text: Some examples are not in the customary triple meter—for example, the scherzo of Tchaikovsky's Fourth Symphony, which is in  time; or the trio section of the scherzo from his Second Symphony which is in  time. Another example is Beethoven's Piano Sonata No. 18. This example is also unusual in being written in orthodox sonata form rather than the usual ternary form for such a movement, and thus it lacks a trio section. This sonata is also unusual in that the scherzo is followed by a minuet and trio movement—whereas most sonatas have either a scherzo movement or a minuet movement, but not both. Some analysts have attempted to account for these irregularities by analyzing the scherzo as the sonata's slow movement, which is rather fast. That would keep the traditional structure for a four-movement sonata that Beethoven usually followed, especially in the first half of his piano sonatas.
  Joseph Haydn wrote minuets that are close to scherzi in tone — but it was Ludwig van Beethoven and Franz Schubert who first used scherzi widely, with Beethoven in particular turning the polite rhythm of the minuet into a much more intense – and sometimes even savage – dance. Although in 1781, Haydn substituted menuets for scherzi in all of his 6 String Quartets, Op. 33.
  The scherzo remained a standard movement in the symphony and related forms through the 19th century and beyond. Composers also began to write scherzi as pieces in themselves, stretching the boundaries of the form.