Example 7. Haydn, Op. 64, no. 5, movement iii, minuet, sketch with contra-structural melodic impulses
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Supplementary notes:
Measures 1–2: A reading from is possible but the choice of 3 maps better onto the downbeat-emphasized descending third in the first four bars, and sets off the melodic conflict more clearly.
Measures 3–4: The inversion of the expected descending third E–C into an ascending sixth displaces the arrival D an octave higher, and motivates the following register transfer of both D and E.
Measures 6–7: The unison texture is not merely the result of doubling but rather a rare instance of genuine parallel octaves between outer voices, employed for the rhetorical effect of hyperbole, exaggerating the upward motion.