"The allemande is a broken, serious, and well-constructed harmony, which is the image of content or satisfied spirit, which enjoys good order and calm."
Mattheson 1739[1]
Translated to mean ‘German,’ the allemande essentially originated as a German variant of the basse danse, with its earliest known documentation found in a 1521 dance manual published in London based on basse danses.[2] With rhythmic similarities to the bourree and the gavotte, the dance was popular in both the theatre and ballroom, although it was short lived as by 1636, Mersenne wrote that ‘the allemande was no longer danced to but only played.’[3] In 17th century France, the allemande was rarely danced to, but instead recognised as a standard component in the instrumental suite, and was popular within harpsichord suites.
The instrumental allemande should contain a serious yet proud character and is described by Brossard as a ‘sort of grave, solemn music, whose measure is full and moving.’[4] It is not too dissimilar from the prelude with its free and improvisatory manner and elaborate ornaments. A tempo should therefore be chosen to accommodate these features, but also allow for the forward motion of shorter note values which drive the movement onwards.
Allemandes are most often written in binary form and are in common or cut time, although some feature a time signature of 2. A quaver or semiquaver upbeat is characteristic and should lead to the placement of the first downbeat, which is frequently the same note. Notes inégales should be applied to semiquavers in stepwise movement.
One choreography by Louis Pecour of an allemande from 1702 has survived today. The dance is for a couple and includes many springing steps and uses interlocking hand and arm gestures. It has very few similarities to the slower, processional instrumental allemande popular during this same period as it adopts a much faster tempo and more joyful character.
[1] Mattheson, J. (1981) Der vollkommene Capellmeister. [Translated E. C. Harriss]
[2] Little, M. E; Cusick, S. G. (2001) Grove Music Online: Allemande
[3] Mather, B. B. (1987) Dance Rhythms of the French Baroque
[4] Brossard, S. (1740) Dictionnaire de Musique. [Translated by J. Grassineau]
"The allemande is a broken, serious, and well-constructed harmony, which is the image of content or satisfied spirit, which enjoys good order and calm."
Mattheson 1739[1]
Translated to mean ‘German,’ the allemande essentially originated as a German variant of the basse danse, with its earliest known documentation found in a 1521 dance manual published in London based on basse danses.[2] With rhythmic similarities to the bourree and the gavotte, the dance was popular in both the theatre and ballroom, although it was short lived as by 1636, Mersenne wrote that ‘the allemande was no longer danced to but only played.’[3] In 17th century France, the allemande was rarely danced to, but instead recognised as a standard component in the instrumental suite, and was popular within harpsichord suites.
The instrumental allemande should contain a serious yet proud character and is described by Brossard as a ‘sort of grave, solemn music, whose measure is full and moving.’[4] It is not too dissimilar from the prelude with its free and improvisatory manner and elaborate ornaments. A tempo should therefore be chosen to accommodate these features, but also allow for the forward motion of shorter note values which drive the movement onwards.
Allemandes are most often written in binary form and are in common or cut time, although some feature a time signature of 2. A quaver or semiquaver upbeat is characteristic and should lead to the placement of the first downbeat, which is frequently the same note. Notes inégales should be applied to semiquavers in stepwise movement.
One choreography by Louis Pecour of an allemande from 1702 has survived today. The dance is for a couple and includes many springing steps and uses interlocking hand and arm gestures. It has very few similarities to the slower, processional instrumental allemande popular during this same period as it adopts a much faster tempo and more joyful character.
[1] Mattheson, J. (1981) Der vollkommene Capellmeister. [Translated E. C. Harriss]
[2] Little, M. E; Cusick, S. G. (2001) Grove Music Online: Allemande
[3] Mather, B. B. (1987) Dance Rhythms of the French Baroque
[4] Brossard, S. (1740) Dictionnaire de Musique. [Translated by J. Grassineau]
The Sarabande
Fig. 33 from Le Maître à Danser by Pierre Rameau (1725)
“A musical composition always in triple time, and is in reality no more than a minuet; the motions of which are slow and serious.”
