No. 33) is noteworthy for its daring use of the dissonant ele-
ment and for its free modulations. Of the counterparts of the
gigue the following are excellent examples: The Rigaudon—the
Finale of Grieg’sHolberg Suite, the vigorous one from Rameau’s
operaDardanus, and MacDowell’s independent piece in this
form, op. 49, No. 2; the Furiant—the Finale of Dvo[vr]ák’s
Suite for Small Orchestra, op. 30 (accessible in an effective pi-
anoforte arrangement for four hands); theTarantelle—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’sItal-
ian Symphonyand the main portion of Berlioz’sCarnaval Ro-
main Overture. One additional example is cited (see Supple-
ment No. 34), a Courante by D. Scarlatti, to give an example
of his pianoforte style. In connection with these dances, espe-
cially 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 con-
nected with human activity that a knowledge of their develop-
ment 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 excel-
lent 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 Car-
men, has used the Habañera and the Seguidilla, and there is a
wonderful use of the Habañera rhythm in Debussy’s descriptive
pieceSoirée dans Grenade. The French composer Ravel in his
pianoforte piecePavane pour un enfant defunthas used with re-
markable 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 Fantasqueis a dazzling modernization of the old form;
and hisEspañafor full orchestra fairly intoxicates us with its
dashing rhythms based upon the Jota and the Malagueña.[75]
Debussy’s well-known pieceHommage à Rameauis 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
ann
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