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Table of Contents

Name	Origin	Meter	Form	Character
Allemande	Suabian	4/4	Two-part	Moderately quick; flowing, with a rather rich harmonic texture.
Courante Corrente	French Italian	3/4, 3/2	Two-part	Running, lively; the 2/2 type always with a change of meter at the cadences.
Sarabande	Spanish	3/2, 3/4	Two-part	Stately, dignified; often noble and even dramatically pathetic.
Hornpipe	English	4/4	Two-part	Rapid, merry, energetic.
Gigue Jig	Italian giga, an early violin	6/8, 12/8, 4/8	Two-part	Very lively, rollicking, even jocose.
Gavotte	French	4/4, 2/2	Two-part	Moderately fast; well-marked rhythm, often stately.
Bourrée	French	4/4	Two-part	Lively, vigorous.
Minuet	French	3/4, 3/8	Two-part	Moderately fast; dainty, graceful, courtly.
Passepied	French	3/4	Two-part	Light, delicately animated.
Loure	French	6/4, 4/4	Two-part	Rather slow, stately.
Pavane	Italian	2/4	Two-part	Solemn, impressive.
Galliard	Italian	3/2, 2/2	Two-part	Lively, merry.
Branle Brawl	French English	4/4, 3/4	Two-part	Lively, with great abandon.
Polonaise	Polish	3/4	Varied	Dignified and courtly, but with life.
Mazurka	Polish	3/4	Varied	Great range of speed and effect; at times sustained and pathetic, often bright and lively.
Polka	Bohemian	2/4	Generally three-part	Merry, animated.
Furiant	Bohemian	3/4	Varied	Very lively, even frenzied.
Waltz	German	3/4	Two-part or three-part	Graceful; varied in effect; at times lively, often slow.
Boléro	Spanish	3/4	Three-part	Brisk, well-marked rhythm.
Tarantella	Italian	6/8	Varied	Very lively, impassioned.
Saltarello	Italian	6/8, 3/4	Varied	With quick, jumping rhythm.
Rigaudon	French	2/4, 4/4	Varied	Lively, gay.
March	Found in every nation	4/4	Varied	Stately, with marked rhythm.
Csárdás	Hungarian	3/4, 2/4	Varied	Impassioned; with great variety of effect.
Halling	Scandinavian	2/4	Varied	Fresh, vigorous, out-of-doors atmosphere.
Tango	Mexican	Varied	Varied	With reckless abandon.
Habañera	Spanish	2/4	Varied	Graceful; with characteristic rhythm.
Seguidilla	Spanish	3/4, 3/8	Varied	Fantastic; sometimes stately, sometimes gay and lively.
Jota, often Jota Aragonesa	Spanish	3/4	Free	A kind of waltz, but with more freedom in the dancing, and of a vigorous and fiery nature.
Malagueña	Spanish	3/8	In couplet form	A dance of moderate movement, accompanied by guitar and castanets; languorous and sensual in mood.
Siciliano	Sicilian	6/8, 12/8	Two-part, three-part, often a Rondo	Graceful; of a Pastorale nature.

The four indispensable movements of the classic or 18th century Suite were the Allemande, the Courante, the Sarabande and the Gigue; and, between the last two, it became customary to insert an optional number of other dances—the most usual being the Gavotte, Bourrée, Minuet and Passepied. In effect, the Suite was a kind of "international Potpourri" of the dances most in vogue, and affords us a vivid reflection of the manners and customs of the period. Many of the English Suites begin with an elaborate polyphonic Prelude. We shall not give a detailed analysis of all these dance movements; for the main characteristics the tabulated list will suffice, and in the book of Supplementary examples (see No. 35) will be found the 6th French Suite complete. It will be more useful to center attention on those dances which, in rhythmic pattern, are especially typical and are most frequently employed in modern music; and we shall select, as examples drawn from various sources, those dances which make a direct appeal. The most characteristic of the dances are the Sarabande, the Gavotte, the Minuet and the Gigue; and with the last, as exemplifying the same spirit, may be grouped the Rigaudon, Furiant, Tarantella and Saltarello.

