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 in-
tegral 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, al-
ways in 3/8 or 3/4 metre and beginning on the first beat of
the measure. By Haydn the character of the Minuet was con-
siderably 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 charm-
ing examples in the E-flat major and G minor Symphonies. Con-
cerning 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 ex-
amples cited in the Supplement (see Nos. 30 and 31) the former,
from the first Finale of Mozart’s operaDon Giovanni, remains
one of the most famous minuets in existence; and the two from
Rameau’s opera,Castor and Pollux, are of inimitable spontane-
ity and rhythmic grace. They are grouped in contrasting, tri-
partite arrangement. In modern literature every one knows of
the melodious example for Pianoforte by Paderewski (No. 1 of
theHumoresques de Concert) and theMenuet Italienby Mrs.
Beach; that in the last scene of Verdi’sFalstaffis also well worth
acquaintance.
The last of the particularly characteristic dances is the Gigue
with its counterparts mentioned above. This is a rapid, an-
imated 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 im-
pression of irrepressible vitality and gaiety, and is treated with
considerable polyphonic complexity; in fact, his gigues often be-
gin 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 ininvertedform. 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