Binary Form

A [a (bars 1-4) + b (bars 5-8)]

B [b1 (bars 9-12) + b2 (bars 13-16)]

Note: Each small phrase begins with an anacrusis, but the bar numbers above do not include the anacrusis.

 The most characteristic motif is the descending arpeggiated figure of triplet eighth notes, appearing from bar 4. Just when one might expect a perfect authentic cadence due to the harmonic progression V→I (dominant to tonic resolution) at the beginning of bars 2-3, this descending triplet eighth-note motif abruptly appears at the third beat of bar 3, leading to a half cadence. Melodically, it ascends in bars 1-2, then descends and settles in bars 1-2 of bar 3, only to suddenly leap up a sixth and become a descending arpeggiated line. This resembles a 'hiccup'.

 This can be considered a musical joke by Haydn. It is a motif highly characteristic of Haydn, and indeed, in the development from the b small phrase onwards, this motif is always played as an anacrusis at the beginning of the phrase. Consequently, while it is generally considered conventional practice to play an anacrusis lightly when moving to the main beat of the next bar, with the main beat expressed slightly more heavily as the destination of energy, a slight emphasis in nuance seems necessary to convey the humorous nature of this motif.

 Although this is a piece in 3/4 time, it is important to note that it is a minuet. The sense of pulse differs from a waltz; a minuet does not move in large, two-bar units. It is strictly a 3/4 time within each bar. This is also crucial for tempo setting; if one attempts to interpret it broadly across bar lines, like a waltz, the tempo tends to become too fast, so caution is advised.