{"id":292,"date":"2015-06-02T17:58:42","date_gmt":"2015-06-02T17:58:42","guid":{"rendered":"https:\/\/courses.candelalearning.com\/musicx15xmaster\/?post_type=chapter&#038;p=292"},"modified":"2015-07-10T22:10:20","modified_gmt":"2015-07-10T22:10:20","slug":"suite","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/chapter\/suite\/","title":{"raw":"Suite","rendered":"Suite"},"content":{"raw":"The suite was a widely used genre in the Baroque era that grew out of Renaissance dance music. In the Renaissance and early Baroque, composers wrote collections of short dance pieces for actual dancing at court. But over time, the dances and their order became more standardized, and this became a handy framework for composers to create instrumental music for everything from solo instruments to full orchestra. Suites were especially favored by composers of keyboard music. By the late Baroque, the suite was used primarily as a concert piece and had little to do with the actual dances that it used as its organizing structure.\r\n\r\nAs you read this page, pay attention to the order of the pieces and the fact that each dance had its own tempo, meter, and character; however, you don't have to memorize the specifics of each dance\u2014in this class you won't have to identify individual movements of a suite. As always, remember that while Baroque composers generally followed the pattern of dances listed here when they composed suites, they did not hesitate, especially by the late Baroque, to depart from the normal order or even insert movements that had nothing to do with dances. The movement from the Handel suite you'll hear later is called \"Alla Hornpipe\" which essentially means \"here come the horns!\"\r\n<h2><span id=\"Dance_suite\" class=\"mw-headline\">Dance Suite<\/span><\/h2>\r\nA characteristic Baroque form was the dance suite. Some Dance suites by Bach are called partitas, although this term is also used for other collections of pieces. The dance suite often consists of the following movements:\r\n<ul>\r\n\t<li>Overture\u2014The Baroque suite often began with a French overture (o<em>uverture<\/em>\u00a0in French), which was followed by a succession of dances of different types, principally the following four.<\/li>\r\n\t<li>Allemande\u2014Often the first dance of an instrumental suite, the allemande was a very popular dance that had its origins in the German Renaissance era. The allemande was played at a moderate tempo and could start on any beat of the bar.<\/li>\r\n\t<li>Courante\u2014The second dance is the courante, a lively, French dance in triple meter. The Italian version is called the <em>corrente<\/em>.<\/li>\r\n\t<li>Sarabande\u2014The <em>sarabande<\/em>, a Spanish dance, is the third of the four basic dances, and is one of the slowest of the baroque dances. It is also in triple meter and can start on any beat of the bar, although there is an emphasis on the second beat, creating the characteristic halting, or iambic rhythm of the sarabande.<\/li>\r\n\t<li>Gigue\u2014The gigue is an upbeat and lively baroque dance in compound meter, typically the concluding movement of an instrumental suite, and the fourth of its basic dance types. The gigue can start on any beat of the bar and is easily recognized by its rhythmic feel. The gigue originated in the British Isles. Its counterpart in folk music is the jig.<\/li>\r\n<\/ul>\r\nThese four dance types (allemande, courante, sarabande, and gigue) make up the majority of seventeenth-century suites; later suites interpolate one or more additional dances between the sarabande and gigue:\r\n<ul>\r\n\t<li>Gavotte\u2014The gavotte can be identified by a variety of features; it is in 4\/4 time and always starts on the third beat of the bar, although this may sound like the first beat in some cases, as the first and third beats are the strong beats in quadruple time. The gavotte is played at a moderate tempo, although in some cases it may be played faster.<\/li>\r\n\t<li>Bourr\u00e9e\u2014The bourr\u00e9e is similar to the gavotte as it is in 2\/2 time although it starts on the second half of the last beat of the bar, creating a different feel to the dance. The bourr\u00e9e is commonly played at a moderate tempo, although for some composers, such as Handel, it can be taken at a much faster tempo.<\/li>\r\n\t<li>Minuet\u2014The minuet is perhaps the best-known of the baroque dances in triple meter. It can start on any beat of the bar. In some suites there may be a Minuet I and II, played in succession, with the Minuet I repeated.<\/li>\r\n\t<li>Passepied\u2014The passepied is a fast dance in binary form and triple meter that originated as a court dance in Brittany.\u00a0Examples can be found in later suites such as those of Bach and Handel.<\/li>\r\n\t<li>Rigaudon\u2014The rigaudon is a lively French dance in duple meter, similar to the bourr\u00e9e, but rhythmically simpler. It originated as a family of closely related southern-French folk dances, traditionally associated with the provinces of Vavarais, Languedoc, Dauphin\u00e9, and Provence.<\/li>\r\n<\/ul>","rendered":"<p>The suite was a widely used genre in the Baroque era that grew out of Renaissance dance music. In the Renaissance and early Baroque, composers wrote collections of short dance pieces for actual dancing at court. But over time, the dances and their order became more standardized, and this became a handy framework for composers to create instrumental music for everything from solo instruments to full orchestra. Suites were especially favored by composers of keyboard music. By the late Baroque, the suite was used primarily as a concert piece and had little to do with the actual dances that it used as its organizing structure.<\/p>\n<p>As you read this page, pay attention to the order of the pieces and the fact that each dance had its own tempo, meter, and character; however, you don&#8217;t have to memorize the specifics of each dance\u2014in this class you won&#8217;t have to identify individual movements of a suite. As always, remember that while Baroque composers generally followed the pattern of dances listed here when they composed suites, they did not hesitate, especially by the late Baroque, to depart from the normal order or even insert movements that had nothing to do with dances. The movement from the Handel suite you&#8217;ll hear later is called &#8220;Alla Hornpipe&#8221; which essentially means &#8220;here come the horns!