PROGRESSIVE SERIES COMPOSITIONS( Catalog No, lIOl )

FRENCH SUITE, No.5.Allemande, COUl'ante, Sarabande, Gavotte,

BIOGRArnICM, SKE'I'Cll-,JOrL\?\X SEBASTIAN DACIJ

norn at Ei~cni.lcll, rL'llUl'iH~ia, ?\farcll ~lst, lG85.Died at IA'ipsic, Saxony, .July :?8th, 1750,

IINE of the greatest composers of all time, aud the most prominent representative of n family

Oof famous musicians who held a distinguisheJ position in GermanY' for over two hundredyears. Becoming an orphan at an e:lrly age, he was tnrown upon the care of his older

, brother, Johann Christoph, who became his teacher, .

At the age of fifteen he obtained a position in the choir of St. Michael's School at LiinellUrg, andfrom this time l,e depended upon himself, While here, besides vocal music, he stmlied violin, organ andclavichord (forerunner of the piano). It was while at Luneberg that he made several journeys on foot toHamburg to hear Re;nken and other famous Organists,

In 1703 Bach went to Weimer ~.s violinist in the Court Orchestra of Prinee Johann Ernst. Wecannot follow him in this sketch through all the events of his life, but as teacher, organist anJ composer,he left his impress upon his time and gradually developed into the great master whose fame and workare epoch.making in the splenJor of achievement, and thcir effect upon the COUl's~ of musical history.

In 1723 Bach was appointed cantor of the famous Thomas School at Leipsic, which position he helduntil his death, in spite of many discouragements and much·annoyance. His one solace was his delightfulhome life. Bach was twice married and the father of twenty children, some of whom developed greatmusical talent.

His works were greatiy neglected until Mendelssohr: revived them by bringing out the Passion Mu­sic at Berlin in 1829. It is said that Bach's equal as an organist never cxisted. IIe fixed the system ofequal temperament which has made modern music possible, and, in fact, there was nothing which per­tains to the art of music in which Bach was not a consummate master.

He composed an i=ense quantity of music for the church, for the organ, violin and clavichord,and various other instruments, besides his celebrated Passion Music (so-called because the words arefrom the New Testament account of the passion of Christ), and the celebrated Mass in B-minor. The"Well·Tempered Clavier," containing the forty·eight Preludes and Fugncs, is inuispcllsahlc to the pianist,and all his work shows the most conSUlllmate mastery of the resoUl'ces of lUusical art.

FORM AND STRUCTURE.-The first part of the Allemande consists of a period of 13 measures whichcloscs in the key of the dominant. Tile period might haye endl'll on the

second half of measure 8. The second Ilalf of the Allemunde, wllicll begins with mCUSUl'e 13, simplY spinsout the melody of the original motiy(~, sometilllC'l' h)' lllPUIlR of tl'iln~fol'mntinnRof lIlplotlic fl'ag:mrlltf' whichare comllined into a movement t\l'elvc measures lon~. Each Ilalf of the piece is relwatcd hut there is noreturn to tile first part.

The Courante. The germ of this piece is the melody fonnd in mcasures :?5 and :?li. This consists, in thefirst measure, of a descending scale·like motiye in sixtcentll-notes, follo\l'ed hy a figurc in hroken thirlls inmeasure 25. Measure 26 carries ou the idea Ilut in ei~lltll-notes, tbus, f'ontrasting witll the fir'st me"snre.Tbe left hand part of measure :?G imitatcs the melody of measure :?'" hut does not continne tile imitationbeyond the first three notes of measnre :?G, unless one chooses to regm'(l tIll' second thl'ee eighths of meU'IIl'l'27 as a transposition of the seconc1 three eig'hths in meaS1l1'e :?G; unqu~stionahly thc composer waR \1el'­fectiy conscious of the similarity of these two fig-ures and of their key·relationship. 'l'hi8 leads, in 111l'aR111'"28, to a repetition in the left hand of the melodic motive of measure 2". 'rhus, tIl<' picee is spnn ontousing eighth-notcs and sixte~nth-not~s, and, finally, the first part ends \l'ith measure 40, 'rhe sccond pm't,heginning with measurc 41, shows the melodic gerlU of the first part, but her(' in the left hand, It \l'ilI h"

Ano. 92-2

Copyrighted 191'J,Vnrtld States of America, Cruzl Britain tltfd l"ttrnaftonal Copyright Union and Alutria by Art PubJi·kltlon Soddy, St. LOllis, Mo., U. S. A. Copyright Canada 1911 by Art 'Publication SocieJy, limited. Ril!.bts of Trans·lalion and aU other righls reur.ea.