Brossard (1701) [1]
With its origins lying in the Spanish and New World folk arts scene, the sarabande spread across the continent, where in Italy during the early 17th century it was considered to be a fast, closing dance in 6/4 time. However, by the late 17th century, the dance had been modified and tamed by the French, especially in terms of character and tempo, to become the sarabande that is widely recognised today.
The sarabande is often characterised as majestic, serious, melancholy, and languid, and aims to “move the passions and to disturb the tranquillity of the mind.”[2] As the dance should appear effortless when performed, so should the accompaniment when played by musicians.
The concept of a sarabande being performed at a slow or very slow tempo adds elements of ambition for the dancer, with Meredith Little suggesting that the reason for this is “aesthetic not technical, since it is actually easier to dance them at a faster tempo.”[3] Composers of the time mark them slow, solemn, grave, moderate, or tender, with pendulum markings varying from 63 to 95, although a good tempo for dancing is considered to be 69, steering towards the slower tempo suggestions. [4]
As a triple metre dance, sarabandes generally have a time signature of 3/4 or 3, as seen in early sarabandes with 3 crotchet beats per bar. Markings of 6/4 and 3/2 may also be used. Balance is a particularly important feature of the musical composition and execution of the dance. Musically, they often have two sections, typical of binary form, and may include a petit reprise at the end of the 2nd section. Phrases are normally 4 or 8 bars in length and follow a ‘question-and-answer’ format, therefore musicians should aim for the resolution towards the end of the ‘answer’ phrase.
An emphasised 2nd beat is the most prominent rhythmical feature of the sarabande, whereby the beats in a bar typically follow a ‘short-long’ pattern (Ex. 1). Whilst this rhythm should be clearly emphasised, care must be taken to avoid a heavy accent. This is best achieved by the precise placement of the 2nd beat, which drives forward towards the following bar. An up-bow is most effective on the 2nd beat for string players to maintain the sense of line pushing forwards, whilst woodwind players should detach the 2nd beat from the 1st and choose a stronger articulation upon placement of the 2nd beat. If a note shorter in length than that of beat 2 is present in beat 3 (Ex. 2), then this can be shortened further, for example, from a quaver to a semi quaver, and the longer note emphasised on beat 2 can be over-dotted to achieve a more serious character, especially whilst lingering on particularly dissonant harmonies. Upbeats are less frequently used, as these offsets the sense of equal balance central to the sarabande.[5]
Ex. 1
Ex. 2
Notes inégales should be applied to a succession of quavers when in 3/4 and crotchets when in 3/2, however when present in a bass line, they should remain equal. Due to the simplicity in structure and phrase length, variation is particularly important. Expressive ornaments, including flattement, long dissonant appoggiaturas and trills that accelerate in speed, should be adopted in repeats of sections. A second sarabande, known as a double, is sometimes provided by the composer and should be played in succession from the first.
The musical execution of a sarabande should replicate the dance, which is described as calm, serious, tender, balanced and sustained, and is similar to a passacaille, chaconne and folie. Dancers incorporate sustained yet elegant leg gestures, balances, and turns, which when performed in sequence, reflect the similar suspension and release of movement as heard through the dissonant harmonies and resolutions of the music. No specific step unit is associated to the sarabande, but instead, steps from other dances are adopted. The result is of a graceful and delicate dance which is impressive and moving to audience members and spectators.
Listen
Sarabande la Guimon from Troisiéme Suitte, Op. 2 (1715)
Jacques-Martin Hotteterre
Recorder - Beth Toulson
Baroque Guitar and Viola da Gamba - Carlos Gadelha
[1] Brossard, S. (1769) Dictionnaire de Musique. [Translated J. Grassineau with appendix by J. J. Rousseau]
[2] Tarling, J. (2000) Baroque String Playing for Ingenious Learners
[3] Little, M; Jenne, N. (1991) Dance and the Music of J. S. Bach
[4] Little, M; Jenne, N. (1991) Dance and the Music of J. S. Bach
[5] Mather, B. B. (1987) Dance Rhythms of the French Baroque