This chapter turns to the concert minuet, asking how somatic knowledge of the minuet dance informs engagement with and understanding of this genre. The chapter begins with writings that show eighteenth-century listeners discussing concert minuets in relation to the minuet dance step, as well as eighteenth-century music-theoretical discussions of minuet composition that put forward a view of the concert minuet as the nonconformist version of the dance minuet. Two case studies discuss minuets from Haydn’s ‘London’ Symphonies – Nos. 97 and 102 – which were written around the same period as the dance minuets discussed in the previous chapter, and were also performed in Vienna in the 1790s. These case studies show ways in which Haydn plays with expectations formed by the dance minuet: he subverts the structural norms of minuet composition, as well as manipulating one’s feeling of the dance step. The argument is made that, while traditional forms of analysis tend to seek subversion of expectations as a feature for explication, minuets and somatic enquiry invite us to see artfulness through a different lens.