J

Page 2 j<'RENCH SUITE, No.5

easy, from what has heen stated, for the pupil to go through the rest of this piece and identify the differentmeasures where the original motive is used 01' where fragments of it are transformed into new ideas.

The SarabandE'. This piece also falls into two main parts, the first part being sixteen measures long,the second part is 24 measures long. The chief motive of tbe piece is used very extensively in buildingup the entire composition.

The Gavotte. This composition is a genuine modern three·part song form. The first periou enus inmeasure 8. The second period ends in measure 16. 'l'he third period ends in measure 24. 'l'he thirdperiod is not exactly like the first period, but its movement and much of its contents are very similar,sufficiently so to enable us to identify this piece, as above stated.

POETIC IDEA.-It is not known definitely why this Suite of pieces was designated as a "French" Suite.This suite was composed in the year 1722. A description of all the dances containeu

in the first half of this suite have been given in Lesson 84 of the Progressive Series and it is, therefore,unnecessary to take this matter up again in detail. We should like, however, to uraw your attention tothe order in which the pieces come in this Suite. First, comes the Allemande in the key of G. Nextcomes the COUl'ante in the key of G. Then, the Sarabande, also, in the key of G; the Gavotte, which isin the key of G. Of the three pieces which go to complete this Suite, and which are published in full inour Catalogue, they are all in the key of G. Consequently, no attempt was made to obt.ain t.onal contrasthy means of change of key of the pieces composing the Snite, and, indeed, no very radical modulationsoccur during the course of the pieces themselves; consequently, if the Suite is to be played complete atone sitting, contrast will be obt.ained by means of the snccession of each movement, as these pieces allhave their characteristic rhythms.

Gavotte is written in alla breve time. The Bourree is written iu alla b"e/;e time, the Loure in

time. There is thus a very great variety of rhythmic contrast.

The Allemande is in andante. The

time,64

34

34' allegro, the Sarabande intime, the Courante in44

1216the Gigue in

ROW TO STUDY.-We have given, up to the present time, so many of the Inventions of Bach, with fulland explicit direct.ions as to how to study them, that positively nothing new in the

way of mechanical difficulties can exist in these pieces to haffle the student. In stUdying these pieces, applythe principles which have been used heretofore in the study of Bach's works. The Inventions, as youalready know, were written primarily as a preparatory study for the works of this master and they ade­quately serve their purpose.

The marks of expression in this piece, together with the slurs and the marks showing the correct speedsat which the different pieces should be executed, will convey all needed information in regard to the inter­pretation of these compositions.

Finally, let it be horne in mind that this is one of the favorites "among the Suites of this master.Re wrote six French and six English Suites. The Sarabande of this Suite is a beautiful aria-like com­position and should be rendered with great effect. The entire set of pieces which we give herewith willbe a source of great satisfaction and delight to the student who takes the trouble to master them.

Ano. 92-2

J

French Suite.N95.

Joh. Seb. Bach.

'--- 4---s6

6

21

•

dolce espr. 'tr1 S 23

Edited hi! .Emil Sauer.

Allegro moderato assai. ;;,jl,;'~12",O ~24

Allemande

~;~ 'iT!''110 1 ~ ~2·~ lS~. ~ ~ll S_"'2~

------ -----. ise)

poco cresco 5

#J~• •:=- 6p~

4 ;...1 r~I ~I ~ "I M'J ----•· .· •-.........L---I ' ,~ 4 6~ 4 "< --""'--s 2 s

~1~ _.~!:~....~~~II ~ ..V 7 cresco .pocof

~dim. dolce-

~.« bJ oJ ] 1 to.. 8~~! ~~j::,! ~, 9 .,. ~ • .,. ~ t. ~ .,. .,.I · ~ .· .

