8 8 8 8 | 4 8 4 8]. Time, molto allegro to prestissimo.
Forms 4 and 6, sometimes 7. In the Trio the movement is often
quieter although not necessarily slower. It almost invariably
has a Coda. The Finale is usually prestissimo.

7. SALTARELLO.--Similar to the tarantella, with the exception
of having more jumps (_salti_).

8. POLKA (about 1840).--[2/4] allegretto.
Rhythm [2/4: 8 8 4 | 8 16 16 4]. Form 6. Accent is on the
second beat. Cuban dances (sometimes called habaneros) are
often in polka form and rhythm, with the one exception of
the triplets peculiar to almost all Spanish music
[2/4: 8 8 >4 | 8 8 >4 | 16 8 16 >8 8 | 16 8 16 3(16 16 16) 8]

9. WALTZ.--[3/4]. Rhythm (bass) [3/4: >4 4 4 | >4 4 4].
Faster than the old waltz. Form 2 with a coda. Modern waltzes are
often written in sets, or many different waltzes joined together
by short modulations or codas, preceded by an introduction,
generally in one period, _lento_, and ending with a brilliant
coda containing reminiscences of the principal themes.

10. GALOP.--[2/4]. Rhythm [2/4: 16 16 16 16 8 8 | 8 8 8 8] or
[16 16 8 8 8 | 16 16 8 16 16 8]. Form 6. Time, presto.

11. MARCH.--Same as the old march, but modified in character
and movement according to its title--funeral march, military
march, cortege, festival march, etc. In funeral marches,
the third and fourth periods are generally in major.

The modernizing of dance forms has been undertaken by
almost every writer from Scarlatti (d. 1757) down to our
day. Scarlatti joined sections together with isolated measures,
repeated sections and phrases before completing the period,
and added short codas to periods indiscriminately. Since his
time, everyone has added to or curtailed the accepted forms
by putting two forms together; hence the fantaisie-mazurka,
etc. Wagner represents the culminating point of the modern
tendency to disregard forms which were interpreted differently
by every composer, and which had their origin in dances.

The attempt to emancipate music from the dance commenced very
early; in fact, most of the earliest secular music we know
already shows the tendency towards programme music, for,
from an emotional standpoint, secular music began at the
very bottom of the ladder. It was made to express _things_
at first, just as in learning any new language we naturally
first acquire a vocabulary of nouns to express things we see,
such as table, chair, etc., in the same way that in _written_
language