, 2 5 Contredanses, 3 5 Contredanses, 4 5 Contredanses, 5

Hybrid (compound basic idea + continuation) Period Period Period Hybrid (antecedent + continuation) Period Hybrid (antecedent* + continuation) Period Period Period Period Period Period Period Sentence Period Unknown Hybrid (antecedent + continuation) Sentence Sentence unknown Period Sentence 16-bar sentence Sentence Period Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Period Sentence Period

Nos 2 & 4 are in K.101

*The antecedent closes with a PAC on I *The antecedent closes with a PAC on I

"quadrille oder seza" Contretanz Quadrille Contretanz "quadrille oder seza" Contretanz. The ]irst strain is a 12-bar theme in 6 + 6. Contretanz "La favorite" Contretanz "La fenite" Quadrille "la piramide" "Donnerwetter" (peculiar design)

Alt: consequent begins on dominant level

Written as a waltz

Chapter 5, p. 149

Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart

610 ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** **

Contredanse 24 contredanses, 1 24 contredanses, 2 24 contredanses, 3 24 contredanses, 4 24 contredanses, 5 24 contredanses, 6 24 contredanses, 7 24 contredanses, 8 24 contredanses, 9 24 contredanses, 10 24 contredanses, 11 24 contredanses, 12 24 contredanses, 13 24 contredanses, 14 24 contredanses, 15 24 contredanses, 16

-- Period Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Period Hybrid (antecedent + continuation) Sentence Period Period Period Hybrid (antecedent + continuation) Period Sentence Period Period Period Period Period Sentence Period Sentence Period Sentence Sentence Period Period Hybrid (compound basic idea + continuation) Sentence Sentence

= K. 609, no. 5 (not Mozart); 17 = K.534; 18-23 = K,462; 24 = K. 535 (not Mozart) (not Mozart) (not Mozart); modulating consequent (not Mozart) (not Mozart) (not Mozart) (not Mozart) (not Mozart) (not Mozart) (not Mozart) (not Mozart) (not Mozart) (not Mozart) (not Mozart); modulating consequent (not Mozart) Modulating consequent (not Beethoven) modulating consequent

Beethoven woo14 12 Contredanses, 1 Beethoven woo14 12 Contredanses, 2 Beethoven woo14 12 Contredanses, 3 Beethoven woo14 12 Contredanses, 4 Beethoven woo14 12 Contredanses, 5 Beethoven woo14 12 Contredanses, 6 Beethoven woo14 12 Contredanses, 7 Beethoven woo14 12 Contredanses, 8 Beethoven woo14 12 Contredanses, 9 Beethoven woo14 12 Contredanses, 10 Beethoven woo14 12 Contredanses, 11 Beethoven woo14 12 Contredanses, 12

(not Beethoven) (not Beethoven)

(not Beethoven) (not Beethoven)

3. Table 2 sorted by theme-type

Themes: Historical Data, p. 150

Name Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart

K./D./ Title op 610 Contredanse 123 587 462 510 609 609 ** ** ** ** 462 Contredanse Contredanse 6 Contredanses, 2 9 Contredanses, 7 5 Contredanses, 1 5 Contredanses, 2 24 contredanses, 2 24 contredanses, 3 24 contredanses, 5 24 contredanses, 10 6 Contredanses, 4

Theme-type in Lirst strain Notes -- 16-bar period 16-bar sentence Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent* + continuation) Hybrid (compound basic idea + continuation) Hybrid (compound basic idea + continuation) Period Period Period Period Period Period Period Period Period Period Period Period Period Period "quadrille oder seza" *The antecedent closes with a PAC on I "gavotte" Nos 2 & 4 are in K.101 "gavotte" = K. 609, no. 5

Contretanz "La favorite" Alt: consequent begins on dominant level (not Mozart) (not Mozart) (not Mozart) (not Mozart) *The antecedent closes with a PAC on I

267/ 4 contredanses, 4 271c Beethoven woo14 12 Contredanses, 10 Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart 101 101 101 267/ 271c 267/ 271c 269b 269b 462 462 462 462 463 463 510 4 contredanses, 1 4 contredanses, 2 4 contredanses, 4 4 contredanses, 1 4 contredanses, 2 2 contredanses for Count Czernin, 1 2 contredanses for Count Czernin, 3 6 Contredanses, 1 6 Contredanses, 3 6 Contredanses, 5 6 Contredanses, 6 2 Contredanses with minuets 2 Contredanses with minuets 9 Contredanses (Doubtful), 1

"gavotte"

Chapter 5, p. 151

Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart

510 510 510 535 603 609 609 ** ** ** ** ** ** ** ** ** **

9 Contredanses, 2 9 Contredanses, 3 9 Contredanses, 5 Contredanse "La Battaille" 2 Contredanses, 2 5 Contredanses, 3 5 Contredanses, 5 24 contredanses, 1 24 contredanses, 4 24 contredanses, 7 24 contredanses, 8 24 contredanses, 9 24 contredanses, 11 24 contredanses, 13 24 contredanses, 14 24 contredanses, 15 24 contredanses, 16

Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period* Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence

Contretanz Quadrille "quadrille oder seza"

(not Mozart); 17 = K.534; 18-23 = K,462; 24 = K. 535 (not Mozart); modulating consequent (not Mozart) (not Mozart) (not Mozart) (not Mozart) (not Mozart) (not Mozart) (not Mozart); modulating consequent (not Mozart) Modulating consequent (not Beethoven) modulating consequent (not Beethoven) *The antecedent closes with a PAC on I In 3/4 Contretanz Contretanz "La fenite" Quadrille "la piramide"

Beethoven woo14 12 Contredanses, 1 Beethoven woo14 12 Contredanses, 3 Beethoven woo14 12 Contredanses, 5 Beethoven woo14 12 Contredanses, 8 Beethoven woo14 12 Contredanses, 9 Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart 267/ 271c 101 510 510 510 565 603 609 ** ** 4 contredanses, 3 4 contredanses, 3 9 Contredanses, 4 9 Contredanses, 8 9 Contredanses, 9 2 Contredanses 2 Contredanses, 1 5 Contredanses, 4 24 contredanses, 6 24 contredanses, 12