---- 1~--I 4~~s 6~

6""'-- 4 1 2 241 S

3~:::..5_:.2 -----------------

... --s 4 • S L tJ12 ~~~';'11~1 .k~ i [ i 1 =::-:---.-... J-= ... ...V

~im. "lPn I i::::::::f 1 - ::::::-1cresc

11 f 1 1 1210~•••.•.• .,. b.l.. 1>.

.,. .,.~~.~ ~ ..: ...

N

,. ------ 2 • • 6 ,[

92,6.

The metronome marks show the rate of speed at which each movement is to begin. Naturally, during thecourse of the movement, the te,"po will bear. and indeed' require the most ,manifold modifications.

Copyrighted IQIJ, Unded Statt!s of America. Great Britain and {nternallorlOl Copyright Union and Austriaby Art Publica/ion Society. Sf. Louis. Mo .. U. S. A. Copyright C!lnada IQIJ by Art Publication Society.Limited. Rights of Translation and all Olher rights rcst."-ved.

I

r

5 4------4

4 3

4

3

..-:----;3'2;-;'"1-----11 ____

t P I~~~J~'.FT:;:L1:1 n, ~Ji5 ~i . ~

0.

~ V-- ~cresc. ~pp 19::--.=..-- ......:I

<pocof -

7 .. -:~~~,. 20 _ ~~'t'- .~ 21· ~ - 11

· =:~ 3 21 3 •

J'------------------_:.----

f\ J1 23 1 2 312 54 1 2

pOCO catandoI 54 1 4 1 3 '---....

I

W-·

~,. .. ,. .. ·

22~p .. -~ '7W1t::::~ ::

p cresco 23 f ., di~·)1.r,'I <' P3i.-. t\.-...I

··. ··

2 1,

I -...J '5 2 00

1 2 3 5 1 ,r -

p,.ench Suite, No. 5, 2.,

92, 6.

J-----

s251.. ~ g E== 5 . i"<

tJ ........... ., . ., " I:;:!:{ Ldimin .• : pocof 31P 29

32\ .m ~30J

··6 . . 2 . ______ 1

S i --~

s

.. 2 • .2#.' ..;. ..;. 1 2 .. --- s---.. 1~• 2

tJ35

iiiiiiiiiiil .~

P..l3 34 cresco 36 ===-.:. . .··

2 i --- '" ~S 2

. /2

-----.. .....--- 4 -----!<

-----~

.tJ ...... .. .

pp 37 38 cresco molto 39 f40'M ).. ./\ I·· . . .

~ ~ ~ ~ ~. . s 1. '! 15 l'"

S

8 28 1

6.~

1

~ S 1 .# ,;;, ~ '11 ••••:

tJ

< f 41 mf P43 ~lb# • . --..... 42 ,;, .. 0F- '*" .. ..;.. -.

·· ..~1 6

~ 1

51

92, O•

J1 2 1 l~~ -----. /"."\- L.. ~n--

tJ - r~-

f44~

P45

cresco~ 46

··2 1 2--..!.-':'

., ............. -t! . ---"'" !"-'1 6 ,Frenc" 8uite, No. 5, 9.

..

---­48 dim.

1 II.,-- " -- 1 "

~~8· " 11

1 5~ .

:50 51.....--.~

8 1

pp 53

" " 8

cresc. motto54

.8

55

2 1 8

lJ... j

Andante molto sostenuto. J, 80

cantabile S

~~ M 8 .M' ' .. ~~,

28a 1.. .. . .. ..~ I ~ .~-=== p - 60 -=:: ::0- 1lfIp 57 58 '-rgI . I - m J I' 61~ I 62 n-----. ..

r 12 c )5 ..... ....-15 ~-, . I,,~

Sarabande.

92,6.

12

cres!'. 677~==_= +=~~8~~iu- S

2---JL . 1 8

~--.Ll66

J J J65

"!

piu espr.

5~• M'8

....:;6:,::.3 1...,64

French Suite, No. 5, 4.

~--J:---------------~~----~~~--

sempr.e, cantabile1

s~ ~ ~.~

1r~ 2-; :f.~.. 218 .#. ::--..... . • ' ~. .: ··

tJ - ..... ... - 1'!f 73 7469 cresco 70 dim. 72=-

~ .d b~ [jJJ.J.~,J/ '..l"'" t 21171 1~ L.-- I-... r""i" ~•

-,....;;;·· . ·. . . ·.

