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No problem, you gave a good response to my post, and quality takes time. Yeah, I know that it isn't a dance technically speaking, but it does tend to have some dance like characteristics and it evolved from a dance that is in a lot of ways similar and in a lot of ways very different, the Minuet. The large scale Ternary Form, the key contrast, use of counterpoint, the development of motives, in those ways, the 2 are very similar. But the way that each one of those similarities is done, that's where a lot of the differences between the Scherzo and the Minuet lie. Plus it just fits with the Romantic Era to have a Scherzo in the suite. I've never even heard of that dance before, I'll have to do some research on it before I know whether I will add it to the suite or not. Ending in Rondo Form though sounds like a good way of rounding things out. I was thinking of having my Polonaise be in a rondo, I'm not certain I will have the Polonaise in Rondo, but it's definitely a consideration, especially given how uncommon it is to have a Polonaise be in Rondo Form. I did notice a lot of dotted rhythms on my second listen through Chopin's Mazurkas, including in his most well known Mazurka, Op. 7 no. 1. Another common rhythm I noticed on beat 1 was triplets, such as this: Although that might just be because Chopin used triplets a lot in his works, both implicit to the time signature and explicitly written out as triplets. I don't know how common it is in Mazurkas outside those of Chopin to have triplets on beat 1. And yeah, I noticed a variety of forms in the Mazurka as well on my second listen. There are those in rondo like the very well known Bb major Mazurka: And a lot of the Mazurkas I've listened to are in Rondo Form. But some are in Ternary Form of some sort such as this C major Mazurka in a complex Ternary Form more akin to that often found in the Polonaise or Scherzo: And others still are in Binary Form like this Mazurka of the same opus as the well known Bb major Mazurka that just goes from a tonic A section to a dominant B section: And I didn't know other composers wrote Mazurkas too, I've only heard Chopin's Mazurkas. I think I will listen to that Tchaikovsky Mazurka you mentioned in the post right now to help get a better idea of what the Mazurka should sound like.

Hi Caters, Sorry for the late comment. First, about the structure of the Romantic Dance Suite: the Scherzo isn't a type of dance but rather a movement in a symphony or a sonata. I don't see the problem of adding a Scherzo in your suite, though. Also, I want to add the fact that the Scherzo may be a fast movement; however, the trio (or the "B" section in the ternary form, A-B-A) is usually slower and more emotional than the "A" section. This fact applies to particularly Scherzos that were written in the Romantic Period. One good example is Chopin's Scherzo No. 1 in B minor. Next, you may consider adding the galop, a French country dance of the nineteenth century, written in 2/4 time. I think the galop suits the last movement very well, as it usually has a rapid tempo, and it is written in the rondo form (A-B-A-C-A-B-A). Other than accents in weak beats and triple-meter, a characteristic of the Mazurka, it does have a distinctive rhythmic pattern, as shown in the picture below. A typical feature of the Mazurka is dotted rhythms, which are primarily heard in the first beat of the measure. Besides listening to Chopin's Mazurkas, I suggest you listen to Mazurkas by other composers, such as Tchaikovsky's Mazurka, Op. 39, No. 11. This Mazurka uses dotted rhythms throughout the piece, and it may give you a rough idea of how a Mazurka should sound. The Mazurka can take any form and does not necessarily have to be written in the ternary or rondo forms. Carl Koh Wei Hao