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Page 61
The following shows the structure of the different dance forms
up to about 1750.
OLD DANCE FORMS (1650-1750).
[ :Motive-|-Motive--|-Motive-----|--|-Motive---|--|-Motive----|---]
[2/4: 4 8 8 | 8. 16 4 | 8 8 8 8 | 4 4 | 4 8 8 | 4 4 | 8. 16 8 8 | 2 ]
[ :------Phrase-----|----Phrase-----|---Phrase----|----Phrase-----]
[A phrase may be three or four measures, and sections may be unequal]
[ :-------------Section-------------|-----------Section-----------]
[ :------------------------------Period---------------------------]
This period might be repeated or extended to sixteen measures
and still remain a period.
1. |--I P.-|--II P.-| (II is generally longer than I)
2. |---I---|---II---|--I--|
3. |---I---|---II---|-III-| (generally III resembles I)
4. |---I---|---II---|-III-|--I--|--II-| or |--I--|--II--|-III-|--I--|
5. |---I---|---II---|-III-|--IV-|
6. |---I---|---II---|-III-|--IV-|--I--|--II-|
7. |---I---|---II---|--I--|-III-|--IV-|-III-|--I--|--II--|--I--|
In all these forms each period may be repeated.
Often the first, third, and fourth periods are repeated,
leaving the second period as it is. This happens especially
when the second period is longer than the first. In Nos. 2,
4, 6, 7, a few bars are often added at _Fine_ as a coda.
ANALYSIS OF OLD DANCES
1. SARABANDE.--[3/2] [3/4] lento. Rhythm [3/2: 2 ^2. 4 | 2 2].
Form 1, sometimes Form 2. This is of Spanish origin (_Saracen_
dance), and is generally accompanied by variations called
_partita_ or doubles.
2. MUSETTE (_cornemusa_ or bagpipe).--[3/4] [2/4] allegretto.
Form 1. Always written over or under a pedal note, which is
generally sustained to the end. It generally forms the second
part (not period) to the gavotte.
3. GAVOTTE.--[4/4] allegro moderato.
Rhythm [4/4: 4 4 | 4 8 8 4 4] or [4 8 8 | 4 4 4 4].
Always commences on the third beat. Form 3 or 5.
When accompanied by a musette, the gavotte is always repeated.
4. BOURREE.--[C/2] allegro. Rhythm [C/2: 8 8 | 4 4 4 8 8].
Form 3 or 5. Generally faster than the gavotte, and commences
on the fourth beat.
5. RIGAUDON.--Similar to the bourr�e, but slower.
6. LOURE.--Similar to the bourr�e, but slower. (In French
the verb _lourer_ means "to hold," which may have been a
characteristic of the _loure_ bass).
7. TAMBOURIN.--[C/2] allegro. In form and rhythm like the
gavotte, but faster. Usually founded on a rhythmic pedal
note imitating a tambourine.
8. CORRENTE, COURANTE.--[3/4] allegretto.
Rhythm [3/4: 8 8 8 | 8 8 8 8 8 8] or [3/4: 8 | 8 8 8 8 8 8]
(does not usually commence on the beat). Form 1, sometimes
Form 2. The rhythm is usually uniform, a kind of perpetual
motion, though not in one voice.
9. MINUET.--[3/4] generally a little slower than moderato,
although in later minuets the tempo became allegretto.
Rhythm, generally, [3/4: >(4 | 4) 4 4 | 4 8 8 8 8] etc.
Old minuets often began on the first beat. Form 4; the third
and fourth periods being generally in a different mode from
the first and second periods, and called Trio or Minuet 2.
Minuets exist also without the Trio, and are in Form 1 or 2.
10. CHACONNE.--[3/4] moderato. Form undecided; has sometimes
even only one period, sometimes three or two. It is generally
accompanied by doubles or variations, and is invariably
written on a ground bass or _basso ostinato_. The rhythm is
often syncopated.
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