Written as a waltz (not Mozart) (not Mozart)

Beethoven woo14 12 Contredanses, 2 Beethoven woo14 12 Contredanses, 4 Beethoven woo14 12 Contredanses, 6

(not Beethoven)

Themes: Historical Data, p. 152

Beethoven woo14 12 Contredanses, 7 Beethoven woo14 12 Contredanses, 11 Beethoven woo14 12 Contredanses, 12 Mozart Mozart 510 534 9 Contredanses, 6 Contredanse

Sentence Sentence Sentence unknown unknown (not Beethoven) (not Beethoven) Contretanz. The ]irst strain is a 12-bar theme in 6 + 6. "Donnerwetter" (peculiar design)

Chapter 5, p. 153

I. JOHN PLAYFORD, ENGLISH DANCING MASTER/HENRY PLAYFORD, DANCING MASTER. DANCES AND THEME TYPES IN THE FIRST STRAINS. The list of dances in table 3 and the numberings derive from Barlow, Jeremy, ed. 1985. The Complete Country Dance Tunes from Playford's Dancing Master: 1651-ca. 1728. London: Faber. Facsmile pages of dances from all editions may be found on this site: The Dancing Master, 1651-1728: An Illustrated Compendium. Three tables: 1. Summary by theme types in the ]irst strain 2. Dances in the ]irst edition (1651), by theme type in the ]irst strain 3. Dances added in the 11th-17th editions, by theme type in the ]irst strain 1. Summary by theme types in the ]irst strain
Theme type Period: Sentence: 1st edition 11-17th editions 7 40 17 9 1 18 7 44 4 4 127 Total 47 26 4 36 14 94 5 6 232

Hybrids (presentation + 3 consequent) Hybrids (antecedent + contunation) 18 Compound themes *4-bar themes Unknown: Other (12-bar, etc.) (column totals) 7 50 1 2 105

2. Dances in the ]irst edition (1651), by theme type in the ]irst strain
Title A la mode de France Beggar boy, The Blue cap for me Bobbing Joe Cast a bell Chestnut Chirping of the lark, The Chirping of the nightingale # 2 7 8 10 12 14 15 16 Theme type *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme

Themes: Historical Data, p. 154

Confess his tune Country coli, The Cuckolds all a row Dissembling love Glory of the west, The Goddesses Half Hannikin Heart's ease Hit and (or) miss Hockley in the hole Hyde Park Jack a lent Jack pudding Jog on, my honey Kettle drum Lady lie near me Hemp dresser, The Lord of Carnarvan's Jig Lull me beyond thee Maiden Lane Milkmaid's bob, The Mill]ield Millison's Jig Lady Cullen, The New bo-peep Night piece, The Maiden fair Parson's farewell Paul's Wharf Pepper's black Prince Rupert's March Row well, ye marriners Rufty tufty Saturday night and Sunday mom Edinburgh Castle

17 18 19 21 28 29 34 38 39 40 41 45 46 48 50 51 54 55 56 58 61 62 63 65 66 70 74 75 77 78 81 84 85 88 89

*4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme

Chapter 5, p. 155

Sir Roger Stanes Morris Step stately Oil of Barley, The Tom Tinker Whirligig, The Green man, The Gathering peascods Nonesuch Spaniard, The Madge on a tree Friar and the nun, The Kemp's Jig Paul's steeple Punk's delight (the new way), The Saraband, The Spanish gipsy, The Adson's Saraband All in a garden green Argiers Aye me Bath, The Broom, broom, the bonny, bonny broom Cheerily and merrily Daphne Faine I would Fine companion, The Aniseed water Robin Irish trot Lady Spellor (Spillers) Mundesse Petticoat wag Garland, The Up tails all Wish, The

93 97 98 99 100 103 105 27 71 95 57 26 49 76 82 87 96 1 3 4 5 6 11 13 20 24 25 43 44 52 64 79 101 102 104

*4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *6-bar theme ? 12-bar theme 16-bar period 16-bar sentence 16-bar sentence 16-bar sentence 16-bar sentence 16-bar sentence 16-bar sentence Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation)

Themes: Historical Data, p. 156

Picking of sticks Sedany,The Soldier's life, A Boatman Greenwood Grimstock Friar in the well, The New new nothing Old man is a bed full of bones, An St. Martin's Drive the cold winter away Dull Sir John Gray's Inn Mask Gun, The Health(s), The Health to Betty, A If all the world were paper Jenny pluck pears Lavena Merry milkmaids in green, The Newcastle Durham Stable Old mole, The Rose is white and rose is red Labour in vain Don Pedro Have at thy coat, old woman

80 90 94 9 31 32 59 69 72 86 22 23 30 33 36 37 42 47 53 60 67 68 73 83 91 92 35

Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Period Period Period Period Period Period Period Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence (n1)

3. Tunes added in the 11th-17th editions (1701-1721), by theme type in the ]irst strain
Title Marlborough, The America Barham Down Bishop of Bangor's Jig, The # 526 412 413 416 Theme type *12-bar theme *4-bar theme *4-bar theme *4-bar theme

Chapter 5, p. 157

Buford's March Catch Club, The Cheshire Rounds Cobbler's Hornpipe, The Crosby square En]ield Common English Passepied, The Frolic, The Hill's maggot Irish Ground, The Ladies' conveniency, The Last new French Rigaudon, The Mansell, The New Whitehall Reeve's maggot Rub her down with straw Tiger, The Touch and go Well's humour Whitehall Minuet Wimbleton House Apley House Country farmer, The Dick's maggot Granny's delight Jolly boy, The Old Abigail's delight Queen's Head, The Sword dance, The Trip to Bury, A Whely House Fy, nay, prithee John Nobe's maggot Up with AiIy Barker's maggot

