J. S. Bach had a numerical fixation, composing most of his keyboard and instrumental music in groups of six: the English Suites, French Suites, Parititas, Brandenburg Concertos, Cello Suites, Violin Suites, etc, or multiples of six (the two sets of the forty-eight preludes and fuges of the Well Tempered Clavier, Chorales and others).
The Suites are based on dances: the Allemande - a stately movement with flowing sixteenth notes; the Courante - a "running" or quick dance in 3/4, 6/4 or 3/2; the Sarabande - a slow dance in 3/4 and the Gigue - in 3/8, 6/8, 9/8, 12/8, 9/16 or 12/16.
The "French" Suites (although no one is sure why they are called "French") are shorter than the "English" Suites and not as difficult to play. Both "English" and "French" Suites followed a pattern of the four dance movements listed above, as well as additional dances such as the Polonaise, Bouree, Louree, Gavotte, to name a few. These additional dances were usually placed between the Sarabande and the Gigue. The Gigue was always the last dance in the suite.
The "GIgue" from Suite V places great demands on the Soprano I and Bass voices. It was originally written in 12/16. I have arranged it in 12/8 for vocalists, who seldom see 12/16. Additionally, the first fourteen measures (first beat, fourteenth measure) may be taken down an octave if too high for your singers. The piece should be performed quasi staccato due to the tempo required.
J. H.
Gigue
-- $2.00
From French Suite V by Bach,
arrangement by Hodge with SSATB voicing.
School Choirs 10% Discount
Purchase Order >>
|
|
|
Sample
Page
