Part 14 (1/2)

_Minuet_--slow dance in triple measure.

_Mazurka_--Polish dance in triple measure.

_Polonaise_--Polish dance in triple measure.

_Rigaudon_--lively dance in duple or triple measure.

_Sarabande_--triple measure.

_Tarantella_--swift Italian dance in s.e.xtuple measure.

The _allemande_ is especially interesting to students of music form because of its relation to the sonata, it being the prototype of the sonata-allegro (_i.e._, the first movement of the sonata). The _sarabande_ and _courante_ are likewise interesting as the prototypes of the second movement, and the _bouree_, _minuet_, etc., for their connection with the third movement.

152. The _scherzo_ (lit. musical joke) is a fanciful instrumental composition. It was used by Beethoven as the third movement of the sonata instead of the more limited minuet, but is also often found as an independent piece.

153. A _sonata_ is an instrumental composition of three or more movements (usually four), the first and last of which are almost always in rapid tempo. Each of these movements is a piece of music with a unity of its own, but they are all merged together in a larger whole with a broad underlying unity of larger scope. The composition receives its name from the fact that its first movement is cast in _sonata-form_.

(See Sec. 157 for description of sonata-form.)

When the _sonata_ has four movements, these are usually arranged as follows:

1. A quick movement (_allegro_, _presto_, etc.), often preceded by a slower introduction.

2. A slow movement (_largo_, _andante_, _adagio_, etc.).

3. A minuet or scherzo, often with a trio added, in which case the part preceding the trio is repeated after the trio is played.

4. A quick movement--the finale, sometimes a rondo, sometimes another sonata-form, sometimes a theme with variations.

These movements are all in closely related keys, but in a variety of contrasting rhythms.

154. A _trio_ is a sonata for three instruments (such as piano, violin, and cello), while a _quartet_ is a sonata for four instruments, the most common quartet combination being as follows: First and second violins, viola, and violoncello.

The term _chamber music_ is often applied to instrumental music for trio, quartet, quintet, and other similar combinations which are suitable for a small room rather than for a large concert hall.

The words _trio_ and _quartet_ are also applied to vocal works for three and four voices respectively, these having no relation whatsoever to the sonata as described above. The word _trio_ is also applied to the middle section of minuets, scherzas, marches, etc., the term originating in the old usage of writing this part for three instruments only.

155. A _concerto_ is a sonata for a solo instrument with orchestral accompaniment, the form being usually somewhat modified so as to adapt it to a composition in which there must necessarily be opportunity for a good deal of technical display. There are usually but three movements in the _concerto_.

The great majority of _concertos_ are for piano and orchestra, but examples of concertos for violin, cello, flute, oboe, and other solo instruments (all with orchestral accompaniment) have also been written. A few modern composers have applied the term _concerto_ to certain large organ works (with no orchestral accompaniment, the composition being written for just the one instrument), but this use of the word is so contrary to the accepted definition that it is hardly justifiable.

When a concerto is played on two pianos (without orchestra), this does not mean that there is no orchestral part, but that there is no orchestra to play it, and so the parts that should be played by the orchestral instruments have simply been arranged for a second piano (sometimes organ).

156. A _symphony_ is a sonata for full orchestra. In general its construction is the same as that of the sonata, but it is usually of much larger proportions and has in it much greater variety of both tonal and rhythmic material. The symphony is generally conceded to be the highest type of instrumental music ever evolved.

The _symphony_ was accepted as a standard form in the time of Haydn (1732-1809) and was developed enormously by Haydn himself, Mozart (1756-1791), and Beethoven (1770-1827), reaching perhaps its highest point in the famous ”Nine Symphonies” of the last-named composer. Later symphony writers whose works are at present being performed include Schumann, Tschaikowsky, and Dvo[vr]ak.

The word _symphony_ was formerly used synonymously with _ritornelle_, both words being applied to instrumental interludes between parts of vocal works, but this usage has now entirely disappeared.