419 423 425 427 429 435 436 440 445 446 448 450 454 460 467 469 474 475 476 477 478 480 482 483 485 488 493 497 499 500 503 509 513 517 520

*4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme

Themes: Historical Data, p. 158

Iantha London's loyalty Queen's delight, The Quaker's grace, The Edinburgh Castle Serag's Hornpipe, The Duke of Gloucester's March, The Grief a la mode Taylor's trip Akeroyde's pad Carpenter's maggot, The Ladies' misfortune, The Virgin Queen, The Blackheath Czar of Muscovy Christmas cheer Cheshire Alley Easter eve French ambassador, The Golden Square Hare's maggot, The Last new vagaries, The Lumps of pudding New Invention, The Punch bowl, The Fiddler's maggot Lady Foster's delight Ormond House Slaughterhouse Bloomsbury Market Lincoln's inn Wooden shoes Draper's maggot French King's mistake, The Round, The

524 525 527 528 533 535 432 511 472 411 421 489 502 417 430 505 424 433 438 443 444 451 453 459 465 491 495 498 504 510 519 523 530 468

*4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *4-bar theme *6-bar theme *6-bar theme *7-bar theme ? ? ? ? 16-bar period 16-bar sentence 16-bar sentence Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (presentation + consequent)

484 Hybrid (antecedent + continuation)

Chapter 5, p. 159

Beautiful Scrabmagg, The Beaux's delight, The Black Nell Buskin Childgrove Cockleshells Dainty Davy Ely Court Friday night George's maggot Gilford, The Lord Phoppington, The Mount Hills New Bourre, The Nottingham Castle Lord Phoppington, The Portsmouth Queen's Jig, The St. Albans St. Catherine Temple, The Woolly and Georgey Cottey House Hang sorrow Jack's maggot Man tiger, The News from Tripoly Old Noll's jig Princess's court, The Twelfth eve Colonel's health, The Devonshire lass, The New Round 0, The Queen's birthday, The Tunbridge Walks

414 415 418 420 426 428 431 434 439 441 442 452 456 458 461 462 463 466 470 471 473 479 481 486 487 490 492 494 496 501 506 508 512 514 516

Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period period Period Period Period Period Period Period Period Period Period Period Period Period

Themes: Historical Data, p. 160

Vigo Count Tallard Draper's Gardens Russel, The Hunt the squirrel Cary's maggot Fiddler's Morris, The Mother Brown's cat Lord Byron's maggot Princes(s), The Cuckoo, The Royal Navy, The Trip to St. John's Court, A Gun ]leet, The

518 521 522 529 531 422 437 455 457 464 507 515 532 534

Period Period Period Period Period Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence

CHAPTER 6: Theme types in related keyboard music

A. JEAN-FRANCOIS DANDRIEU (1682-1738), TROIS LIVRES DE CLAVECIN DE JEUNESSE. ED. BRIGITTE FRANCOIS-SAPPEY. PARIS : HEUGEL, 1975. SOCIETE FRANCAISE DE MUSICOLOGIE. PUBLICATIONS ; 1. SER., T. 21. THEME TYPES IN THE FIRST STRAIN Two Tables: 1. Theme types in volume order 2. Sorted by theme type (column 3).

[Premier] Livre. -- -- -- -- -- Period with half cadence Period -- Period Period 16-bar period Hybrid (antecedent + continuation) [Deuxime] Livre. -- -- 2-1 2-2 1-1 1-2 1-3 1-4 1-5 1-6 1-7 1-8 1-9 1-10 1-11 1-12

Themes in Related Keyboard Music, p. 162

-- Sentence Period Period Hybrid (antecedent + continuation) Gavotte en Rondeau. Menuet en Rondeau. . Menuet [2e Menuet] [Troisime Livre de] Pices courtes et faciles. Suitte Prlude Sarabande.. Rondeau. Gigue en Rondeau Gavotte Tendre 2e Gavotte. 1 er Rigaudon 2e Rigaudon. Menuet. 2e Suitte Prlude.. Sarabande.. Chacone en Rondeau. Gavotte Tendre.. Menuet.. . 3e Suitte Prlude.. Allemande.. Menuet.. Menuet..

2-3 2-4 2-5 2-6 2-7 2-8 2-9 2-10 2-11 Period 16-bar period Period with half cadence 16-bar sentence

3-1-1 3-1-2 3-1-3 3-1-4 3-1-5 3-1-6 3-1-7 3-1-8 3-1-9 3-2-1 3-2-1 3-2-2 3-2-3 3-2-4 3-2-5

-- Period with modulating consequent Period 16-bar period *4-bar theme *4-bar theme Period Period Period

-- Sentence Period Period with half cadence 16-bar period with half cadence

3-3-1 3-3-2 3-3-3 3-3-4

-- -- Period Period with half cadence

Chapter 6, p. 163

Gavotte. Gavotte en Rondeau. Menuet.. Gavotte Tendre.. 4e Suitte Prlude.. Rondeau.. Courante. [Canarie ou Gigue]. Gavotte. Bourre en Rondeau. Menuet.. . . IN ORDER OF THEMATIC TYPE: 1er Prlude 2e Prlude. Allemande. 1re Courante 2e Courante. Gigue et son Double. Prlude Allemande. Courante. Prlude Prlude.. Prlude.. Allemande.. Prlude.. Courante. Gavotte Tendre 2e Gavotte. Gavotte.

