Chapter 9Baroque Instrumental Music

The Dance Suite

Key Terms

Suite

Baroque dance form

Binary form

Trio

French overture

Air

Walking bass

Inversion

Allemande

Courante

Sarabande

Minuet

Gavotte

Bourrée

Siciliana

Gigue

The Dance Suite

Dance music popular in Baroque eraCustomary to group dances in a suite•All in same key; fast dance at the end

Composed dances usually “stylized”•Written for listening, not dancing•Retain many features of music for dancing•Allow greater musical sophistication

Written for various performing forces•Orchestra, chamber ensembles, or solo

harpsichord or lute

Baroque Dances

Many different Baroque dances

Distinguished from each other by—•Specific dance steps•A certain meter•A distinctive tempo•Unique rhythmic features (e.g., two-beat upbeat

for gavotte)

Most dances use Baroque dance form•Also called binary form

Baroque Dance Types

•Allemande – 4/4 – moderate – flowing motion•Courante – 3/2 – moderate – uses 6/4 at times•Sarabande – 3/4 – slow – often accents beat 2•Minuet – 3/4 – moderate – straight rhythm•Gavotte – 4/4 – moderate – double upbeat•Bourrée – 2/2 – rather fast – short upbeat•Siciliana – 12/8 – moderate – gently rocking•Gigue – 6/8 – fast – short upbeat, lively

Baroque Dance Form

Most Baroque dances use binary form

Two sections – a & b•Each section ends with strong cadence•Each section is repeated•Symmetrical feel–a & b sections often share

same motives, cadences, & other features•b section usually longer than a

Form can be diagrammed as—•a a b b or abbreviated as |: a :||: b :|

Dance and Trio (1)

To create larger-scale dance works•Composers grouped dances in suites•Sometimes they grouped two dances of the

same type – e.g., two minuets or two gavottes

Second dance of each pair called a trio•Minuet & Trio or Gavotte & Trio•Trio often scored for three instruments

First dance returns again at the end

Overall ternary form – A B A

Dance and Trio (2)

Based on principles of contrast & return

Trio uses different melody & rhythms, softer dynamics, lighter scoring

Return of 1st dance creates satisfying conclusion

Form can be diagrammed as—

The French Overture (1)

Some suites begin with French overture

Originally used by Louis XIV’s orchestra•The 24 Violins of the King

Later used to begin many works—•Operas, suites, sonatas, oratorios (Messiah)

Uses binary form, but with more contrasts than usual—

The French Overture (2)

A section – slow tempo, sharply dotted rhythms, duple meter, homophonic texture

B section – fast tempo, often compound meter, imitative polyphony

Bach, Orchestral Suite No. 3 in D

Likely written for student orchestra at University of Leipzig

Scored for festive Baroque orchestra•Strings, 2 oboes, 3 trumpets, 2 timpani, &

continuo

Includes several dance types—•French overture, air, gavotte & trio, bourrée, &

gigue•Most are examples of Baroque dance form

Bach, Air (1)

French air = aria (song)

Bach’s most famous, beloved melody

Scored for strings & continuo

Uses Baroque dance (binary) form

Spontaneous, singing melody uses irregular rhythms•Rising sequences build intensity in b section

Melody supported by stable walking bass

Bach, Air (2)

Bach, Gavotte (1)

Scored for festive Baroque orchestra•Trumpets create march-like feel

Typical gavotte two-quarter-note upbeat

Uses gavotte & trio format•Both dances use Baroque dance form•Trio typical in providing contrast with Gavotte;

unusual in its use of full orchestra•1st gavotte returns at the end

Bach, Gavotte (2)

Example of inversion in b section of Gavotte (a learned device)

Conclusions

Contrasting dances were often grouped in large-scale works called suitesDances were typically in binary form•Two short, subtly contrasted, sections that

repeat

Greater length & contrast achieved by pairing like dances (e.g., gavotte & trio)Stylized or not, dances relied on—•Clear melodies, simple textures, & strong

rhythms