[68] The three-part form is derived partly from the Italian "da Capo Aria" and partly from the fundamental instinct for restatement which we have seen in the Folk-song.
[69] Additional illustrations, which will repay study are the following: the Allegretto of Beethoven's Sixth Sonata; the Schubert Impromptu, op. 90, No. 4; Brahms's Intermezzo, op. 117, No. 1 and the Ballade in G minor, op. 118, No. 3, and for orchestra—in extended treatment—Debussy's Prélude à l'après-midi d'un Faune.
[70] For an interesting and comprehensive account of this development see Grove's Dictionary, Volume IV, article on the Suite.
[71] For extensive comments on Scarlatti's style see The History of the Pianoforte and Pianoforte Players by Oscar Bie, pp. 68-90.
[72] These titles, according to Parry (see his life of Bach, Chapters IV and XII passim), were not given by Bach himself but were assigned, in the case of the French Suites, to denote the delicacy of treatment found therein, and in the English, a certain massive style.
[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.
[74] An interesting example may also be found in Grieg's Holberg Suite for Pianoforte.
[75] For a vivid description of these dances see Chabrier's Lettres à Nanette, Paris, 1910.
[76] See also Le Tombeau de Couperin in which is a very novel Rigaudon.
[77] For a complete account of the historical development see the article on Form in Grove's Dictionary Vol. II and Hadow's Sonata Form, Chapter IX.