Offenbach, Pomme d'api (1873), no. 5

No. 5 is an extended duo for Catherine and Gustave. It is in five parts:  (1) "C'est un Dimanche" is a  pastorale; (2) "A deux pas du chien savant" is a scena, with an interpolated reprise of the pastorale's opening theme in the middle; (3) "Et je vois l'un près de l'autre" is a solo for Catherine;  (4) "De grace écoule-moi ma bonne!" is another scena; and (5) "Pomme d'Api" is a duo, Allegretto with a presto coda.

Parts 3 & 5 are of interest here.

"Et je vois l'un près de l'autre" balances rising and falling linear figures in such a way that one hears a complex upper-voice design. Note that the theme's period, below, ends with a strongly implied ^3 over the directly expressed ^1.

In the consequent of the final reprise, more emphasis is given to the internal rising line in the cadence and to the original focal tone D5.

In section 5, "Pomme d'Api," a strong rising motive dominates the theme—see the circled notes below. The figure of the cadence bars is almost identical to that in "Et je vois l'un près de l'autre."

As in no. 3, the final consequent phrase is expanded, but not through the same method. This time the consequent is expanded through a deceptive resolution (fourth bar below), and the cadence follows, but the two voice parts—which could easily have closed on ^1/^8—instead hold on ^3 and ^5, respectively.

The presto follows. Its ascending line in the cadence is unmistakable. The orchestra then follows with a "proper" coda.