3-3-5 3-3-6 3-3-7 3-3-8

*4-bar theme *4-bar theme Period with half cadence Period with modulating consequent -- Period -- 12-bar period (6+6) with modulating consequent Period with modulating consequent Period Sentence

3-4-1 3-4-2 3-4-3 3-4-4 3-4-5 3-4-6 3-4-7

1-1 1-2 1-3 1-4 1-5 1-8 2-1 2-2 2-3 3-1-1 3-2-1 3-3-1 3-3-2 3-4-1 3-4-3 3-1-5 3-1-6 3-3-5

---------------*4-bar theme *4-bar theme *4-bar theme

Themes in Related Keyboard Music, p. 164

Gavotte en Rondeau. [Canarie ou Gigue]. 1er Menuet en Rondeau. Menuet en Rondeau. . Gigue en Rondeau Menuet.. . [2e Menuet] 2e Menuet. Rondeau Passacaille Gavotte en Rondeau Gavotte. Gigue en Rondeau. Chaconne en Rondeau. Gavotte en Rondeau. Rondeau. 1 er Rigaudon 2e Rigaudon. Menuet. Chacone en Rondeau. Menuet.. Rondeau.. Bourre en Rondeau. Sarabande Menuet Gavotte Tendre.. Menuet.. Menuet.. Sarabande..

3-3-6 3-4-4 1-11 2-9 3-1-4 3-2-5 2-11 1-12 2-7 1-7 1-9 1-10 2-5 2-6 2-8 3-1-3 3-1-7 3-1-8 3-1-9 3-2-3 3-3-3 3-4-2 3-4-6 1-6 2-10 3-2-4 3-3-4 3-3-7 3-1-2

*4-bar theme 12-bar period (6+6) with modulating consequent 16-bar period 16-bar period 16-bar period 16-bar period with half cadence 16-bar sentence Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Period Period Period Period Period Period Period Period Period Period Period Period Period Period Period with half cadence Period with half cadence Period with half cadence Period with half cadence Period with half cadence Period with modulating consequent

Chapter 6, p. 165

Gavotte Tendre.. Gavotte. Sarabande. Sarabande.. Menuet.. . .

3-3-8 3-4-5 2-4 3-2-2 3-4-7

Period with modulating consequent Period with modulating consequent Sentence Sentence Sentence

Themes in Related Keyboard Music, p. 166

B. DAQUIN, THEME TYPES Louis-Claude Daquin (1694-1772), Pieces de clavecin: The complete harpsi- chord suites. Ed. Christopher Hogwood. London: Faber Music, 1983. THEME TYPES IN THE FIRST STRAIN Two Tables: 1. Theme types in volume order 2. Sorted by theme type (column 3). Dedication (1735 edition) vi / Avertissement (1735 edition) viii / Introduction xii / Table of ornaments xvii
PREMIERE SUITE -- 16 bar period Rigaudon 2 *4-bar theme Period (with pedal-point tonic) Sentence -- Period with half-cadence Les Bergres, pt. 2 La Ronde Bachique Les Trois Cadences DEUXIEME SUITE Allemande Courante LaFavorite Les Enchanemens Harmonieux, pt. 1 Les Enchanemens Harmonieux, pt. 2 2-1 2-2 2-3 2-4-1 2-4-2 -- -- Hybrid (antecedent + continuation) Period 16-bar period 1-1 1-2-1 1-2-2 1-3 1-4 1-5 1-6 1-7-1 1-7-2 1-8 1-9 16-bar period Period -- Period

Chapter 6, p. 167

Le Dpit Gnreux L'Hirondelle TROISIEME SUITE Le Coucou La Joyeuse L'Amusante La Tendre Silvie QUATRIEME SUITE La Mlodieuse Menuet 1 Menuet 2 LES PLAISIRS DE LA CHASSE - DIVERTISSMENT L'Appel des Chasseurs Marche L'Appel des Chiens La Prise du Cerf La Cure Rjouissance des Chasseurs: menuet 1 Rjouissance des Chasseurs: menuet 2 Suite de la Rjouissance (gavotte)

2-5 2-6 3-1 3-1 3-2 3-3 3-4

-- --

-- 16-bar period 12-bar period (6+6) 24-bar period (12+12)

4-1 4-2-1 4-2-2 4-3* title 4-3-1 4-3-2 4-3-3 4-3-4 4-3-5 4-3-6- 1 4-3-6- 2 4-3-7

Period Hybrid (antecedent + continuation) Hybrid (antecedent + continuation)

16-bar period -- -- -- Period Period (with half cadence) sentence Hybrid (presentation + consequent)

Table above by theme type --

Allemande Les Vents en couroux Les Trois Cadences Allemande Courante Le Dpit Gnreux L'Hirondelle 1-1 1-6 1-9 2-1 2-2 2-5 2-6 -- -- -- -- -- -- --

Themes in Related Keyboard Music, p. 168

Le Coucou Marche L'Appel des Chiens La Prise du Cerf Musette en Rondeau L'Amusante Rigaudon 1 Les Bergres, pt. 2 Les Enchanemens Harmonieux, pt. 2 La Joyeuse L'Appel des Chasseurs La Tendre Silvie LaFavorite Menuet 1 Menuet 2 Suite de la Rjouissance (gavotte) Rigaudon 2 La Ronde Bachique Les Enchanemens Harmonieux, pt. 1 La Mlodieuse La Cure Tambourin Rjouissance des Chasseurs: menuet 1 Les Bergres, pt. 1 La Guittare Rjouissance des Chasseurs: menuet 2

3-1 4-3-2 4-3-3 4-3-4 1-3 3-3 1-2-1 1-7-2 2-4-2 3-2 4-3-1 3-4 2-3 4-2-1 4-2-2 4-3-7 1-2-2 1-8 2-4-1 4-1 4-3-5 1-4 4-3-6-1 1-7-1 1-5 4-3-6-2

-- -- -- -- *4-bar theme 12-bar period (6+6) 16 bar period 16-bar period 16-bar period 16-bar period 16-bar period 24-bar period (12+12) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (presentation + consequent) Period Period Period Period Period Period (with pedal-point tonic) Period (with half cadence) Period with half-cadence Sentence sentence

