Gavotte for Piano: Student Information Sheet
- Oct 8
- 7 min read
Updated: Oct 25
What is a Gavotte?
A gavotte is a French dance form that originated in the 16th century and became popular in the Baroque era (roughly 1600-1750). It is characterized by its moderate tempo, often in duple time, and its distinctive rhythmic pattern that typically begins on the second beat of the bar. This gives it a graceful, often light, and sometimes stately feel.
The folk dance that inspired the Gavotte was lively with leaping and jumping steps. It originated as a round dance of the Gavot people of the Pays de Gap region in the Dauphiné province of southeastern France as it evolved to the court dance skipping steps from the Branle were added. Over time, the steps became formal figures, the dance grew more ornate, and it eventually evolved into a concert piece. This 'purified' the rhythm and form, removing any regional micro-rhythmic nuances or scale variations that might have existed in the village form, thus detaching the court version from its folk roots.
Key Characteristics of a Gavotte
Gavottes are characterised by a moderate tempo, neither too fast nor too slow, and are typically written in 2/2 (alla breve) or 4/4 time. A crucial identifying feature is that they usually begin on the second beat of the measure. Rhythmically, gavottes often incorporate dotted rhythms and showcase clear, distinct melodic lines. Their form is commonly binary (AABB) or ternary (ABA), echoing other Baroque dance structures. Overall, the mood of a gavotte is graceful, elegant, and can sometimes be lively.
Originating as a lively folk dance and evolving into a staple of Baroque courtly entertainment, the gavotte underwent a significant transformation as musical tastes shifted towards the Classical era. While Baroque gavottes, exemplified by composers like Bach and Handel, were intrinsically linked to their dance function, often appearing within suites designed for performance or actual dancing, their Classical counterparts, such as those by Jan Ladislav Dussek, began to shed this direct association. Classical composers typically treated the gavotte more as a stylistic reference or a formal exercise within pedagogical works and concert pieces, rather than as music explicitly intended for dance. This evolution reflected a broader trend in the Classical period, where instrumental music gained greater autonomy, moving away from its subservience to dance and becoming more focused on its intrinsic musical qualities and its role in concert settings or as didactic material for aspiring musicians.
How to Dance a Gavotte
Playing a Gavotte on the Piano
When playing a gavotte, it is crucial to focus on several key elements.
Maintaining a steady and even pulse is essential, with particular attention to the anacrusis: the entry on the second minim beat. For practice, use crotchet subdivision: counting '1 & 2 & 3 & 4 &' allows you to master the half-beats. The music remains a duple-time piece (2/2); the goal is to ultimately feel the two strong minim beats, with the phrase entering on the second beat.
Gavottes benefit from clear and crisp articulation, encouraging a light touch and precise fingerwork, especially in faster passages. Smoothly connected (legato) and short, detached (staccato) sections should be clearly differentiated.
Identifying and musically shaping melodic phrases is important, highlighting the "call and response" nature often found in gavottes. Use a range of dynamics to bring out the character of the piece. While gavottes do not typically require extreme dynamic contrasts, subtle changes can emphasise melodic lines or structural sections.
Finally, in terms of style, remember the Baroque origins. Aim for clarity, balance, and refined elegance, avoiding overly romantic or dramatic interpretations despite the expressive nature of the music.
Practice Tips for Your Gavotte
Always begin with slow practice to ensure accuracy in notes and rhythm. Counting aloud, especially focusing on the second-beat entry, will help solidify rhythmic understanding.
If a passage presents a challenge, isolate and practice it in small sections before reintegrating it into the full piece.
Listen to various recordings of gavottes to grasp the style and character, but always develop your own musical interpretations.
Finally, understand the structure by identifying and relating the different sections (A and B) of the piece.
Level 4 Gavotte (Opus 183) by Reinecke
(Approximate Grade 1)
Chris's Comment
This piece is a wonderful example of a classical dance form, full of graceful melodies and a clear, elegant structure. As you learn it, pay close attention to the light and detached touch often associated with gavottes, and enjoy bringing out the distinct rhythmic character that makes this style so appealing.
Download the Music
Public domain source file https://imslp.org/wiki/5_Serenaden_für_die_Jugend,_Op.183_(Reinecke,_Carl)
Level 5 Gavotte in F by Dussek
(Approximate Grade 2)
In Simple Duple Time. Crotchet Beats
In Simple Duple Time. Minim Beats
The piece is labeled a "Gavotte," retaining its duple time and generally graceful nature, yet it incorporates the emerging Classical aesthetic. This piece illustrates the evolution of musical forms and how their titles shift from describing a function (dance) to describing the style or character of the piece. The beginning of Dussek's Gavotte in F appears to start on the downbeat (Beat 1), which is atypical for a traditional Gavotte, removing the characteristic "lift" and start/stop feel of the dance.
However, if it were altered to Alla Breve, the phrasing would reflect a Gavotte, aligning with the expectations of a traditional Gavotte. The simpler time signature makes it suitable as a straightforward teaching arrangement. This reflects the changes during the Classical period, where the dance becomes a period piece, focusing on the style as a formal template for early intermediate piano lessons rather than a popular dance form.
