ene of Verdi's _Falstaff_ is also well worth
acquaintance.

The last of the particularly characteristic dances is the Gigue with
its counterparts mentioned above. This is a rapid, animated 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 impression of irrepressible vitality and gaiety, and is
treated with considerable polyphonic complexity; in fact, his gigues
often begin 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 in _inverted_ form. 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 No. 33) is noteworthy for its daring
use of the dissonant element and for its free modulations. Of the
counterparts of the gigue the following are excellent examples: The
Rigaudon--the Finale of Grieg's _Holberg Suite_, the vigorous one from
Rameau's opera _Dardanus_, and MacDowell's independent piece in this
form, op. 49, No. 2; the Furiant--the Finale of Dvo[vr]ak's _Suite for
Small Orchestra_, op. 30 (accessible in an effective pianoforte
arrangement for four hands); the _Tarantelle_--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's _Italian Symphony_ and
the main portion of Berlioz's _Carnaval Romain Overture_. One
additional example is cited (see Supplement No. 34), a Courante by D.
Scarlatti, to give an example of his pianoforte style. In connection
with these dances, especially 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
connected with human activity that a knowledge of their development
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