Recomposition of the second strain

Another recomposition to show that the first strain can be combined comfortably with a new 8-measure theme. In Schubert's generation it was not common to pair two unrelated strains, but it did occasionally happen, the contrast seeming to be the point. Often these pairings are loud and soft (or the reverse) or even deutscher-Ländler styles. Examples: D365n7, 12, 16, 17, 26; D366n9; D779n4.

In this case I chose the second strain not to contrast so much as to complement: its musical material is different, but both have a "subdominant" emphasis at the beginning, the affect is quite similar, and so is the final cadence. The new strain is taken from the first of 2 German Dances, D. 769, and therefore contemporaneous with the numbers in D. 779. (The two pieces in D. 769, both 16-bar forms, are obviously meant to be a dance-trio pair.)

Note: The pairing of contrasting strains in these small waltzes is very probably the source of the paired 32-bar strains that had become the typical design by the generation of Johann Strauss, jr.

Note 2 (14 November 2009): Here is a better version of the piece, using the 8 bar version of the first strain and adding transitions.