Here is a link to the IMSLP page for D779: link.
Lerdahl and Jackendoff comment on the waltz's anomalous design, and Margaret Notley takes its oddities as proof that the A-major waltz is a true character piece, not just another waltz improvised for dancing. I discuss the formal design in detail in the review-article. In a subsequent blog entry, I will show how the striking 10+8+10+10 design can be easily understood as created through improvisation (following comments by Kofi Agawu on composition or recomposition as analysis).
References:
Lerdahl, Fred, and Ray Jackendoff. A Generative Theory of Tonal Music. Cambridge, MA: MIT Press, 1983.
Notley, Margaret. "Schubert's Social Music: The 'Forgotten Genres'." In Gibbs 1997, 138-54. (Gibbs, Christopher H. The Cambridge Companion to Schubert. Cambridge/New York: Cambridge University Press, 1997)
Neumeyer, David. "Description and Interpretation: Fred Lerdahl's Tonal Pitch Space and Linear Analysis," review-article, Music Analysis 25/1-2 (2006): 201-30.
Agawu, Kofi. "How We Got Out of Analysis, and How to Get Back in Again." Music Analysis 23/ii-iii (2004): 267-86.
