Part 19

4. BOURREE.--[C/2] allegro. Rhythm [C/2: 8 8 | 4 4 4 8 8]. Form 3 or 5. Generally faster than the gavotte, and commences on the fourth beat.

5. RIGAUDON.--Similar to the bourree, but slower.

6. LOURE.--Similar to the bourree, but slower. (In French the verb lourer means "to hold," which may have been a characteristic of the loure bass).

7. TAMBOURIN.--[C/2] allegro. In form and rhythm like the gavotte, but faster. Usually founded on a rhythmic pedal note imitating a tambourine.

8. CORRENTE, COURANTE.--[3/4] allegretto. Rhythm [3/4: 8 8 8 | 8 8 8 8 8 8] or [3/4: 8 | 8 8 8 8 8 8] (does not usually commence on the beat). Form 1, sometimes Form 2. The rhythm is usually uniform, a kind of perpetual motion, though not in one voice.

9. MINUET.--[3/4] generally a little slower than moderato, although in later minuets the tempo became allegretto. Rhythm, generally, [3/4: >(4 | 4) 4 4 | 4 8 8 8 8] etc. Old minuets often began on the first beat. Form 4; the third and fourth periods being generally in a different mode from the first and second periods, and called Trio or Minuet 2. Minuets exist also without the Trio, and are in Form 1 or 2.

10. CHACONNE.--[3/4] moderato. Form undecided; has sometimes even only one period, sometimes three or two. It is generally accompanied by doubles or variations, and is invariably written on a ground bass or basso ostinato. The rhythm is often syncopated.

PASSACAILLE, [3/4], resembles a chaconne but is more stately.

11. WALTZ (old German).--[3/4] andante moderato. Generally Form 6. Rhythm [3/4: 4. 8 8. 16 | 8 8 4 8 8] approximately.

12. MARCH.--[4/4] allegro moderato. Rhythm [4/4: 8. 16 | 4 . 16 4 4 | 2. 3(8 8 8)] etc., or [4 | 4 8. 16 4 4] etc. Form 6. Generally all the periods are repeated and consist of eight measures each; third and fourth periods change the key and rhythm.

13. ALLEMANDE.--[4/4] moderato. Rhythm generally uniform sixteenth notes. Form 1.

14. PASSEPIED.--Quick minuet.

15. PAVANE, PADVANA, or PAVO (peacock).--[4/4] andante moderato. Rhythm [4/4: 4 8. 16 4. 8 | 8 8 8 8 2]. Form 2 or 6. Sometimes [2/4]; third and fourth periods in different keys.

16. GIGUE.--[2/4] [6/8] [3/4] [3/8] [9/8] [12/8] presto. Rhythm generally uniform eighth notes. Forms 1 and 2.

17. POLONAISE.--[3/4]. Rhythm [3/4: 8 16 16 8 16 16 4] or [16 16 8 16 16 8 4] allegro. Form 1, generally with short coda.

MODERN FORMS (1800).

1. MAZURKA.--[3/4] allegretto. Form 6. Rhythm [3/4: 4 | 8. 16 4 4].

2. POLONAISE (also POLACCA).--[3/4] allegro maestoso. Rhythm [3/4: 8. 16 8. 16 16 16 16 16] or [8 4 16 16 8 8]. The bass is generally [8 16 16 8 8 8 8]. Form 7.

3. BOLERO (CACHUCHA) (Spanish).--Like the polonaise but livelier, and generally containing counter-rhythms in triplets.

4. HABANERA.--[2/4]. Rhythm [2/4: 8 8 16 8 16 | 8 8 16 8 16 | 8 8 3(8 8 8) | 8 8 4]. The characteristic element is the mixture of triplets and eighth notes. Time, andante. Form undecided, generally No. 1. Very often repeated with slight changes.

5. CZARDAS (Hungarian).--First part [C/2] (lassan, lento); second part [2/4] (friska, presto and prestissimo). For form and rhythm see Liszt's rhapsodies, Nos. 2, 4, and 6.

6. TARANTELLA.--Rhythm [6/8: 8 8 8 8 8 8 | 8 8 8 8 8 8] or [8 8 8 8 8 8 | 4 8 4 8]. Time, molto allegro to prestissimo. Forms 4 and 6, sometimes 7. In the Trio the movement is often quieter although not necessarily slower. It almost invariably has a Coda. The Finale is usually prestissimo.

7. SALTARELLO.--Similar to the tarantella, with the exception of having more jumps (salti).

8. POLKA (about 1840).--[2/4] allegretto. Rhythm [2/4: 8 8 4 | 8 16 16 4]. Form 6. Accent is on the second beat. Cuban dances (sometimes called habaneros) are often in polka form and rhythm, with the one exception of the triplets peculiar to almost all Spanish music [2/4: 8 8 >4 | 8 8 >4 | 16 8 16 >8 8 | 16 8 16 3(16 16 16) 8]

9. WALTZ.--[3/4]. Rhythm (bass) [3/4: >4 4 4 | >4 4 4]. Faster than the old waltz. Form 2 with a coda. Modern waltzes are often written in sets, or many different waltzes joined together by short modulations or codas, preceded by an introduction, generally in one period, lento, and ending with a brilliant coda containing reminiscences of the principal themes.

10. GALOP.--[2/4]. Rhythm [2/4: 16 16 16 16 8 8 | 8 8 8 8] or [16 16 8 8 8 | 16 16 8 16 16 8]. Form 6. Time, presto.

11. MARCH.--Same as the old march, but modified in character and movement according to its title--funeral march, military march, cortege, festival march, etc. In funeral marches, the third and fourth periods are generally in major.

The modernizing of dance forms has been undertaken by almost every writer from Scarlatti (d. 1757) down to our day. Scarlatti joined sections together with isolated measures, repeated sections and phrases before completing the period, and added short codas to periods indiscriminately. Since his time, everyone has added to or curtailed the accepted forms by putting two forms together; hence the fantaisie-mazurka, etc. Wagner represents the culminating point of the modern tendency to disregard forms which were interpreted differently by every composer, and which had their origin in dances.