When it spread into France in the seventeenth century, French musicians modified the dance to be slow and dignified in triple meter with a stress on the second beat. The rhythmic figure in the first measure of the sarabande from this suite (a dotted quarter note on beat tow and an eighth leading into the downbeat) is particularly characteristic. In the second half of the dance, Jacquet de la Guerre shifts this figure forward one beat (to the first two beats of the measure). However, since the harmony tends to resolve on the third beat of the measure, as if that were the downbeat, the characteristic sarabande rhythm can still be heard. This device creates an intriguing dissonance between notated and perceived
When it spread into France in the seventeenth century, French musicians modified the dance to be slow and dignified in triple meter with a stress on the second beat. The rhythmic figure in the first measure of the sarabande from this suite (a dotted quarter note on beat tow and an eighth leading into the downbeat) is particularly characteristic. In the second half of the dance, Jacquet de la Guerre shifts this figure forward one beat (to the first two beats of the measure). However, since the harmony tends to resolve on the third beat of the measure, as if that were the downbeat, the characteristic sarabande rhythm can still be heard. This device creates an intriguing dissonance between notated and perceived