&#8221;<\/p>\n<h2><span id=\"Dance_suite\" class=\"mw-headline\">Dance Suite<\/span><\/h2>\n<p>A characteristic Baroque form was the dance suite. Some Dance suites by Bach are called partitas, although this term is also used for other collections of pieces. The dance suite often consists of the following movements:<\/p>\n<ul>\n<li>Overture\u2014The Baroque suite often began with a French overture (o<em>uverture<\/em>\u00a0in French), which was followed by a succession of dances of different types, principally the following four.<\/li>\n<li>Allemande\u2014Often the first dance of an instrumental suite, the allemande was a very popular dance that had its origins in the German Renaissance era. The allemande was played at a moderate tempo and could start on any beat of the bar.<\/li>\n<li>Courante\u2014The second dance is the courante, a lively, French dance in triple meter. The Italian version is called the <em>corrente<\/em>.<\/li>\n<li>Sarabande\u2014The <em>sarabande<\/em>, a Spanish dance, is the third of the four basic dances, and is one of the slowest of the baroque dances. It is also in triple meter and can start on any beat of the bar, although there is an emphasis on the second beat, creating the characteristic halting, or iambic rhythm of the sarabande.<\/li>\n<li>Gigue\u2014The gigue is an upbeat and lively baroque dance in compound meter, typically the concluding movement of an instrumental suite, and the fourth of its basic dance types. The gigue can start on any beat of the bar and is easily recognized by its rhythmic feel. The gigue originated in the British Isles. Its counterpart in folk music is the jig.<\/li>\n<\/ul>\n<p>These four dance types (allemande, courante, sarabande, and gigue) make up the majority of seventeenth-century suites; later suites interpolate one or more additional dances between the sarabande and gigue:<\/p>\n<ul>\n<li>Gavotte\u2014The gavotte can be identified by a variety of features; it is in 4\/4 time and always starts on the third beat of the bar, although this may sound like the first beat in some cases, as the first and third beats are the strong beats in quadruple time. The gavotte is played at a moderate tempo, although in some cases it may be played faster.<\/li>\n<li>Bourr\u00e9e\u2014The bourr\u00e9e is similar to the gavotte as it is in 2\/2 time although it starts on the second half of the last beat of the bar, creating a different feel to the dance. The bourr\u00e9e is commonly played at a moderate tempo, although for some composers, such as Handel, it can be taken at a much faster tempo.<\/li>\n<li>Minuet\u2014The minuet is perhaps the best-known of the baroque dances in triple meter. It can start on any beat of the bar. In some suites there may be a Minuet I and II, played in succession, with the Minuet I repeated.<\/li>\n<li>Passepied\u2014The passepied is a fast dance in binary form and triple meter that originated as a court dance in Brittany.\u00a0Examples can be found in later suites such as those of Bach and Handel.<\/li>\n<li>Rigaudon\u2014The rigaudon is a lively French dance in duple meter, similar to the bourr\u00e9e, but rhythmically simpler. It originated as a family of closely related southern-French folk dances, traditionally associated with the provinces of Vavarais, Languedoc, Dauphin\u00e9, and Provence.<\/li>\n<\/ul>\n\n\t\t\t <section class=\"citations-section\" role=\"contentinfo\">\n\t\t\t <h3>Candela Citations<\/h3>\n\t\t\t\t\t <div>\n\t\t\t\t\t\t <div id=\"citation-list-292\">\n\t\t\t\t\t\t\t <div class=\"licensing\"><div class=\"license-attribution-dropdown-subheading\">CC licensed content, Original<\/div><ul class=\"citation-list\"><li><strong>Authored by<\/strong>: Elliott Jones. <strong>Provided by<\/strong>: Santa Ana College. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"http:\/\/www.sac.edu\">http:\/\/www.sac.edu<\/a>. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/licenses\/by\/4.0\/\">CC BY: Attribution<\/a><\/em><\/li><\/ul><div class=\"license-attribution-dropdown-subheading\">CC licensed content, Shared previously<\/div><ul class=\"citation-list\"><li>Baroque music. <strong>Provided by<\/strong>: Wikipedia. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"http:\/\/en.wikipedia.org\/wiki\/Baroque_music#The_Baroque_suite\">http:\/\/en.wikipedia.org\/wiki\/Baroque_music#The_Baroque_suite<\/a>. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA: Attribution-ShareAlike<\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":78,"menu_order":26,"template":"","meta":{"_candela_citation":"{\"1\":{\"type\":\"cc\",\"description\":\"Baroque music\",\"author\":\"\",\"organization\":\"Wikipedia\",\"url\":\"http:\/\/en.wikipedia.org\/wiki\/Baroque_music#The_Baroque_suite\",\"project\":\"\",\"license\":\"cc-by-sa\",\"license_terms\":\"\"},\"2\":{\"type\":\"original\",\"description\":\"\",\"author\":\"Elliott Jones\",\"organization\":\"Santa Ana College\",\"url\":\"www.sac.edu\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"}}","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-292","chapter","type-chapter","status-web-only","hentry"],"part":44,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/wp-json\/pressbooks\/v2\/chapters\/292","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/wp-json\/wp\/v2\/users\/78"}],"version-history":[{"count":4,"href":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/wp-json\/pressbooks\/v2\/chapters\/292\/revisions"}],"predecessor-version":[{"id":1013,"href":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/wp-json\/pressbooks\/v2\/chapters\/292\/revisions\/1013"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/wp-json\/pressbooks\/v2\/parts\/44"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/wp-json\/pressbooks\/v2\/chapters\/292\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/wp-json\/wp\/v2\/media?parent=292"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/wp-json\/pressbooks\/v2\/chapter-type?post=292"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/wp-json\/wp\/v2\/contributor?post=292"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/wp-json\/wp\/v2\/license?post=292"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}