Chapter 6, p. 169

C. HAYDN KEYBOARD SONATA FINALES Boldface for those with variation/rondo character consistent with the contredanse.
Hob. XVI: 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 key D Cm C E F D Eb A G Eb F A E Bm D Em C C#m D Eb G G Bb D Ab Gm Eb Ab F ]inale type/form Theme Dance-trio Sonata Sonata Menuet Sonata Variations Menuet Menuet Variations Variations Menuet Menuet Variations Sonata Menuet Variations [Menuet] Menuet Variations [Menuet] Sonata Hybrid (antecedent + continuation) Unclear (sentence with R=1/2N)?? Period with "failed" consequent Period? (distorted, with HC close to V Period with modulating consequent (but presto tempo) (but presto tempo) sentence 12-bar period (6+6) Sentence Period Period ending with IAC Period Theme is contredanse? -- ? 3/8 jig type -- ? 3/4 presto (doubtful) -- -- (but presto tempo)

Jig? But prestissimo tempo -- (but allegro molto tempo) (but vivace assai tempo) (but presto tempo) -- (but presto tempo)

Unclear (dance- trio?) Dance-trio Sentence Binary? Rondo Menuet Sonata Sonata Sonata Unclear

Hybrid (antecedent + continuation) Period

Period with IAC at end Period

Themes in Related Keyboard Music, p. 170

48 49 50 51 52

C Eb C D Eb

Rondo Menuet Rondo Rondo Sonata

12-bar period (6+6) with (but presto tempo) modulating consequent Scherzo type Scherzo type Hybrid (antecedent + continuation)?? (but presto tempo)

Chapter 6, p. 171

D. MOZART KEYBOARD SONATA FINALES

K 279 280 281 282 283 284 309 310 311 330 331 332 333 457 533/494 545 547a 570 576 key C F Bb Eb G D C Am D C A F Bb Cm F C F Bb D Variations Rondo Rondo Rondo Sonata Dance + trio alternativo Sonata Sonata Rondo Rondo Rondo Rondo Rondo Rondo ]inale form sonata Sonata Rondo Sonata Theme Period (second phrase extended by 2 bars) 16-bar period Period Period 16-bar period with very elongated second half Period with modulating consequent 16-bar period 16-bar period 16-bar period 16-bar period Sentence Period (6+8) Period 16-bar period 12-bar period (6+6) Period Period Period 16-bar period Theme is contredanse? ? 3/8 jig "presto" ? (doubtful) ? 3/8 jig "presto"

(although tempo is "presto") (jig-type) No, though some jig-like internal passages ? (doubtful) No ? (doubtful) ? (doubtful)

by THEME TYPE
K 533/494 280 309 310 311 330 457 576 key F F C Am D C Cm D ]inale form Rondo Sonata Rondo Rondo Rondo Sonata Rondo Rondo Theme 12-bar period (6+6) 16-bar period 16-bar period 16-bar period 16-bar period 16-bar period 16-bar period 16-bar period Theme is contredanse? ? (doubtful) ? 3/8 jig "presto" (although tempo is "presto") (jig-type) No

Themes in Related Keyboard Music, p. 172

283 281 282 333 545 547a 570 332 279 284 331

G Bb Eb Bb C F Bb F C D A Rondo Sonata Sonata Rondo Rondo Rondo Sonata sonata Variations Dance + trio alternativo

16-bar period with very elongated second half Period Period Period Period Period Period Period (6+8) Period (second phrase extended by 2 bars) Period with modulating consequent Sentence

? 3/8 jig "presto" ? (doubtful) ? (doubtful) ? (doubtful) No, though some jig-like internal passages

Chapter 6, p. 173

E. CZERNY, 100 BUNGSSTCKE, OP.139, THEME TYPES Theme-type Period: Period with modulating consequent Period, other Sentence: Hybrid (antecedent + continuation): Hybrid (presentation + consequent): 16-bar period 16-bar sentence *4-bar theme Unknown: (column totals) By theme type----
# 27 30 32 60 77 79 80 97 98 99 4 5 6 7 33 35 45 46 label Moderato Marcia--Allegro maestoso Allegro moderato Andantino con dolcezza Allegro vivace Andante espressivo Presto Allegro Allegro Allegro molto quasi presto Andantino Allegretto Allegro vivace Allegretto Allegro Allegro moderato Allegro molto Allegro meter C C C 3/4 C C 3/4 2/4 C C 3/4 3/4 3/4 3/4 3/8 2/4 2/4 3/4 Theme type *4-bar theme *4-bar theme *4-bar theme *4-bar theme ? ? ? ? ? ? 16-bar period 16-bar period 16-bar period 16-bar period 16-bar period 16-bar period 16-bar period 16-bar period

# 10 14 3 25 15 6 11 6 4 6 100

Themes in Related Keyboard Music, p. 174

47 57 82 8 41 67 90 94 96 10 13 21 29 31 38 40 49 52 64 69 72 73 74 78 2 3 58 59 71 37 1 9 11 12 14

Andantino Allegro vivace Allegretto moderato Allegretto con moto Allegro molto Allegro Andantino Allegro molto Allegretto Allegro molto Allegro Allegro Allegro, quasi presto Allegretto vivace Allegro Allegro Moderato Moderato a la Marcia Allegretto vivace Moderato Moderato Moderato quasi andantino Allegro moderato Andante espressivo Allegretto Moderato Allegro Allegro Allegro vivo e scherzando Allegro Moderato Allegro Allegro moderato Allegro Allegro molto

6/8 3/4 2/4 3/4 2/4 3/4 3/8 2/4 2/8 2/4 3/8 2/4 3/4 2/4 3/4 2/4 C C 2/4 3/4 C C 3/4 3/4 C C C 3/4 2/4 2/4 C 2/4 2/4 6/8 3/4

16-bar period 16-bar period 16-bar period 16-bar sentence 16-bar sentence 16-bar sentence 16-bar sentence 16-bar sentence 16-bar sentence a Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (antecedent + continuation) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Hybrid (presentation + consequent) Period Period Period Period Period

Chapter 6, p. 175

15 55 65 86 100 53 16 28 17 39 43 44 48 50 61 62 68 70 83 87 92 93 18 19 20 22 23 24 25 26 34 36 42 51 54