The Sarabande is a slow, stately dance; always in triple meter indicated by 3/2 or 3/4. Its striking features are the frequent occurrence of the rhythmic pattern

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in which it is evident that there is a strong accent on the weak beats; and the prevalence of feminine endings in the cadences. The Sarabande always displays great depth of emotion—often of a tragic and impassioned kind; and, in the Suite, seems to have served the composer for the same outpouring of feeling which we associate with the slow movement in the later Sonata or Symphony. The example cited in the Supplement (See No. 28)—taken from one of Bach's Sonatas for 'cello—is considered one of the most beautiful in existence. Other eloquent Sarabandes may be found in the Second and Third English Suites and in Handel's noble Air "Lascia ch'io pianga" from the opera of Rinaldo. Two fine modern examples of this dance are the second number in Paderewski's Humoresques de Concert, op. 14, and the second number in the set of pieces by Debussy, Pour le Piano—Prélude, Sarabande, Toccata. Composers sometimes employ the Sarabande rhythm for its inherent beauty, or for dramatic purposes without indication of the fact. Examples are the theme for variations in Beethoven's Sonata, op. 109, and the opening measures of the Egmont Overture where, by means of the characteristic Spanish dance-rhythm, an atmosphere of oppression and dejection is established, e.g.

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The Gavotte is an energetic yet dignified dance in duple rhythm (it is almost always played too fast)—the characteristics of which are its beginning on the half-measure and its strongly marked cadences. One of the most stirring examples is that cited from the Third English Suite (See Supplement No. 29) which, with its subdued middle portion, La Musette,[73] is an early example of tripartite arrangement. Other gavottes[74] are the favorite one from the Fifth French Suite, that from Handel's opera Ottone (so often played in organ or pianoforte transcriptions) and, from modern literature, the charming one in d'Albert's Suite for Pianoforte, op. 1.

The Minuet is of particular interest, not alone because of the many beautiful examples of its use but because it is the only dance which, carried over from the Suite, has remained an integral movement of Symphonic compositions. The Minuet, in its older form, was a stately dance; the derivation of the term (French menu) referring to the dainty steps of the dancers, always in 3/8 or 3/4 metre and beginning on the first beat of the measure. By Haydn the character of the Minuet was considerably changed; the tempo becomes much faster, the music begins on the third beat of the measure instead of the first and the mood is one of playful humor—at times even of downright jollity. In the Minuets of Mozart the peculiar characteristics are grace and tenderness rather than rollicking fun, e.g., the charming examples in the E-flat major and G minor Symphonies. Concerning the transformation by Beethoven of the Minuet into the Scherzo, with its fantastic and freakish atmosphere, we shall speak more fully in connection with his Symphonies. Of the examples cited in the Supplement (see Nos. 30 and 31) the former, from the first Finale of Mozart's opera Don Giovanni, remains one of the most famous minuets in existence; and the two from Rameau's opera, Castor and Pollux, are of inimitable spontaneity and rhythmic grace. They are grouped in contrasting, tripartite arrangement. In modern literature every one knows of the melodious example for Pianoforte by Paderewski (No. 1 of the Humoresques de Concert) and the Menuet Italien by Mrs. Beach; that in the last scene of Verdi's Falstaff is also well worth acquaintance.

