See also:

• SUITE (Suite de pieces; Ordre; Partita)

SUITE (Suite de pieces; Ordre; Partita)  , in See also:

• MUSIC

music, a See also:

• GROUP

group of See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

dance tunes, mostly in binary See also:

• FORM (Lat. forma)

form, of a type which may be described as " decorative " (see See also:

• SONATA (From Ital. sonare, to sound)

SONATA FORMS) ; constituting that classical form of See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early 18th-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century instrumental music which most nearly foreshadows the later sonata . As understood by See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach, it consists essentially of four See also:

• PRINCIPAL

principal movements with the insertion of one or more lighter movements between the third and the last . The first See also:

• MOVEMENT

movement is the See also:

• ALLEMANDE (Fr. for danse allemande, or German dance)

allemande, of solid and intricate texture, in slow See also:

• COMMON

common See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time and See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich flowing See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm, beginning with one or three See also:

• SHORT, FRANCIS JOB (1857– )

short notes before the first full See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

bar . The second movement is the See also:

• COURANTE (a French word derived from courir, to run)

courante, of which there are two kinds . The See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French courante is again an intricate movement, also beginning with one or three notes before the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main See also:

• BEAT (a word common in various forms to the Teutonic languages; it is connected with the similar Romanic words derived from the Late Lat. battere)

beat, and in a triple time ($) which, invariably at the cadences and sometimes elsewhere, drops into a See also:

• CROSSING

crossing triple rhythm of twice the See also:

• PACE (through O. Fr. pas, from Lat. passus, step, properly the stretch of the leg in walking, from pandere, to stretch)
• PACE, RICHARD (c. 1482-1536)

pace (I) . The effect is restless and confused, and was supposed to form a contrast to the allemande; but it seldom did so effectively . Bach's study of Couperin led him to use the French courante frequently, but he was happier with the See also:

• ITALIAN

Italian type of corrente, which did not owe its name, like the French type, to the use of spasmodic runs, but was a brilliant continuously See also:

• RUNNING

running piece in See also:

• QUICK

quick triple time (4 or 8), forming a clear and lively contrast both to the allemande and to the third movement, which is generally a sarabande . The sarabande is a slow movement in triple time beginning on the full bar, and with at least a tendency to the rhythm of which See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel's See also:

• ARIA (Ital. for " air ")

aria Lascia ch'io pianga is a See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar example . Bach's sarabandes are among the most simply eloquent and characteristic of his smaller com- positions . Then come the galanteries, from one to three in number . These are the only See also:

• SUITE (Suite de pieces; Ordre; Partita)

suite-movements which ever have an alternative See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

section and a da See also:

• CAPO

capo (with the exception of Couperin's courantes and the courante in Bach's first See also:

• ENGLISH

English suite) . The commonest galanteries are: (I) the See also:

• MINUET (adapted, under the influence of the Italian minuetto, from Fr. menuet, small, pretty, delicate, a diminutive of menu, from Lat. minutus; the word refers probably to the short steps, pas menus, taken in the dance)

minuet, often with a second minuet which is called " trio" only when it is in real three-See also:

• PART

part See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing .

It is a little faster than the stately minuet in See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart's See also:

• DON
• DON (anc. Tanais)

Don Giovanni, but it is never so quick as the lively minuets of See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn's quartets and symphonies which led to the See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven See also:

• SCHERZO (Italian for " a joke ")

scherzo; and it invariably begins, unlike many later minuets, on the full bar; (2) the See also:

• GAVOTTE (a French word adopted from the Provencal gavoto)

gavotte, a lively dance in a not too rapid alla breve time (the textbooks say time, but there is no See also:

• CASE
• CASE, JOHN (d. 1600)

case in Bach which could possibly be played so slowly, whatever the time See also:

• SIGNATURE (through Fr. from Lat. signature, signare, to sign, signum, mark, token, sign)

signature may be) . The gavotte always begins on the See also:

• HALF

half-bar . A second alternating gavotte is frequently founded on a pedal or See also:

• DRONE

drone-See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass, and is then called musette; (3) the See also:

• BOURREE

bourree, which is not unlike the gavotte, but quicker, and beginning on the last See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of the bar; (4) the passepied, a lively dance in quick triple time, beginning on the third beat . These dances are not always See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast in binary form, and there are famous examples of gavottes and passepieds en See also:

• RONDEAU (Ital. Rondo)

rondeau . Other less common galanteries are (5) the loure,l a slow dance in time and dotted rhythm (dactylic in See also:

• ACCENT

accent and amphimacer in quantity); (6) the See also:

• POLONAISE (i.e. Polish, in French)

polonaise, a leisurely triple-time piece, either a shade quicker or (as in the exquisite unattached examples of Friedemann Bach) much slower than the See also:

• MODERN

modern dance-rhythm of that name, with cadences on the second instead of the third beat of the bar; (7) the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air, a short movement, quietly flowing, in a more florid See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style than its name would suggest . It sometimes precedes the sarabande . The suite concludes with a gigue, in the finest examples of which the decorative binary form is combined with a See also:

• LIGHT

light See also:

• FUGUE (Lat. fuga, flight)

fugue style of the utmost liveliness and brilliance . The gigue is generally in some triplet rhythm, e.g . $, $, , Ise ; but examples in a graver style maybe found in slow square time with dotted rhythms, as in Bach's first French suite and the See also:

• SIXTH

sixth Partita of the Klavieriibung . In gigues in the typical fugato style Bach is fond of making the second part either invert the theme of the first, or else begin with a new subject to be combined with the first in See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint . The See also:

• DEVICE

device of See also:

• INVERSION (Lat. invertere, to turn about)

inversion is also prominent in many of his allemandes and French courantes . All suites on a large See also:

• SCALE
• SCALE (1) A

scale, with the exception of Bach's second and See also:

• FOURTH

fourth See also:

• SOLO, OR SOLO WHIST

solo See also:

• VIOLIN

violin sonatas, begin with a See also:

• GREAT

great prelude in some larger form .

Bach's French Suites are small suites without prelude . His English Suites all have a great first movement which, except in the first suite, is in full da capo See also:

• CONCERTO (Lat. concertus, from certare, to strive, also con-fused with concentus)

concerto form . His clavier Partitas show a greater variety of style in the dance movements and are preceded by preludes, in each case of a different type and See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title . Some large suites have finales after the gigue; the great See also:

• CHACONNE (Span. chacona)

chaconne for violin solo being the See also:

• FINALE (Ital. for " end ")

finale of a partita (see See also:

• VARIATIONS
• VARIATIONS, CALCULUS
• VARIATIONS, CALCULUS OF

VARIATIONS) . Handel's suites are characteristically nondescript in form, but, in the probably earlier sets published after what is called his first set, there is a most interesting tendency to make several of the movements See also:

• FREE

free variations of the first . Earlier composers had already shown the converse tendency to make variations take the forms of suite movements . In See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general Handel's suites are effective See also:

• GROUPS
• GROUPS, THEORY

groups of movements of various lengths,with a tendency to use recognizable suite movements of a Franco-Italian type . In modern times the See also:

• TERM

term " suite " is used for almost any group of movements of which the last is in the same See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key as the first, and of which a See also:

• FAIR

fair proportion show traces of dance-rhythm, or at least use dance titles . It is often said that the suite-forms have shown more vitality under modern conditions than the classical 1 The loure of Bach's fifth French suite has in some See also:

• EDITIONS

editions been called the second bourree, to the utter mystification of musicians.sonata forms . But this only means that when composers do not feel inclined to write symphonies or sonatas they give their groups of movements the name of suite . Certainly there is no such thing as a definite modern suite-form distinguishable from the selection composers make, for use in See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert rooms, of incidental music written for plays, such as See also:

• GRIEG, EDVARD HAGERUP (1843--1907)

Grieg's Peer Gynt suites . (D .

F . T.) SUKHUM-KALEH, a seaport of See also:

• RUSSIAN

Russian See also:

• CAUCASIA
• CAUCASIA, or CAUCASUS

Caucasia in the See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government of See also:

• KUTAIS

Kutais . Pop . (1900), about 16,000 . It is situated Io6 m . N. of See also:

• BATUM

Batum, and has the best roadstead on the See also:

• EAST
• EAST, ALFRED (1849- )

east See also:

• COAST (from Lat. costa, a rib, side)

coast of the See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

Black See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

Sea, being sheltered by mountains on three sides and never freezing . In spite of the difficulties of communication with the interior, and the malarial marshes which surround the See also:

• TOWN

town, it has become important for the export of See also:

• GRAIN (derived through the French from Lat. granum, seed, from an Aryan root meaning " to wear down," which also appears in the common Teutonic word " corn ")

grain (chiefly See also:

• MAIZE, or INDIAN CORN

maize) . There is also a See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade in See also:

• TOBACCO

tobacco . It stands on the site of the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek See also:

• COLONY (Lat. colonia, from colonus, a cultivator)

colony of Dioskurias . The See also:

• ANNUAL

annual mean temperature is 59° F . There are here a See also:

• CATHEDRAL

cathedral and a botanical See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

garden . The town was captured by the Russians in 1809, but not formally relinquished by See also:

• TURKEY

Turkey until 1829 .

In 1854 and again in 1877 it was occupied by the See also:

• TURKS

Turks .