Allegro moderato Vivace Allegro vivo Allegro Marcia Presto Allegro Andantino Allegro vivace Allegretto Allegretto vivace Allegro Allegro moderato Allegro vivo Allegro vivo Allegro Andantino con moto Allegro moderato Allegro molto Allegro Allegro con moto ed espressivo Andante a la marcia Andante grazioso ed espressivo Allegretto Allegro Moderato Andantino Andante Allegro Allegro Moderato Andante espressivo Allegro veloce Allegro comodo Moderato Moderato

C 2/4 C C C 3/4 2/4 6/8 2/4 C C C C 6/8 C 3/4 3/2 3/8 C C C C 2/4 C C 3/4 C 3/8 C 2/4 C C 2/4 3/4 3/4

Period Period Period Period Period Period (with inverted consequent) Period with half cadence Period with half cadence Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Period with modulating consequent Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence

Themes in Related Keyboard Music, p. 176

56 63 66 75 76 81 84 85 88 89 91 95

Allegro moderato Allegretto Lento cantabile Allegro vivo energico Allegro Allegro vivo Allegretto vivace Andantino Allegro molto Allegretto Allegro Allegro vivo

C 2/4 C C C 6/8 2/4 9/8 12/8 2/4 6/8 C

Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence Sentence

PART 2: Dance design and performance in the 18th and early 19th centuries CHAPTER 7: Ornamentation & Improvisation: Music from the Menuet engravings that conclude Kellem Tomlinson's The Art of Dancing (1735)
Kellom Tomlinson's The Art of Dancing has been reproduced in facsimile on the Library of Congress' American Memory site. The bibliographical information for this treatise: The Art of Dancing. The page introducing the series of engravings: Tomlinson's introduction. The ]irst page where music appears ("Plate II"): Music begins. The ]inal page ("Plate XII"): Conclusion of the menuet. I have extracted the music at the top of each engraving and gathered the lines below; together they give the complete sequence of the menuet. The table below gives details. Apart from allowing one to collate the music with the dance, the particular virtue of these graphics is to show that performers were accustomed to varying the repetitions of strains (whether it was to relieve boredom or as a display of skill is hard to say -- probably both are relevant to some degree). Each of the two strains is played a total of six times; neither strain is played the same way twice. Note that even basic features are subject to variation: The music at the beginning of the second graphic is a varied repeat of the ]irst strain, but it ends with a half cadence (B in the melody), not with the imperfect authentic cadence (C#) of the original.
Music 9-16 1-8 1-8 9-16 9-16 1-8 1-8 9-16 9-16 1-8 1-8 9-16 Plate number II-IV IV V VI VII VIII IX X X VIII XI VI Dance units -- 1-4 5-8 1-4 5-8 1-4 5-8 1-4 5-8 1-4 5-8 1-4 5-8 Notes Reverence/]lourish -- -- upper system of music only End ]irst iteration of the music upper system of music only -- -- End second iteration of the music lower system of plate VIII -- lower system of Plate VI "conclusion"; End third iteration of the music

9-16 XII

Design and Performance: Tomlinson, p. 178

Chapter 7, p. 179

CHAPTER 8: A Deutscher in Schuberts Death and the Maiden Quartet

In his review of Christopher Gibbs' biography, Brian Newbould mentions Schubert's use of a Deutscher, D790n6, as the basis for the scherzo in D810 (the "Death and the Maiden" Quartet). Here they are, the latter in Salomon Jadassohn's piano reduction. The opening motive is boxed in red, the more extended citation of the melody in purple, then a two-bar block quoted directly but without the eighth notes (again in purple), and ]inally the eight- bar direct quote that opens the contrasting middle (in green).

Chapter 8, p. 181

The blocking out of the material is convincing -- the dance's opening ]igure obviously makes a distinctive germ motive, but the harmonic instability of the ]irst phrase is much better suited to the continuation in a 16-bar sentence; the second phrase with its vii7-i pair lends itself very well to sequences; and of course contrasting middles are easily movable. Schubert also duplicates and expands on the affective contrast: waltzes often make a point of contrast in ]iguration, dynamics, and dance-style between individual phrases, not just between strains. As one particularly clear example that uses all three elements of contrast, see the opening of D779n16 below.

Design and Performance: Schubert, p. 182

Note: David Brodbeck goes through the scherzo of D810, noting that the connection to D790n6 was originally raised by Maurice Brown (Brodbeck, 32-34). Yesterday's post dealt with the expansion of D790n6 into the scherzo of the "Death and the Maiden" Quartet. For the trio, I'll do the reverse: pull out of the existing piece a plausible dance source. Actually, it's quite easy to do because the trio is set up as strain + varied repetition, and the contrasting middle is cleanly segregated out.

The 16-bar strain is by no means common in the waltzes, and most of those are periods (which, it must be said, are just as easily understood as written-out repetition with a varied cadence). Of 16-bar sentences, there are only seven, and all but one is early. The list is D128n10; D145ns 1, 3 12; D146ns 5, 6; and D969n5; they appear in a gallery below, with

Chapter 8, p. 183

the articulation at eight bars marked in red. (D145n3 is an exception: the red line marks the "proper" end of the 16 strain, before the second 8 are repeated.)

Design and Performance: Schubert, p. 184

Chapter 8, p. 185

References. Newbould, Brian. Review of Christopher Gibbs, The Life of Schubert. Notes 58/1(2001): 82-83. Brodbeck, David. "Dance Music as High Art: Schubert's Twelve Lndler, op. 171 (D. 790)." In Walter Frisch, ed. Schubert: Critical and Analytical Studies, 31-47. Lincoln and London: University of Nebraska Press, 1986.

