onal
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

[Music] or [Music]

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_--_Prelude_, _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._

[Music]

The Gavotte is an energetic yet dignified dance in duple rhythm (it is
almost alw