Allemande

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An allemande (also spelled allemanda, almain, or alman) (from the French word for "German") is one of the most popular instrumental dance forms in Baroque music, and a standard element of a suite. Originally, the allemande formed the first movement of the suite, before the courante, but, later, it was generally preceded by an introductory movement, such as a prelude.

The allemande originated in the 16th century (Renaissance) as a duple metre dance of moderate tempo, derived from dances supposed to be favored in Germany at the time. No German dance instructions from this era survive, but 16th century French (Arbeau) and British (Inns of Court) dance manuals for the Almain do survive. French composers of the 17th century experimented with the allemande, shifting to quadruple meter and ranging more widely in tempo. The form of the allemande was used for the tombeau. Other identifying features are its absence of syncopation, its combination of short motivic scraps into larger units, and its tonal and motivic contrasts. German composers like Froberger and Bach followed suit in their allemandes for keyboard instruments, although ensemble allemandes tended to stay in a more traditional form.

Italian and English composers were more free with the allemande, writing in counterpoint and using a variety of tempi (Corelli wrote allemandes ranging from largo to presto).

Late in the 18th century, "allemande" came to be used for a new type of dance in triple meter; Weber's Douze allemande op. 4 of 1801 anticipates the waltz.

Also used in Contra Dance terminology - But in contra dance it is spelled alamand (or alamande) - since it is derived from the French "a la mande" - by the hand.

Alamande: Two dancers join either right or left hands in a thumbs-up grip and walk around each other.