Both duration and metric position are represented in an almost direct sequence in types 1.1 through 2.2. These are reproduced below. In 1.1 and in 1.2, a & b, the ninths are eighth notes; in 1.2, c-e, the ninth is a quarter note; in 1.3, the duration is two quarters; and in 2.1 it is two or three quarters.
As I noted in the previous post in connection with Figure 2.1e, faster tempi for dancing after about 1830 encouraged the writing of 16-bar and eventually 32-bar themes, in which the older basic idea of two bars frequently is four bars instead. A simple example is the famous Skater's Waltz by Emile Waldteufel (1882). The main theme is a very clearly formed 16-bar sentence:
The ninth of V9 is as prominent as it could be (arrows below). Also note that Waldteufel succeeds in stretching out the V harmony over four bars (boxed as bars 2-6) in a way that overlaps the four-bar ideas.
The second strain is almost as well-known as the first. It is presented here in a "violin direction" score -- these were often used by small ensemble directors instead of the full orchestral score, and they played a substantial role in theatrical and film music performance as well. Note that the disposition of I and V harmonies is the same as in the theme, though the dissonances are missing. The two arrows show 9 as neighbor note, then as direct resolution into the fifth of the tonic chord.
Waldteufel continues the pattern in the first strain of the second waltz, where he reverts to the leap to the ninth familiar from early Laendler -- and even makes use of the "double play" of scale degree as ^6 over I, then ^6 over V, and here ^6 over I again: see the asterisks.
In another very familiar piece—the first strain of the "Waltz of the Flowers" from Tchaikovsky's Nutcracker (1892)—there is no V9, though he does bring forward the waltz's typical expressive rise, here to a diminished seventh chord over a tonic pedal. The point of interest, though, is that this is another very clear 16-bar sentence where the basic idea is four bars long, not two. (I've shown only the presentation phase -- that is, the first eight bars.)
The second strain continues the pattern of four-bar ideas -- see the boxes below. Here the dissonances are extraordinary -- and all diatonic! The C# in bar 1, for example, briefly creates a I7 (that is, with major seventh)--a sonority we already saw in the first strain of the Skaters Waltz, bars 7-8. These kinds of diatonic dissonances had become common in the waltz repertoire by about 1880, so much so that a simple diatonic and consonant melody could be heard as contrast, a device often deployed by Waldteufel in particular.
In the third strain of the "Waltz of the Flowers," we finally hear a dominant ninth -- see the arrow in bar 6. The boxes show a two-bar basic idea this time—though one might well argue that these are really motive-sized chunks in this context, that is, smaller units, not ideas. The eight bars are the sentence phase of a sixteen-bar period.
