Extended Upbeats in the Classical Minuet: Interactions with Hypermeter and Phrase Structure

Abstract

This article considers the hypermetric properties of minuets that begin with an upbeat gesture that spans at least one measure. Analyses of several minuets by Haydn and Mozart, and a quasi-minuet movement by Brahms, demonstrate five types of interaction between the extended upbeat and hypermeter. The analyses describe the evolving hypermetric structure of the minuets' openings and the subsequent development of this thematic material. The extended upbeat emerges in these minuets as a key compositional element with implications for expressive meaning and performance.

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