As always that was a fascinating and very enjoyable read. I want to thank you again for putting so much time and effort into this - it really is appreciated
I was aware of the Sarabande's roots, and its somewhat controversial introduction to Europe. All I can say is that I'm glad the Church didn't get their way!
The Chambonnieres examples were very nice - I especially enjoyed the first one. I'm not familier with the
'style brisé' but having looked at the first four bars of the d'Anglebert example as you said they were in this style I recognise the texture from having seen it in a few Bach Sarabandes I think - although not a great deal - Bach clearly uses a contrapunctal texture much more. I couldn't open your Bach example for some reason, finale objected, so I found a score of the French Overture (
French Overture). Is the Sarabande in this the one to which you were refering?
The Haendel Sarabande I know very well, having played a Guitar arrangement and played in a Brass Band arrangement. I like it, and I think I'll try emulating this texture first, as it's certainly the least complex of the ones you've discussed.
The Jean-Henry d'Anglebert Sarabande is gorgeous! This is by far my favourite of the ones you've shown me, and other Sarabandes I've listened to and played. I love the metrical confusion in the first phrase, the way you don't quite get where the pulse is until the second phrase starts.
The Rameau one I still enjoy a lot, but I find the massive amount of ornamention a little annoying. I know this is a very important part of that style, it's just not to my tastes. The harmonies, however, are gorgeous
I shall be printing off all of these scores for analysis, paying close attention to the texture, and any differences in texture between phrases, harmony; especially any chromatic harmonies; and melody. I'll have a pop at composing some short phrases using all of the different textures we've looked at - or should I stick to analysis until you post the next installment with more in depth discussion of that?
I've been continuing with my experimentation with the neopolitan chord, and am becoming more comfortable with it's use. I shall continue doing exercises with it until I'm even more familier with it.
I'm going away soon, from this Sunday to the following Thursday - I will have manuscript paper, but no instruments. Can you suggest any exercises I could be doing? As I'll have a lot of time on my hands and very little to do I suspect.
Again, thanks so much for this, these lessons are fantastic, I'm learning loads and I really appreciate your knowledge and your willingness to share it
