The younger Strauss infused the traditional waltz format and sound with a new vitality and sophistication that reflected the glittery, hedonistic spirit of nineteenth century imperial Vienna. He melded the rhythmic drive of his father's works with Joseph Lanner's lyricism, and changed the rhythmic emphasis from the beat to the measure. He maintained the basic outline employed by Lanner and his father: a slow introduction, (typically) five pairs of waltzes and a coda, but increased the length of each section and the organic unity of the whole. Strauss' orchestration is often picturesque, especially in his introductions, while that of the waltzes themselves approaches a Mozartean clarity.

Strauss always extracted dance numbers from his stage works and published them separately. Die Fledermaus was no exception, and Strauss authorized the printing of seven items from the operetta, along with the entire vocal score of the operetta, in Vienna in 1874.

Atypically, the introduction to Strauss' Du und Du waltz, Op. 367, is in 3/4 meter throughout and never leaves the tonic, F major. "Du und Du" contains only three waltzes, each of which features an ABA structure. The first waltz pair falls into the classic proportions, each segment having a 16-measure melody in eight-measures sections. The A section is repeated literally, but the B section, on the dominant, C major, is re-orchestrated the second time through. These opening tunes, more than any other, emphasize the "one per measure" feel of the Viennese waltz. A four-measure bridge moves to B flat and the second waltz, the first part of which features a slithering chromatic line unusual for Strauss. A clever tune in F major that ends on the last beat of the measure lends a whimsical character to the B section, an extension of which modulates to B flat for the return to A section. The opening waltz of the third pair also has a weak ending, and its repeat is re-scored and extended through a chromatically rising figure that diminishes in volume until its B section begins. Featuring a rhythm that is the reverse of the opening waltz of the piece, the second part of the last waltz pair closes on F major. The coda is developmental, featuring fragments of the previous waltzes and passing through several harmonic areas. The first part of the second waltz appears, after which both parts of the first waltz sound, but in reverse order, leading to a close.

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