Forms with refrains

D734n11 is a 16 bar dance with an additional eight-bar segment added onto the second strain. These violinistic "Ländler codas" were a trademark of the genre and of course are very closely related to the yodeling figures placed at the ends of songs (even into the 20th century, these were common -- in the United States, they are probably most familiar from Western songs as performed by Roy Rogers). (Click on the thumbnail to see the file at original size.)

A version of this design is used by Hummel as well for the theme of his Tyroler-Lied mit Variationen, op. 118. The example below shows only the primo part. The repeat of section A (which modulates to the mediant, btw) is written out; the second strain begins with a contrasting middle, but a reprise is replaced by an 8-bar Ländler coda that is repeated rather forcefully.

The "extra" segment is a separate strain specifically identified as "refrain" in the theme for Henri Herz's variation set Nouvelle Tyrolienne, Op. 154. Note also the pedal point bass, which invokes a folk style.

Finally, the somewhat free concatenation of strains suggested by the Ländler coda is still evident in this waltz-style exercise from Friedrich Wieck's Piano Studies. The first two strains give a simple A-BA design. The third strain as it is given sounds like a coda, but performance practice for dancing or listening might also make of it another secondary strain, to be followed by A (even if that's not indicated in the score). The fourth strain is obviously a (short) trio.