ays played too fast)--the characteristics of which are its
beginning on the half-measure and its strongly marked cadences. One of
the most stirring examples is that cited from the Third English Suite
(See Supplement No. 29) which, with its subdued middle portion, La
Musette,[73] is an early example of tripartite arrangement. Other
gavottes[74] are the favorite one from the Fifth French Suite, that
from Handel's opera _Ottone_ (so often played in organ or pianoforte
transcriptions) and, from modern literature, the charming one in
d'Albert's _Suite for Pianoforte_, op. 1.

[Footnote 73: So-called because it is written on a sustained bass note
or pedal point; a feature of the Musette (the French name for Bagpipe)
being its persistent drone bass on the tonic and the dominant.]

[Footnote 74: An interesting example may also be found in Grieg's
_Holberg Suite for Pianoforte_.]

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 integral 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, always in 3/8 or 3/4 metre and beginning
on the first beat of the measure. By Haydn the character of the Minuet
was considerably 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 charming examples
in the E-flat major and G minor Symphonies. Concerning 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 examples cited in the
Supplement (see Nos. 30 and 31) the former, from the first Finale of
Mozart's opera _Don Giovanni_, remains one of the most famous minuets
in existence; and the two from Rameau's opera, _Castor and Pollux_,
are of inimitable spontaneity and rhythmic grace. They are grouped in
contrasting, tripartite arrangement. In modern literature every one
knows of the melodious example for Pianoforte by Paderewski (No. 1 of
the _Humoresques de Concert_) and the _Menuet Italien_ by Mrs. Beach;
that in the last sc