Understanding Form: The Sarabande

[@stevecreswell9962]

A useful introduction to the Sarabande form! Thank you. One thing that is worth pointing out regarding the 5:02 mark of the video: voice leading and cadential harmony always has to be taken into account when using terms such as "male endings" or "female endings". Your example on the screen shows the harmony resolving on beat 2 of each of the highligted measures. But when you look at nearly all of the cadential measures at the end of J.S. Bach's cello suite Sarabandes, they resolve by voice leading and harmony onto beat 1 of each final measure. It is true that the arrival harmony is reinforced or sometimes even prolonged through the remainder of these measures, but by the common definition of "male ending" these examples which are so often studied and performed by string players are NOT female endings--according to the standard definition. I would rather that teachers avoid this terminlogy whenever it runs into ambiguities such as this. Better to say that saraband final cadences (at each section's end) resolve either without wait on the first beat, or resolve on the second beat without hurry--but MOST often the rhythmic characteristic of an equally emphasized beat 1 and beat 2 (which also means a weak beat 3 of course) is the defining characteristic I believe both you and I can recognize and agree on, without reference to what is--in this very specific case--confusing music theory terminology (=those seemingly gendered "endings"). Thanks for your patience wading through this :)

[@MusicaUniversalis]

Thank you for your insightful and informative comment. I will pin your comment, as I find small clarifications/corrections like this incredibly important.

[@chessematics]

That's great stuff

[@fraumusica.violin]

I agree! I searched for suche endings in the violin works but did not find any either.

[@generalferret7129]

I love this series! :D I am young girl who wants to be a composer and this kind of stuff is great to watch! I just started watching your videos yesterday. :)

[@MusicaUniversalis]

Good luck!

[@generalferret7129]

@@MusicaUniversalis Thank you!

[@itsgoubie]

I'm watching this video with the automatic subtitles on and I'm amused by how many ways the algorithm wrote Sarabande differently

[@lavendelle_swift]

Love this series! Thanks for understanding most about this form, Sarabande.

[@grunge6909]

Dood I love your channel. I'm learning so much

[@jacobscardino4330]

I was kindof hoping the video would also touch on the sarabandes of Debussy and Satie, the latter’s 3rd one being a particular favorite.

[@transientimages]

I second this, though from whats discussed it feels like Saties aren't sarabandes at all. Or at least are too different to be classified as such

[@vayasaberlo8]

Thank you for this. . my ambition is to play (& often transcribe) all of Bach's Sarabandes on classical guitar.

[@berachtdorian6191]

How far have you gotten?

[@vayasaberlo8]

@@berachtdorian6191 Not nearly as far as I hoped . . . :( Not all of them have been transcribed & I don't have all that much free time nowadays.

[@BluegillGreg]

Thank you so much! Just went to all my method books and repertoire collections and looked up all the sarabands for study. Now I also recognized that a couple of pieces labeled simply as airs have quite a bit in common with sarabands.

[@BarnabasTYT]

Bravo! Love ur channel

[@millennial8441]

It was quite common for French sarabandes that this dance piece was written for Louis XIV showing off his skills as dancer, in such moment all the courtisans stopped to dance, took a seat, and watched Louis XIV's dance for the sarabande. French sarabandes were danced with a sad, meditative, and majestic "èlan".

[@ThatGenericDude]

Love the video. I have a theory about why the zarabande being profane became the stately sarabande. The theory is much like yours with what happened with the scherzo. The comedy in tragedy, et vice versa. In sarabande's case, the profanity of stately matters and/or the stately matters of the profane.

[@catherinealexander8821]

Excellent series. Very informative.

[@NayeliNesme]

Thank you very much!

[@strings-n-keys]

didn't know Putin was into Baroque dancing as well :)

[@christiant.8834]

Thank you so much once again!

[@unboundboundarie211]

Beautiful video

[@arastoomii4305]

Fun fact: Sarband means ritornello in Persian, used in Pishrow (pesrev) preludes.

[@mohammadbayazid5064]

Is there a difference between Handel’s sarabande, and a passacaglia?