.....2 J ~ 15 ~ r, ~ ~ 1 ,-

~5M' ~

fI .. ,...- 4.....~ s"'--"~. ~, 1 ~ 1r.............. 4 ~ Fl1. . .·I • . .tJ -, -,

83 cresco< PP 81 82

J,----; 86, I- ' I Fri n J 2 85 I •

I : . .

'2~'4 5 "'-- S '.--- I , rS~45 4 4 1 a,.....

28

8""'--- -...:5 ----~__---!5L-_"";2::'- .-Y'

fI .. == -..,4_ 8"- --..... 8"- --4 ..f"I~~ --. ..tJ -- '3 ~

pocof 88 -- .cresc. 90, f 91,87

" I ~ J I I8h/f 1"'1'J '. ~ j...-...

· . ..~. r r '

5 1..l4 .1 5 ~ '8 ~8 15 14 r'1

92. U.5

"...-----~f .

12 14 S5 1

molto espr.2

French 8'u,~e. No. 5, 5.

J.L-- · ------M'_5

_ 1• { • ,4 "W S .. ..

!J ....... '-- ..---- 7 -r ~ocof 96 p92

93 J cr:sc. 94 95 -:::::::.~.n'.J ~----J l.bJ .. 1

1 • ~ --. T1r"· .· -..--.-:

'.85 I r r'1 I I r J 15~~

,4 ,5 S 1,

I

51

51

/'

Allegro giojoso. J~iOl.51 !l

.J !

Gavotte,

2j

~,

19

4:.I1

/9:

6S2

1. L ....

S:.I

cresco

cresc..13

s

22

s

1 12===- .P

17

:.I It

21

==­16

/

5

s

20

/1~ .

10

.~

..<

<

~ ,-~:=:=--_./French 8uite' No.5, 6.

s 1

92,6.

J

RECITATION QUESTIONS ON "FRENCH SUITE, NO.5."

1. Give date and place of birth of Joh. Seh. TIach.Ans.

2. Explain briefly the structure of the Allemande.Ans.

3. Explain very briefly the structure of the COUl·ante.Ans.

4. Explain \'cry briefly the structure of the Sarabande.Ans.

5. Explain very briefly the stt'Ucture of the Gavotte.Ans.

6. In \vhat key are alI the pieces in this Suite?Ans.

7. As contrast is not ohtained by change of key, how is it obtained'Ans.

8. How many French Suitcs did Bach write!Ans.

9. How many English Suitcs diu he write!Ans.

10. Explah very briefly the best mcthod of practicing these pieccs.Ans.

For Teacher's Record

Received _

Grade (on Scale 100) _

Teacher _

,

Class No. .

PnpiI. _

Addressl _

Ano. 92-f

Music EducationVS.

Imitation of the Teacher

Music Education is no longer a luxury. It has become a part of oureveryday life, and is of vital importance to every cultured person. But,there is a vast difference between a Music Education and the abilityto move the fingers over the keyboard to produce a succession of sounds.In one case, there is initiative and musical understanding-the other ismechanical mimicry of the teacher.

A Music Education for a piano student consists of two things:

(1) A mind trained to understand the fundamentalsand construction of music, and the principleswhich underlie piano playing.

(2) Hands trained to execute the will of the educatedmind.

Equipped with a true Music Education, the student is materiallyassisted in his own playing-he can draw on his store of accumulatedknowledge and make independent progress-he can understand andappreciate the artistry of others.

Lacking a Music Education, the student can only mimic the teacher­there is no musical inspiration-he has no foundation of music knowl­edge upon which he can build and progress.

This Composition offers the student not only the music score withauthoritative pedaling, fingering and phrasing-but also the poetic ideaof the composer in writing this particular number, and annotations onproper interpretation. The entire Progressive Series Course is just ascomplete, just as sound pedagogically and music<tlly as this composition.

Talent in music is not essential to the acquirement of a practical educa­tion in music. The Progressive Series ofPiano Lessons enables the musicinstructor to impart a Music Education with the same success andresults with which academic subjects are taught in the public schools.

For further information, see a Progressive Series Teacher or address:

Teachers Department

ART PUBLICATION SOCIETY

Saint Louis, Missouri

j