The first is the more interesting of them.

In both we meet with passages that point to more perfect specimens of the kind--for instance, certain rhythmical motives, melodic inflections, and harmonic progressions, to the familiar Waltzes in E flat major (Op.
18) and in A flat major (Op.

34, No.

1); and the D major portion of the Waltz in B minor, to the C major part of the Waltz in A minor (Op.

34, No.