Chapter 9: Performance Designs for Dances, c. 1790-1830

It is important to understand that there is no such thing as a single, ]ixed form for the performance of a series of dances -- indeed, not even a ]ixed context or environment. This ]luidity or variability is re]lected in the following: A reminiscence by Ludwig August Frankl describes an occasion where Schubert "had a great triumph. A large company was there, including the Duke of Reichstadt. [Schubert] sang and played his things. They got ready for dancing, whereupon he played and improvised waltzes; they listened, asked him to go on playing, completely forgot the dancing and so it went on till long after midnight. They departed enraptured, he likewise, the triumph had delighted him" (Deutsch, 265) All that having been said, here are typical designs for dance performances, all but the ]irst being appropriate either to dancing or listening. 1. the "jewel" -- a single dance performed on its own for listening. 2. dance-trio (ABA). Very common, of course, in sonatas and symphonies. In J. N. Hummel, Tnze, op. 39, Menuets 1, 3-6. Scanned ]irst editions are available through IMSLP. In Schubert: each of the numbers in 20 Menuets, D41; D139; D146nn1, 4-11, 20; D334; D336; D769? 3. alternativo (ABAB). Of his Deutsche Tnze, K. 509, Mozart said: "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." 4. double trio (ABABA or ABACA). In Hummel, Tnze, op. 39, Menuet 2. In Schubert: each of the numbers in D91; D146n3; D335; D380nn1, 2. 5. extended trio design (ABACADA...). In Hummel, Tnze, op. 39, Deutscher 1 (4 trios), 2 (5 trios), 3 (4 trios), 4 (3 trios, the last being a vocal number). In Schubert: any number of these groupings may be embedded in the larger collections (Neumeyer 1997, 2006, and citations there). 6. extended trio design with reprises and also recurrent trios (ABACABA or ABACADABA, etc.). See the note to item 5 above. 7. extended trio design with multiple dance- trio segments (ABACDC . . . or ABACADCEC . . ., etc.). See the note to item 5 above. 8. `ixed chain designs, such as the quadrille (ABCDE-[coda] or ABCDEF-[coda]).

Chapter 9, p. 187

9. extended but informal chain designs, such as the Lndler sequence or Lanner/Strauss waltz set (often as introduction-ABCDE-coda or introduction-ABCDEF-coda). In Schubert: possibly the 12 Wiener Deutsche, D128 (because of its introduction and plausible key sequence); also see the note to item 5 above. 10. "free" chains of dances, wholly informal or organized by the dancers as a cotillon. See the note to item 5 above. References. Deutsch, Otto. Rosamond Ley and John Nowell. trans. Schubert: Memoirs by His Friends. London: A. & C. Black, 1958. Neumeyer, David. "Synthesis and Association, Structure and Design, in Multi-Movement Compositions." In Music Theory in Concept and Practice. Edited by David Beach, James Baker, and Jonathan Bernard. Rochester, NY: University of Rochester Press: 1997), 197-216. Neumeyer, David. "Description and Interpretation: Fred Lerdahl's Tonal Pitch Space and Linear Analysis." Review-article. Music Analysis 25/1-2 (2006): 201-30.

APPENDIX 1: References for Caplin and Form Theory

Reviews 1. Marston, Nicholas. Music Analysis, 20(1) p143. Mar, 2001. 2. Check, John. Notes: Quarterly Journal of the Music Library Association, 57(1) p101. Sept, 2000. 3. Darcy, Warren. Music Theory Spectrum, 22(1) p122. Spring, 2000. 4. Spitzer, Michael. Music & Letters, 81(1) p110. Feb, 2000. Applications to Repertoire 1. Schumann's fragment. Martin, Nathan. Indiana Theory Review, 28(1-2) p85. Spring- fall, 2010. 2. Formenlehre goes to the opera: Examples from Armida and elsewhere. Martin, Nathan. Studia musicologica: An international journal of musicology of the Hungarian Academy of Sciences, 51(3-4) p387. Collected Work: Haydn 2009: A bicentenary conference. II. Sept, 2010. 3. The contredanse, classical ]inales, and Caplins formal functions. Neumeyer, David. Medium: online. Music Theory Online, 12(4). Dec, 2006. Link: http:// www.mtosmt.org/issues/mto.06.12.4/mto.06.12.4.neumeyer.html 4. On the relation of musical topoi to formal function. Caplin, William E.. Eighteenth- century Music, 2(1) p113. Mar, 2005. 5. The hidden trellis: Where does the second group begin in the ]irst movement of Beethoven's Eroica symphony? Horne, William. Beethoven Forum, 13(2) p95. Fall, 2006. 6. Beyond the Beethoven model: Sentence types and limits. BaileyShea, Matthew. Current Musicology, (77) p5. Spring, 2004. 7. Musical proportion and formal function in Classical sonata form: Three case studies from late Haydn and early Beethoven. MacKay, James S.. Theory and Practice, 29 p39. 2004. 8. In Beethoven's and Wagner's footsteps: Phrase structures and Satzketten in the instrumental music of Bla Bartk. Broman, Per F.. Studia musicologica: An international journal of musicology of the Hungarian Academy of Sciences, 48(1-2)

Appendix 1, p. 189

p113. Collected Work: Bartk's orbit: The context and sphere of in]luence of his works. Published in: Hungary. Publication Date: Mar, 2007. 9. Phrase structure in Proko]iev's piano sonatas. Harter, Courtenay Lucille. Dissertation PhD, from University of Connecticut. 2003. 10. Paganini's quest: The twenty-four Capricci per violino solo, op. 1. Perry, Jeffrey. 19th-century Music, 27(3) p208. Spring, 2004. 11. Wagner's loosely knit sentences and the drama of musical form. BaileyShea, Matthew. Intgral, 16-17 p1. 2002. Form Theories: Comparison and Critique 1. Musical form, forms & Formenlehre: Three methodological re]lections. Caplin, William E.; Hepokoski, James A.; Webster, James; Berg, Pieter. Publisher: Leuven University Press. Published in: Belgium. Publication Date: 2009. See also a review: Martin, Nathan John. Notes: Quarterly Journal of the Music Library Association, 67(3) p559. Mar, 2011. And: Ohriner, Mitch. On methodological pluralism in music analysis: A review of William Caplin, James Hepokoski, and James Webster's Musical form, forms, and Formenlehre: Three methodological re]lections. Indiana theory review, 28(1-2) p143. Spring-fall, 2010. 2. Beethoven's 'Tempest' sonata: Perspectives of analysis and performance. Berg, Pieter; D'hoe, Jeroen; Caplin, William E.. Series: Analysis in context: Leuven studies in musicology, No. 2. Publisher: Peeters. 2009. See also a review: Damschroder, David A.. Medium: online. Music Theory Online, 16(2). Published in: United States. 3. Beethovens Tempest exposition: A response to Janet Schmalfeldt. Caplin, William E. Music theory online, 16(2). Music Theory Online, 16(2). May, 2010. See also in the same issue: Schmalfeldt, Janet. One more time on Beethovens Tempest, from analytic and performance perspectives: A response to William E. Caplin and James Hepokoski. Link to the issue: http://www.mtosmt.org/issues/mto.10.16.2/toc. 16.2.html