[@WordsPhotos]

Sarabande (sarehbaan) is a Persian/Farsi word which refers to the person that leads the caravan of camels in desert during the travel. His duties are systematic rhythm for the entire que to travel coordinated with the harmonious bells of the camels. Ding da dung da dung da dung, ding da dung ad dung da dung.... The word was taken by the Arabs to Africa and then to Spain. And now you know the rest of the story. Sarehbaan slow down ad my soul is leaving my body, my love is departing with my rivals, slow down Sarehbaan (Translated from Persian) ای ساربان آهسته ران کارام جانم میرود / آن دل که با خود داشتم با دل ستانم میرود kzbin.info/www/bejne/fnyqZId9msZqd9kfeature=shared

[@MusicaUniversalis]

I read this theory while researching the video. Interesting, so if this is the true origin, it was taken from Spain to the New World and then back to Spain again.

[@gabriel.lopespoesia]

Great video! Please, explain La Bergamasca in a future video!

[@sergiobravo252]

Female ending... what does it mean?

[@YavorArseniev]

A wonderful introduction! But it just me or does the Sanz example sound a lot like a Canario? Also, I'd like to shout out the sarabandes from François Couperin's "Concerts Royaux" and "Les Gôuts-Réunis".

[@MusicaUniversalis]

Well considering the canario was popular around the same time Sanz wrote that zarabanda, it could be influenced by the canario. But that’s kind of the tricky thing in explaining these forms; as there are always exceptions like Bach’s G Major Partita where the Allemande is more of a Gigue or a Hornpipe than an actual Allemande. Or the Courante of his B flat Partita that’s also more of a Gigue than a Courante. But to get back to the Canario, the Gigue from Bach’s French Suite in C minor is basically a Canario. It seems to be a standard practice in the Baroque period to graft less popular dances into more popular ones, albeit if they were similar enough.

[@darrenfreeman4936]

Great video!

[@nalinig2308]

Can you please do a video about the Minuet( or Menuett) ?

[@MusicaUniversalis]

I‘ll get around to it. It‘s formulaically similar to the Scherzo, and I‘ve been debating whether or not to do one video about both or two separate videos for each form for a while now. I still haven’t made up my mind.

[@user-uz7gb7gb4v]

Very nice! What's the piece at the very end of the video?

[@MusicaUniversalis]

It’s the Sarabande I wrote for my Baroque Suite. You can find the purchase link to the EP in the description if you want to hear more.

[@user-uz7gb7gb4v]

@@MusicaUniversalis Wow! It's gorgeous! I will definitely do that 😊

[@SormehGaming]

Could you explain what is bach's saraband about? Im really obsessed with this song.

[@TheGloryofMusic]

No two of Bach's sarabandes are alike, but sarabandes by French Baroque composers can be so similar to each other as to engender confusion.

[@martiglesias60]

The Spanish "territories" were in fact Spanish Vice Kingdoms, oversees provinces of the Spanish Empire. Its not "latin-music". A part of todays USA to the Panama-canal was Spanish territory and was called "Nueva España" (New Spain) and not Mexico. You see an "indian" dance a elegant dance like in Europe? Its origin is Spanish. Spain has a lot of very old "folkdances".

[@Fine_Mouche]

why female ending is not the ending ?

[@fraumusica.violin]

The Sarabande in the Partita no.1 BWV 1002 has A section: 8 bars and B section: 24 bars

[@parishadnz.6048]

Hi! Please, would do you explain shortly what do you mean by 'there is no upbeat''??? When in a measure we have the second note stressed, as you mentioned, so I'd guess that the other 2 notes are upbeats..🤔Thank you in advance!🙏

[@donthugmeimshy3536]

Hey, not sure if you’re still interested to know, but what he means by ‘no upbeat’ is that the piece doesn’t _begin_ with an upbeat, like many baroque dance forms. The two other beats in the bar, the non-stressed beats, are probably referred to more as “weak beats” than “upbeats”, but both terms are often used, so I can see where the confusion came from. But, yeah, by “upbeat”, he means at the start of the piece. Hope this helps :)

[@pabale4]

Thank you!