5.  CZARDAS (Hungarian).—­First part [C/2] (lassan, lento); second part [2/4] (friska, presto and prestissimo).  For form and rhythm see Liszt’s rhapsodies, Nos. 2, 4, and 6.

6.  TARANTELLA.—­Rhythm [6/8:  8 8 8 8 8 8 | 8 8 8 8 8 8] or [8 8 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 the symbols first take the shape of animals or other things they are meant to represent.  This same characteristic