APPENDIX 2: Links to music pages in some dance instruction manuals and dance collections reproduced on the American Memory site

NB: The links in this Appendix are live -- they will take you out of this PDF Lile to web pages opened in your browser window. Main pages and search links: Library of Congress American Memory Site Dance Instruction Manuals, ca. 1490-1920 search by author search by subject search by title search by word(s) It can be dif]icult to locate pages containing music in the volumes listed on the Dance Instruction Manuals site, and it can be awkward maneuvering inside larger collections. Word searches on the bibliographical information pages seem to be reliable (search for "music"), and the Subject search page includes several entries for "Dance Music." Within individual documents, however, the page search window ("Turn to. . .") normally applies only to paginated leaves in the original. Pages appended to a volume and containing graphics of various kinds, including music, thus, can be easily missed. (In a few manuals, the page search window has apparently been programmed incorrectly, as well). When the page search is not functioning, one can move around within a ]ile using the "recNum" value in the link. For example, the last page in volume 1 (of 3) in the anonymous collection "Plaisirs de l'Arquebuse" is http://rs6.loc.gov/cgi-bin/ampage? collId=musdi&]ileName=096//musdi096.db&recNum=403&itemLink=r?ammem/ musdibib:@]ield(NUMBER+@od1(musdi+096))&linkText=0," where recNum=403. For the last page of music (end of volume 3) the url is identical, except that recNum=685. [anonymous], "Plaisirs de l'Arquebuse" or [Contredanses; description des `igures, plan des `igures] (music for dances, not an instruction manual; in three volumes): bibliographical information ]irst page of the ]irst dance last page of volume 1 (several dances from the volume appear a second time after this) ]irst page of volume 2 ]irst page of volume 3 last page of volume 3 (and the collection)

Appendix 2, p. 191

Alexis Bacquoy-Guedon (volume 1 is a treatise, volume 2 is music): bibliographical information ]irst page with music last page of music Louis-Julien Clarchies, 15e.[-30e.] recueil des contre-danses et walzes (music for dances, not an instruction manual; these are issues of 45 pages each: "recueils 12-13, 16-17, 20, [an interpolated, unnumbered set,] 23, 25-26, and 28 bound together in reverse numerical order"): bibliographical information ]irst dance [=title page of recueil 28] volume 12, ]irst dance volume 13, ]irst dance volume 16, ]irst dance volume 17, ]irst dance volume 20, ]irst dance volume "between" 20 & 23, ]irst dance ("petitte luce") volume 23, ]irst dance volume 25, ]irst dance volume 26, ]irst dance volume 28, title page Raoul-Auger Feuillet, trans. John Essex, Recueil de contredances mises en chor_graphie. English (treatise followed by ten dances with descriptions and music): bibliographical information La Cuisse, Le repertoire des bals ((music for dances, not an instruction manual; in three volumes): bibliographical information ]irst title page for music In volume 1, each dance requires four pages: music, explanation of ]igures, notated dance ]igures, and couplet. ]irst page with music ("La Marquise") table of contents for volume 1 In vol. 2 each dance is in the sequence: title page, description, notation, music. cover page, volume 2 title for music section, volume 2 ]irst dance, volume 2

Music Page Links for Library of Congress Dance Manuals, p. 192

In volume 3, dances have the sequence of elements as in volume 2. title page, volume 3 table of contents, volume 3 ]irst dance, volume 3 ]inal page of volume 3 Landrin, Receuil danglaise (collection of dances): bibliographical information last page with music Landrin, Potpourri francois des contre-danse ancienne tel quil se danse chez la Reine (collection of dances, not a treatise): bibliographical information title page for the ]irst dance ]inal page (some blank pages follow) Henry Playford, Dancing Master, tenth edition [the original was John Playford, English Dancing Master] (collection of dances, not a treatise): bibliographical information title page table of contents, ]irst page The page search window works correctly after this page (up to page 215 -- see below for the appended supplement). ]irst page with music After page 215 is a supplement called "The second part of the Dancing Master" Second part. NB: the "Turn to" window does not work correctly here - even though it shows the current page #, if you click on the button it will take you back to the 10th EDITION page, not the supplement page. ]irst page of the supplement's table of contents ]irst page of music in the supplement last page of the supplement Henry Playford, The Dancing Master. . . "Vol. the 2d" (collection of dances). This is not an edition of the The Dancing Master, as the bibliographical information erroneously suggests. It is a separately published supplement. bibliographical information title page ]irst page of the table of contents After this page, the page search window works correctly for the rest of the volume. ]irst page of music last page of music

Appendix 2, p. 193

Kellom Tomlinson, The art of dancing explained by reading and `igures (treatise with appended engravings showing dancers, notation, and music): bibliographical information ]irst page of the engravings, many of them with music Edward Ferrerro, The art of dancing, historically illustrated. More than 100 pages of music are appended to this volume, mainly quadrilles, waltzes, mazurkas, and closely related dances. bibliographical information Index to the Music. The page image (graphic) version of this page is at: Page image of music contents. First page of music (after page 181).