Note: Before you check out my example, first read my two-part research, the first part regarding tambourine and especially, the second post about scherzo and scherzino form.
I first wrote this example in a completely different way, in 4/4 time signature, and in andante tempo with the 32nd notes. However, I soon realized how this doesn’t suit it’s lighthearted nature and I rewrote it in allegro with 2/4 measure and added the title scherzino, since its character reminded me a bit of Beethoven’s Scherzo from his Piano Sonata No. 18, and Schumann’s Scherzino Op. 26. Here is my piece:
The 2/4 measure connects this scherzino to the duple time scherzi, which I wrote about in my research. It is structured in a very simple, bipartite form: aa1bb1 + codetta. While the example 1 invention consists of imitation and other polyphonic devices, here, my scherzino is more homophonic.
This short piece starts with rhythmical phase – a, consisting of 8 bars, played by triangle, while the tambourine provides the support with the contrasting 16th notes. It is then repeated again, bar 9-16, but this time with a variation, which is why it is marked as a1. The roles are reversed, and the tambourine plays the phrase, while triangle plays the supporting 16th notes.
In the phrase b, the triangle takes back the role of playing the main line. This part is developed from the previous material, but is very different, for example, the rhythmical support is a lot more playful. In my opinion, it even gives a feeling of modulation. The phrase is repeated in b1, again with the same reversal in the roles of instruments that occurred before.
Finally, b1 contines into a codetta, made of previous musical material with slight variations. Altogether, I think it’s a very interesting and playful example.