Download the Sheet Music
Public domain source file https://digital.lib.uiowa.edu/node/3439?active_member=929736
Level 6 Gavotte by G. F. Handel
(Approximate Grade 3)
Chris's Comment
This piece, much like the Reinecke, embodies the elegance and rhythmic clarity of the gavotte. As you approach this work, consider how Handel uses simple yet effective harmonies and melodic patterns to create a sense of grandeur and playfulness. Focus on maintaining a consistent tempo and bringing out the distinct two-beat feel that defines this dance. Enjoy the journey of bringing this beautiful Baroque piece to life.
Public domain source file https://imslp.org/wiki/Gavotte_in_G_major,_HWV_491_(Handel,_George_Frideric)
Level 7 Gavotte by Gossec
(Approximate Grade 4)
Chris's Comment
This piece by François Joseph Gossec is a very energetic Gavotte that is characteristic of the classical era that offers a vibrant contrast to the others. When playing Gossec, aim for a brighter, more assertive articulation, highlighting the playful leaps and dynamic contrasts. This Gavotte is an excellent opportunity to demonstrate an energetic and artistic approach to the form.
Public domain source file https://imslp.org/wiki/Masterpieces_of_Piano_Music_(Wier%2C_Albert_Ernest)
Level 8 Gavotte from French Suite V by J.S. Bach
(Approximate Grade 5)
Chris's Comment
This particular Gavotte, from Bach's French Suite No. 5, presents a unique opportunity to explore the intricacies of Baroque counterpoint and melodic independence within a dance form. While maintaining the characteristic two-beat feel and elegant flow of a gavotte, a student can explore the interplay between the voices, focusing on clarity of articulation. The piece allows for a detailed study of Bach's ornamentation to enhance the musical narrative without losing the underlying structure. Emphasis should be placed on achieving a singing legato in the melodic lines, contrasted with a light, crisp touch in accompanying figures, to fully capture the expressive depth and rhythmic vitality of this masterful work.
Download the Sheet Music
Public domain source file https://imslp.org/wiki/6_French_Suites,_BWV_812-817_(Bach,_Johann_Sebastian)
Glossary of Key Terms
Term | Definition |
Alla breve | A time signature of 2/2. |
Anacrusis | The entry on the second minim beat of a measure, a crucial feature of the traditional gavotte. |
Baroque era | A period in music history from approximately 1600-1750, during which the gavotte became a popular court dance and concert piece. |
Binary form | A musical structure with two related sections, typically represented as AABB. |
Classical era | The musical period following the Baroque, where forms like the gavotte were treated more as stylistic references for concert and pedagogical music rather than as functional dance pieces. |
Crotchet subdivision | A practice technique of counting in smaller rhythmic units (e.g., '1 & 2 & 3 & 4 &') to master half-beats and solidify rhythmic understanding. |
Duple time | A musical meter characterized by two beats per measure, such as 2/2 or 4/4 time, which is typical for a gavotte. |
Dynamics | The range of volume in a piece of music. In a gavotte, subtle dynamic changes are used to emphasize melodic lines and structure, avoiding extreme contrasts. |
Gavotte | A French dance form that originated in the 16th century, characterized by a moderate tempo in duple time and a distinctive entry on the second beat of the bar. |
Legato | A style of musical articulation indicating that notes should be played smoothly and connectedly. |
Staccato | A style of musical articulation indicating that notes should be played short and detached. |
Ternary form | A three-part musical structure where the first section is repeated after a contrasting middle section, represented as ABA. |
Reference list
Britannica (n.d.). Jan Ladislav Dussek | Bohemian pianist and composer. [online] Encyclopedia Britannica. Available at: https://www.britannica.com/biography/Jan-Ladislav-Dussek [Accessed 8 Oct. 2025].
Eliza (2012). Jan Ladislav Dussek (1760-1812) | Biography, Music & More. [online] Interlude.hk. Available at: https://interlude.hk/jan-ladislav-dussek/ [Accessed 8 Oct. 2025].
How to Dance a Gavotte (2016). Gavotte , Baroque Dance. [online] YouTube. Available at: https://www.youtube.com/watch?v=P0tB2rGh1kM [Accessed 8 Oct. 2025].
IMSLP (2015). Organ Sonata in F major, B 4.I.12 (Martini, Giovanni Battista) - IMSLP. [online] Imslp.org. Available at: https://imslp.org/wiki/Organ_Sonata_in_F_major%2C_B_4.I.12_(Martini%2C_Giovanni_Battista) [Accessed 8 Oct. 2025].
Iowa Digital Library (n.d.). Dussek’s Instructions on the Art of Playing the Pianoforte or Harpsichord Compound Object. [online] Iowa Digital Library. Available at: https://digital.lib.uiowa.edu/node/3439 [Accessed 8 Oct. 2025].
Triquetrae Academy (2025a). Gavotte from French Suite V by J.S. Bach. [online] Youtu.be. Available at: https://youtu.be/YQlx908p7v4 [Accessed 8 Oct. 2025].
Triquetrae Academy (2025b). Gavotte in F by Dussek. [online] Youtu.be. Available at: https://youtu.be/WMghjPQfa-0 [Accessed 8 Oct. 2025].
Wikipedia (2023). Jan Ladislav Dussek. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Jan_Ladislav_Dussek [Accessed 8 Oct. 2025].
