Minuet in C

Another minuet, i used a deceptive cadence in the main theme which creates a small pause before the modulating sequence. 

I like also that one, very nice 🙂. I love the coma on bar 4 after the desceptive cadence and the contrasting section bars 9-16 (the phrase has a very nice direction through the inflections). I think you got the key of that small form. 

Just two question:

- I saw you like that formula of including A section as a second part of B. Have you seen that in all minuets you have analyzed. I think that's very typical, but I don't know if there are other possible formulas for a minué. I should analyze more classic works than I do, and some of my minuets have a 8 bar A section and 12 bar B section and only a part of A is included in B sometimes transposed to end the piece in tonic. 

- I never wrote a minué with trio. Are there any formulas for the trio section? I know in the symphonies the trio section has usually a reduced arrangement in the orchestra compared with the minué and a modulation to the relative minor or major is also typical, but formwise I didn't looked in detail... 

2 hours ago, Guillem82 said:

I like also that one, very nice 🙂. I love the coma on bar 4 after the desceptive cadence and the contrasting section bars 9-16 (the phrase has a very nice direction through the inflections). I think you got the key of that small form. 

Just two question:

- I saw you like that formula of including A section as a second part of B. Have you seen that in all minuets you have analyzed. I think that's very typical, but I don't know if there are other possible formulas for a minué. I should analyze more classic works than I do, and some of my minuets have a 8 bar A section and 12 bar B section and only a part of A is included in B sometimes transposed to end the piece in tonic. 

- I never wrote a minué with trio. Are there any formulas for the trio section? I know in the symphonies the trio section has usually a reduced arrangement in the orchestra compared with the minué and a modulation to the relative minor or major is also typical, but formwise I didn't looked in detail... 

 

Thank you for your comments and questions, I always appreciate your feed back. The minuets ive listened to and followed along with the score typically use theme A at the end of B with any modulation adjusted to end on the tonic. Theme A can be used in full or shortened but typically its used in full ive noticed. The trio section is another minuet with the same AA/BA'/BA' format. I think originally the trio was contrasted with the main minuet by having less instruments but i dont notice it in classical period minuets.

I heard Beethoven's german dances for piano last night for the first time and he used the same format as a minuet and trio except calling them dances gives the composer greater freedom in style. I might try my hand at writing German dances next. This dance below blew me away, its so simple but thats its perfection i think, its timeless.