There is an opening group of allemandes, (12) sporadic groupings of several gigues, sarabandes or courantes, and five measured preludes occur together at the end.
If the numbers in the manuscript do indeed reflect a lost source, then it was certainly more clearly organized, having the following basic order: allemandes, duos, gigue-like pieces, pavanes, more gigues, courantes, sarabandes, arrangements of instrumental music, preludes, vaudevilles (see table 2).
However, the autograph does not contain the courante and gigue in C major preserved in the Borel Manuscript (see fig.
It is called an allemande in both Bauyn and Parville, but Marc-Roger Normand Couperin calls it a gigue.
The presentation of the two (actually four) versions of the second half of the Gigue
of the A-minor Partita is especially misleading, the version of the Washington exemplar (NBA's "G 25") preceding that of the unaltered print; readings from one of the other altered exemplars ("G 26") are given as footnotes.
The gigues appear in two guises: homophonic and imitative.
In his introductory remarks, Hudson frequently alludes to the preface of the original print, citing, for instance, Schultheiss's statement that the effect of the music will be enhanced if one plays "the allemandes and sarabandes rather slowly, the courantes and gigues, however, somewhat faster and more exuberantly" (a remark that is telling for the music of Kuhnau, Georg Bohm, and other German composers who wrote sarabandes in a similar style).
Or in the Gigue of the B-minor Suite, the corta rhythmic pattern (an eighth note followed by two sixteenths) presented casually in the A section grows in importance in the B section until it eventually dominates the music, much in the manner of a rhythmic idee fixe that can't be shaken.
He also offers informative discussions on the rhythmic problems of duple-time gigues
, on the different types of sarabands (including the neat observation that in seventeenth-century French instrumental music "the genre is the character of the piece"), and on the simulation of the lute's "campanella" technique on the harpsichord.
In point of fact, such ability even on the professional level convinces one that, on the contrary, today's slow tempos (sarabandes and courantes) are usually taken too slowly and the fast tempos (gavottes and bourrees, but gigues
excepted) usually too fast.