- certo, and was the one that finally ousted the old contrapuntal
methods from their long-held position of supremacy. In the next period it passed over into what is now known as 'sonata-form.' Prior to 1750 composers had not quite perceived the value of a second subject or of certain points of harmonic procedure.
The above summary statement is evidently not exhaustive. It does
not include certain comparatively formless types, like the recitative or
the arioso, nor the variable form applied in preludes or 'sinfonie' of
various degree, in which the emphasis fell either upon the bold enunciation
of a few chord-sequences or melodic figures without any orderly
treatment of them, or upon a rather vague harmonic musing before the
serious discussion of materials was begun.
The details of some of these larger forms are so important as
to call for special statement, together with references to the
composers who were prominent in determining them or in using
them with evident power and distinction.
138. The Suite.—Among the forms in which regularity of outward
character was conspicuous, was the 'suite' or series of
dance-tunes. Such chains of dances had been used since early
in the 16th century, but more as helps to actual dancing or
as capricious diversions than as a recognized form of pure
composition. Somewhat before 1700 and still more during
the first third of the 18th century, the use of them in an
artistic manner became notable, since they gratified the desire
for a form consisting of several entirely separate movements,
each with a clear, definite pattern. Gradually the plan and
treatment became fixed.
The name 'suite' did not acquire its technical meaning at first. Similar
works had been called 'lessons' in England, 'sonate da camera' in
Italy, 'ordres' in France, and 'partien' or 'partite' in Germany.
Attention has already been called (sec. 71) to the early association of 'pavans' and 'galliards.' This tentative plan was finally altered and extended to include at least four movements:—(a) a flowing 'allemande' in quadruple rhythm, (b) a more lively and emphatic 'courante' in triple rhythm, (c) a melodious and often serious 'sarabande' in slow triple rhythm, and (d) a lively and brilliant 'gigue' either in triple rhythm or at least with triplet divisions of the beats. To this scheme was often prefixed a prelude of some sort, not usually in dance-form. After the sarabande other dances were often inserted according to fancy, sometimes in great profusion. Conspicuous among these were the lively 'passepied' and the stately 'minuet,' both in triple rhythm, the energetic 'gavotte' and the virile 'bourrée,' both in quadruple rhythm, or the more
