During the era that followed the Waltz there was the Polka, the gay figures of Cotillions, and all other dances of our mothers' youthful days. Then came the vogue of the Two Step, with its Sousa music and its swift tempo. The Quadrille and the Lancers and the Polka alike were forgotten in the joys of what was, I think, the biggest romping dance that we have ever had. There was neither dignity nor beauty in the fast Two Step; but every piece of music that lived to be whistled and hummed in those days was set to Two Step time.
Then came the rag, the rag with its syncopated tempo and its subtle phrasing, to which the world turkey-trotted. Now we have the slower and more artistic music of the moment in the merry One Step, the Hesitation Waltz, and the stirring Tango. What will come next no one can prophesy, but we all, I imagine, must admit the fact that the music of to-day is far prettier than the music of yesterday—if it is not played too fast. That is a mistake that is often made, particularly by amateur musicians and dancers; too swift a tempo is set for the music and the dance steps.
All of our modern Tangos and Waltzes to-day should be slow and graceful and full of pretty measures that are stepped in a fashion almost as stately as the old-time Minuet. And for such
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