Page:Pratt - The history of music (1907).djvu/325

 *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