The first of these lively dances is a "Menuett" (Minuet) and like in the Classical period has a simple melody harmonized by basic chords. However, Schubert has transformed the dance with (1) the addition of a quick background tremolo of sixteenths that adds a lightly dramatic, somewhat nervous pulse throughout. Also, (2) the initial beat of a phrase is heavily accented like in a country rather than a courtly dance. The first Trio follows with a gentle waltz motion in a minor key accompanied by a steady pulse (pedal tone) of eighths rather than the strong um-pah-pah when the waltz became "all the rage" some 50 years later. The first dance is repeated, and followed by a second Trio. This is another waltz tune, but in a major key and somewhat more extrovert than the previous Trio, and accompanied by steady eighths in a rolling pattern of thirds. The first dance is then recapitulated in full.
The second dance is a "Ländler," a country dance in triple meter that accents the second beat. The theme begins on a low note followed by a swiftly ascending scale ending in the higher octave on the first beat with a full chord on the second beat of the second measure. A light phrase of semi-staccato eighths creates a delicate bridge to the cadence. A trio (No. 3) follows, its melody having a flowing pastorale quality in lighthearted triple meter with several skipping tones. The second dance is repeated followed by a trio (No. 4) in a minor key. More waltz-like, this melody nevertheless incorporates skipping tones and a delightful octave interval on the second beat accent from the Ländler style. This set concludes with a full recapitulation of the dance.
The third dance, a "Deutscher," was a round dance in which the participants linked arms. It is in triple meter characterized by a fast rolling figure (sixteenths) on the third beat (which Schubert occasionally echoes on the first beat). The Trio (No. 5) begins with a hesitation and then unfolds in steady eighths with the same skipping feeling as the dance. The dance is then repeated and the set ends.
The fourth dance is a brief "Walzer" which, like the previous "Deutscher," has a rolling figure on the initial third beat, but fills in the other beats with single accents and is quite energetic. There is no trio.
The fifth dance is an "Ecossaise" (Scottish-style) which has a strong dactyl accent on the upbeat followed a slight hesitation before striking the one. The trio (No. 6) is contrastingly sweet and somewhat sentimental. The dance is repeated, and the next trio (No. 7) has a gradually diminishing melody of the kind for tapping the pointed toe. The dance is repeated in full before the Coda which comments on the previous triple meters without being a reprise. It fades slowly with a reiterated sigh (minor IV chord to major I) as the dancers grow weary.