Part 7 (2/2)
CHAPTER VI
THE CLassICAL AND THE MODERN SUITE
No sooner had the Two-and Three-part forms become accepted as definite er to try their skill in coroups These compositions--known in France as Ordres, in Gerh all the movements were in the _same key_, yet showed considerable variety by reason of the contrast in the dance rhythms They were, moreover, simple, direct and easily understood of the people[70] This developroups of instrureat Italian masters; and those precursors of our modern pianoforte, the harpsichord, clavichord and spinet We find, consequently, the Italians--of whoroups called Sonate da Ballo: and the French co the possibilities of keyed stringed instruraceful pieces to which fantastic titles, such as _La Poule_, _Le Rappel des Oiseaux_, etc, were often given The greatest master of instrumental style in these early days was the Italian, Domenico Scarlatti (1685-1757) He was famous both as co line of key-board virtuosi--and in his compositions in dance for fancy and an adjustht to his instrument, which will keep the and comprehensive account of this development see Grove's Dictionary, Volume IV, article on the Suite]
[Footnote 71: For extensive comments on Scarlatti's style see _The History of the Pianoforte and Pianoforte Players_ by Oscar Bie, pp
68-90]
The grouping together of dance forenius of Sebastian Bach in the so-called _French and English Suites_[72] In these compositions--in the Partitas and in the orchestral Suite in D major, which contains the well-known Aria, often played in transcription for Violin solo--the dance-forms are not employed literally but are made a vehicle for the expression of varied types of human emotion and sentiment Nor should we overlook the twelve _Harpsichord Lessons_ of Handel--especially the superb Fugue in E or, though, in freshness and delicacy of invention, not to be compared with Bach's
[Footnote 72: These titles, according to Parry (see his life of Bach, Chapters IV and XII passined, in the case of the French Suites, to denote the delicacy of treatlish, a certain ive a tabulated list of the customary dance forms, both as found in the Classic and the modern Suite or used as independent pieces; and we shall then analyze those which have the most characteristic rhythmic pattern
LIST OF DANCES
_______________________________________________________________________________ NAME | ORIGIN | METER | FORM | CHARACTER ___________|______________|__________|____________|____________________________ Allemande | Suabian | 4/4 | Two-part | Moderately quick; | | | | flowing, with a rather | | | | rich harmonic texture
| | | | {Courante | French | 3/4, 3/2 | Two-part | Running, lively; the 2/2 {Corrente | Italian | | | type alith a change | | | | of meter at the cadences
| | | | Sarabande | Spanish | 3/2, 3/4 | Two-part | Stately, dignified; often | | | | noble and even | | | | dralish | 4/4 | Two-part | Rapid, ue | Italian | 6/8, | Two-part | Very lively, rollicking, {Jig | giga, an | 12/8, | | even jocose
| early violin | 4/8 | | | | | | Gavotte | French | 4/4, 2/2 | Two-part | Moderately fast; | | | | well-marked rhythm, | | | | often stately
| | | | Bourree | French | 4/4 | Two-part | Lively, vigorous
| | | | Minuet | French | 3/4, 3/8 | Two-part | Moderately fast; dainty, | | | | graceful, courtly
| | | | Passepied | French | 3/4 | Two-part | Light, delicately animated
| | | | Loure | French | 6/4, 4/4 | Two-part | Rather slow, stately
| | | | Pavane | Italian | 2/4 | Two-part | Solemn, impressive
| | | | Galliard | Italian | 3/2, 2/2 | Two-part | Lively, merry
| | | | {Branle | French | 4/4, 3/4 | Two-part | Lively, with great abandon
{Brawl | English | | | | | | | Polonaise | Polish | 3/4 | Varied | Dignified and courtly, but | | | | with life
| | | | Mazurka | Polish | 3/4 | Varied | Great range of speed and | | | | effect; at tiht and lively
| | | | Polka | Bohemian | 2/4 | Generally | Merry, animated
| | | three-part | | | | | Furiant | Bohemian | 3/4 | Varied | Very lively, even frenzied
| | | | Waltz | German | 3/4 | Two-part | Graceful; varied in effect; | | | or | at times lively, often | | | three-part | slow
| | | | Bolero | Spanish | 3/4 | Three-part | Brisk, well-marked rhythm
| | | | Tarantella | Italian | 6/8 | Varied | Very lively, impassioned