Chapter 11

LIST OF DANCES

_______________________________________________________________________________ NAME $|$ ORIGIN $|$ METER $|$ FORM $|$ CHARACTER ___________$|$______________$|$__________$|$____________$|$____________________________ Allemande $|$ Suabian $|$ 4/4 $|$ Two-part $|$ Moderately quick; $|$ $|$ $|$ $|$ flowing, with a rather $|$ $|$ $|$ $|$ rich harmonic texture. $|$ $|$ $|$ $|$ {Courante $|$ French $|$ 3/4, 3/2 $|$ Two-part $|$ Running, lively; the 2/2 {Corrente $|$ Italian $|$ $|$ $|$ 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 $|$ Italian $|$ 6/8, $|$ Two-part $|$ Very lively, rollicking, {Jig $|$ giga, an $|$ 12/8, $|$ $|$ even jocose. $|$ early violin $|$ 4/8 $|$ $|$ $|$ $|$ $|$ $|$ Gavotte $|$ French $|$ 4/4, 2/2 $|$ Two-part $|$ Moderately fast; $|$ $|$ $|$ $|$ well-marked rhythm, $|$ $|$ $|$ $|$ often stately. $|$ $|$ $|$ $|$ Bourr\’{e}e $|$ 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 $|$ French $|$ 4/4, 3/4 $|$ Two-part $|$ Lively, with great abandon. {Brawl $|$ English $|$ $|$ $|$ $|$ $|$ $|$ $|$ 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 $|$ Merry, animated. $|$ $|$ $|$ three-part $|$ $|$ $|$ $|$ $|$ Furiant $|$ Bohemian $|$ 3/4 $|$ Varied $|$ Very lively, even frenzied. $|$ $|$ $|$ $|$ Waltz $|$ German $|$ 3/4 $|$ Two-part $|$ Graceful; varied in effect; $|$ $|$ $|$ or $|$ at times lively, often $|$ $|$ $|$ three-part $|$ slow. $|$ $|$ $|$ $|$ Bol\’{e}ro $|$ 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 $|$ 4/4 $|$ Varied $|$ Stately, with marked $|$ every nation $|$ $|$ $|$ rhythm. $|$ $|$ $|$ $|$ Cs\’{a}rd\’{a}s $|$ 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. $|$ $|$ $|$ $|$ Haba~{n}era $|$ Spanish $|$ 2/4 $|$ Varied $|$ Graceful; with $|$ $|$ $|$ $|$ characteristic rhythm. $|$ $|$ $|$ $|$ Seguidilla $|$ Spanish $|$ 3/4, 3/8 $|$ Varied $|$ Fantastic; sometimes $|$ $|$ $|$ $|$ stately, sometimes gay $|$ $|$ $|$ $|$ and lively. $|$ $|$ $|$ $|$ {Jota, $|$ Spanish $|$ 3/4 $|$ Free $|$ A kind of waltz, but with {often $|$ $|$ $|$ $|$ more freedom in the {Jota $|$ $|$ $|$ $|$ dancing, and of a vigorous {Aragonesa $|$ $|$ $|$ $|$ and fiery nature. $|$ $|$ $|$ $|$ $|$ $|$ $|$ $|$ Malague~{n}a $|$ Spanish $|$ 3/8 $|$ In couplet $|$ A dance of moderate $|$ $|$ $|$ form $|$ movement, accompanied by $|$ $|$ $|$ $|$ guitar and castanets; $|$ $|$ $|$ $|$ languorous and sensual in $|$ $|$ $|$ $|$ mood. $|$ $|$ $|$ $|$ Siciliano $|$ Sicilian $|$ 6/8, $|$ Two-part, $|$ Graceful; of a Pastorale $|$ $|$ 12/8 $|$ three-part,$|$ nature. $|$ $|$ $|$ often a $|$ $|$ $|$ $|$ Rondo $|$ ___________$|$______________$|$__________$|$____________$|$____________________________

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 cus-
toms of the period. Many of the English Suites begin with an
elaborate polyphonic Prelude. We shall not give a detailed anal-
ysis 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 com-
plete. 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