The last of the particularly characteristic dances is the Gigue with its counterparts mentioned above. This is a rapid, animated dance in 6/8, 3/8, 12/8, 12/16 (sometimes 4/4) with marked rhythm; the term being derived from giga (German, geige)—an early name for fiddle—on account of the power of accent associated with the violin family. The Gigue is always the closing number of Bach's Suites, in order to give a final impression of irrepressible vitality and gaiety, and is treated with considerable polyphonic complexity; in fact, his gigues often begin like a complete Fugue. They are all in clear-cut Two-part form; and it became the convention for the second part to treat the motive in inverted form. The example cited from Bach's Fifth French Suite (see Supplement No. 32) is unsurpassed for rhythmic energy; the closing measures sound as if all the bells of heaven were ringing. The example of Mozart (see Supplement No. 33) is noteworthy for its daring use of the dissonant element and for its free modulations. Of the counterparts of the gigue the following are excellent examples: The Rigaudon—the Finale of Grieg's Holberg Suite, the vigorous one from Rameau's opera Dardanus, and MacDowell's independent piece in this form, op. 49, No. 2; the Furiant—the Finale of Dvořák's Suite for Small Orchestra, op. 30 (accessible in an effective pianoforte arrangement for four hands); the Tarantelle—Chopin's independent piece in this rhythm, op. 43, and the brilliant Finale of Rheinberger's Pianoforte Sonata for four hands, op. 122; the Saltarello—the last movement of Mendelssohn's Italian Symphony and the main portion of Berlioz's Carnaval Romain Overture. One additional example is cited (see Supplement No. 34), a Courante by D. Scarlatti, to give an example of his pianoforte style. In connection with these dances, especially the Sarabande, Gavotte, Loure, Pavane, Polonaise and Tarantelle, there should be read the articles treating of each dance in Grove's Dictionary; for these dances are so closely connected with human activity that a knowledge of their development broadens our horizon in many matters pertaining to social life and civilization in general. As to specific examples of the less usual dances, many of the quaintest are found in the works of the early English composers: Byrd, Bull, etc., in the Fitzwilliam Virginal Book, e.g., The Lord of Salisbury his Pavan. An excellent example of the Loure is the well-known arrangement from Bach's third 'Cello sonata. Chopin, in his works, has glorified both the Polonaise and the Mazurka; Bizet, in his opera Carmen, has used the Habañera and the Seguidilla, and there is a wonderful use of the Habañera rhythm in Debussy's descriptive piece Soirée dans Grenade. The French composer Ravel in his pianoforte piece Pavane pour un enfant defunt has used with remarkable effect the stately rhythm of that dance. The Spanish composers, Albeniz and Granados, frequently employ national dance rhythms in their pieces. The French composer Chabrier's Bourrée Fantasque is a dazzling modernization of the old form; and his España for full orchestra fairly intoxicates us with its dashing rhythms based upon the Jota and the Malagueña.[75] Debussy's well-known piece Hommage à Rameau is in the style of the Sarabande. The allusions in literature to these dances are so frequent that only a few can be cited. The very spirit of the Jig is given in Pope's line "Make the soul dance upon a jig to Heaven." In speaking of the antics of Sir Andrew Aguecheek in Twelfth Night, Shakespeare remarks—"I did think by the excellent constitution of thy leg that it was formed under the star of a Galliard." One of the most remarkable works of the English composer John Dowland (born 1562) is entitled Lachrymae, or Seven Teares, figured in seven passionate Pavans.

The Suite, by reason of its freedom in combining different rhythms and moods, has appealed vividly to modern composers; and the literature of our times contains a number of Suites which should be known to the music-lover. In these modern Suites no attempt is made to conform to the old conventional grouping of dances. The movements are in different keys, are often based on rhythms of an exotic or ultra-nationalistic type—as in Tchaikowsky and Dvořák, or may employ any material suggested by the fantastic imagination of the composer—as in Debussy and Ravel. Among the most attractive modern Suites may be cited: The Peer Gynt (put together from incidental music to Ibsen's play) and the Holberg by Grieg; the two L'Arlésienne Suites by Bizet (written to illustrate Daudet's romantic story)—the first, with its dainty Minuet and brilliant Carillons (Peal of bells); Dvořák's Suite for Small Orchestra, op. 39, with its sprightly Polka and impassioned Furiant; Tchaikowsky's five Orchestral Suites of which the best known are the Casse-Noisette with its exotic rhythms and novel orchestral effects, the Mozartiana and the third which closes with a brilliant Polonaise; Brahms's Serenades for orchestra; Charpentier's Impressions of Italy in which there is an effective use of Italian rhythm and color; MacDowell's Indian Suite, with several of the themes based on native tunes; the fascinating orchestral Suite Adventures in a Perambulator by John Alden Carpenter; Arthur Whiting's Suite Moderne for pianoforte; Stevensoniana, (based on stanzas from Stevenson's Child's Garden of Verses) an orchestral Suite in four movements by Edward B. Hill; Debussy's Suite Bergamasque in which is found the oft-played Clair de Lune; Ravel's[76] Mother Goose, a delightful work—and by the same composer the Daphnis and Chloe Suite, the material drawn from an opera of the same name. In modern literature easily the most celebrated and brilliant example of this type is the Scheherazade Suite (based on the Arabian Nights) for full orchestra by Rimsky-Korsakoff. This work in the genuine poetic quality of its themes, in its marvellous descriptive power and in the boldness of its orchestral effect remains unsurpassed.