525, popularly known under the title Eine kleine Nachtmusik.Ī livelier form of the minuet simultaneously developed into the scherzo (which was generally also coupled with a trio). The overall structure is called rounded binary or minuet form: AĪfter these developments by Lully, composers occasionally inserted a modified repetition of the first (A) section or a section that contrasted with both the A section and what was thereby rendered the third or C section, yielding the form A–A′–B–A or A–B–C–A, respectively an example of the latter is the third movement of Mozart's Serenade No. As a result, this middle section came to be called the minuet's trio, even when no trace of such an orchestration remains.
The whole form might in any case be repeated as long as the dance lasted.Īround Lully's time it became a common practice to score this middle section for a trio (such as two oboes and a bassoon, as is common in Lully). On a larger scale, two such minuets might be further combined, so that the first minuet was followed by a second one and then by a repetition of the first. The second (or middle) minuet provided form of contrast by means of different key (although in many works, the second minuet stayed in the same key as the first minuet), orchestration, and thematic material. But the second section eventually expanded, resulting in a kind of ternary form. Initially, before its adoption in contexts other than social dance, the minuet was usually in binary form, with two repeated sections of usually eight bars each. Because the tempo of a minuet was not standard, the tempo direction tempo di minuetto was ambiguous unless qualified by another direction, as it sometimes was. Among Italian and some French composers the minuet was often considerably quicker and livelier and was sometimes written in 3Ĩ time. Stylistically refined minuets, apart from the social dance context, were introduced-to opera at first-by Jean-Baptiste Lully, who included no fewer than 92 of them in his theatrical works and in the late 17th century the minuet was adopted into the suite, such as some of the suites of Johann Sebastian Bach and George Frideric Handel. The name of this dance is also given to a musical composition written in the same time and rhythm, though when not accompanying an actual dance the pace was quicker.
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