Beethoven, German Dances, WoO8, were written for a public ball in Vienna in 1795. His Laendler (in WoO11 & 15), published a few years later (1799 & 1802, respectively), are so close to the traditional (that is, earlier 18th century) type that one can readily imagine he heard them, or music very like them, in taverns, restaurants, or open-air performances.
František Martin Pecháček, 12 Laendler for winds (1801). I have discussed them here in connection with ascending cadence gestures: link.
Theodor Lachner, 6 Laendler for pianoforte (1822). Lachner had a long career as organist and music teacher in Munich. The 6 Laendler are early pieces.
Count Gallenberg, Waltz. This was a popular piece in the first half of the nineteenth century. I took it from a pedagogical collection by Carl Czerny, but it can also be found in a number of anthologies for musical amateurs.
---------------------
Beethoven, Laendler, WoO15n3. The instrumentation is two violins and bass, a configuration that was sometimes called the "Linzer Geiger," after popular turn-of-the-century groups, but which was in fact common throughout the Germanophone south of Europe. Here, ^6 is what I called a "throwaway note" or "one note too far." In the usual textbook labeling, it's an escape tone.
Lachner, Laendler n2. The two circled bars show how the expressive figure of a rise to ^6 could be "contained" within stereotypical 18th-century cadential progressions: in the first case, over ii6; in the second, over IV. The traditional violinistic Laendler didn't use S or subdominant types: the harmonies were different arrangements of I and V only.
Lachner, Laendler n3, second strain. Here is the harmonic progression I just described above. In bars 1 & 4, ^6 is a colorful expressive note. In bars 3 & 7, however, I might well read the harmony a V9, especially in bar 3 as a delayed resolution to ^5 occurs in bar 4 (this would be category 2.1).
Pechacek, Laendler n7. Note the appoggiatura treatment of ^6 over I in bars 1-2. The ^6 over the dominant in bars 3 & 7 and also in the second strain I would probably regard as mainly melodic, as well.
Beethoven, Laendler, WoO11n2. Very similar to figures above.
Beethoven, Laendler, WoO15n3. In bar 7, perhaps the clearest instance of the "throwaway note" or "one note too far," as we get the model for it in the previous bar.
Gallenberg, Waltz, in Czerny, 100 Recreations. Sounds very Schubertian, by which I mean an urban waltz or Laendler of the 1820s.
Beethoven, Deutscher Tanz, WoO8n2. Here the neighbor-note configuration probably plays against the strong accent and the repetition of ^6 over I in the subsequent bars.
Beethoven, Deutscher Tanz, WoO8n8. My category 2.1, where ^6 over V resolves over ^5 in a parallel figure 1-2 bars later.
Pechacek, Laendler n1, second strain. Here are direct resolutions (category 2.3) and the occasionally seen impetus to an ascending cadence figure.
Beethoven, Deutscher Tanz, WoO8n2, trio. Direct resolutions (arrows) and a ^6 over ii6, as in Lachner above (circle).
