Baroque Dance Charts:
Copy the following two pages (they can be on white or colored paper).
Students cut out the dance figures and descriptions of the different dances on the sec- ond page and then glue these into their proper places on the charts. They can then also decorate the charts with colored pencils or markers.
King Louis XIV
Saraband Allemande This dance, which originally came from Spain, was in a slow triple meter and had a dignified style. There was not usually a The allemande is another of the four primary dances in the Baroque Suite. It is usually the first dance and is usually fol- pick up and the accent was usually placed on the second rather than the first beat. lowed by a Courante. Originally a German dance, the early dance was heavier, and simpler than other dances. In the Baroque suite, the allemande are usually in a moderate 4/4 time, with a short upbeat. They usually have short running figures The Dance Suite Three types of pieces in the baroque era include the passed between the different voices. The dance suite was made up of the Allemande, the Courante, the cantata from the Italian word cantare: to sing, toccata from toccare: Saraband and the Gigue. The Suite could also have additional dance to touch and sonata from sonare : to sound. Gigue movements from dances that were stylish during the Baroque era many of which came from French peasant dances. These might include: This dance, which developed from the earlier English or Irish jig, became another of the four primary dances of the Baroque There were two types of sonatas, the sonata da chiesa (sonata of the dance suite, usually the final dance. The French gigue, which became the most common is usually in compound meter (6/8 or 6/4) • Bourree: Usually in a quick duple meter with an upbeat. This was church) which developed into the three movement sonata we know a common dance in Lully’s ballets. and has dotted rhythms, large intervals, and fugal writing. The Italian gigue which is less common did not use fugal writing. It today, and the sonata da camera (sonata of the chamber) which was a was faster than the French gigue and made use of many running notes. • Gavotte: This dance is in a moderate 4/4 meter and usually begins suite of dance pieces. with an upbeat of two quarter notes. Phrases usually end mid measure. This dance was also made popular by Lully. Dance pieces reached their height of development Courante • Loure: A moderate dance in 6/4 meter with dotted rhythms and a in the French court of Versailles where heavy lean on the first beat. Possibly originally accompanied by the This dance began in the 16th century and by the 17th century was one of the primary dances in the baroque dance suite. The dance is King Louis XIV was a strong supporter of described as having jumping figures and a variety of movements. The most common courante and that used by Bach was the bagpipe. dance for court and theater (ballet). Thus his • Minuet: This dance , introduced by Lully to the court, became the French courante, which was in 3/2 or 6/4 meter and made use of hemiola and a free contrapuntal texture with melody lines moving principal composer, Jean Baptist Lully between the upper and lower voices. The Italian Courante was less refined and tended to be in a quick triple time like 3/4 or 3/8. official dance of King Louis the 14th. The dance usually made the and later Purcell and Rameau used many shape of an s or z on the floor. The minuet is in 3/4 meter at a moderate courtly dances in their ballets and operas. tempo. It is the only dance to survive into the classic era. There were also foreign dances such as the anglaise, hornpipe or polonaise.