Purcell's Suites for Harpsichord were dedicated to Princess Anne of Denmark by Purcell's widow, Frances, in A Choice Collection of Lessons for the Harpsichord or Spinnet, printed by Henry Playford in 1696. It was the first volume of English keyboard works by one composer. The brief pieces were assembled according to key into "suites." None of the suites in A Choice Collection, however, was described as such. The volume includes transcriptions of six of Purcell's instrumental works.

The suites are not grouped consistently: No. 3 lacks a Saraband, No. 6, a Corant and the seventh a Prelude. (In England, a standard number or sequence of dance movements never developed.) Also, the last movements of Nos. 7 and 8 are transcriptions and the Corant and Saraband of the fifth suite appears in The Second Part of Musick's Hand-maid, published in 1689. Almands and Corants tend to have the thickest texture, which seem polyphonic because of the broken chords in the left hand. The Sarabands are simpler, some incorporating popular tunes.

The first of the eight, in G major (Z. 660) is the simplest of the set. Its individual movements, especially the improvisatory prelude, may have been composed as teaching pieces. The next two suites, in G minor (Z. 661) and G major (Z. 662), both of which begin with fluid, imitative Preludes in the Italian style, require greater technique. The fourth suite, in A minor (Z. 663) is only in three movements, lacking an Almand. In a recently discovered manuscript, the concluding Saraband is replaced by a jig.

In C major, the fifth suite (Z. 666) begins with a different Prelude in the 1689 publication and yet another Prelude in a surviving manuscript. Neither one of these bears any resemblance to that in the 1696 version, which is an Italianate, contrapuntal invention mostly in two parts, but becomes thicker in the non-contrapuntal closing measures. The three-movement suite in D major, Z. 667, ends with a Hornpipe. Purcell's example is traditional in its lively 3/2 meter, short motives and four-measure phrases.

No. 7, in D minor, Z. 668, concludes with a Hornpipe from Purcell's incidental music for The Married Beau (Z. 603, No. 3), composed in April 1694. The lengthy Almand that opens the D minor suite is the most impressive movement of the piece and perhaps of the whole set. Its rising and falling dotted figures in the right hand traverse several harmonies and include several striking cross-relations, particularly in the second half. In the first publication the Almand was subtitled "Bell-bar," possibly indicating a hamlet in Hertfordshire, where Purcell may have composed the piece in 1693-94.

The fourth and final movement of the eighth suite, in F major (Z. 669) is a Minuet from the incidental music for The Double Dealer (Z. 592, No. 3), which Purcell completed in October or November 1693.

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1.Suite No.1 in G, Z.660

This is perhaps the simplest of all the suites, with very short movements in a very simple style, similar to that of William Lawes of the English Virginalist school. The Prelude is only ten measures long, simple and harmonically directional, and made up mostly of broken chords in the left and right hand. The effect is one of continuous motion as the arpeggios rise from the bass and are answered in the treble. The Almand uses a slight amount of style brise as tenor and treble combine to produce one continuous line of an arpeggiating theme. He also uses ornaments to propel the melodic line.

The Corant lilts at a quicker tempo, still in style brise. The texture is still much simpler, but ornaments on the weak beats of the bar add interest. The Minuet is light with the top voice taking the melody throughout. In the second half, he similarly uses the grace to accentuate the moving bass line.

It is unknown when the eight suites for harpsichord were written, but they were published posthumously in 1696 by Henry Purcell's widow, Francis, and Henry Playford. Purcell probably is most indebted to Matthew Locke for his style of suite writing. The English began grouping their dance movements into suites long before the French. Matthew Locke published his suites in a collection of music entitled "Melothesia" in 1673. His suites used the "style brise" so popular in France at the time. It was a type of writing derived from lute music. It used broken chords to imply contrapuntal linear writing, used consecutive notes in different voices and octaves, and used a variety of "graces", or ornaments, as an important part of the melody. Locke's suites were among the first to include a prelude. Up until that time, the prelude had been an independent piece in an improvisatory style, and suites were made up only of a variety of dance movements. His preludes use either running note passages or derive their interest from their chordal progressions. Locke was very much a proponent of the old English Virginalist school; his pieces are modulatory and filled with English harmonies and figuration.

Purcell did not need to look to the continent for musical influences, however he was probably influenced by Chambonnieres, Louis Couperin, and Lebeque, as well as by the Italian toccata. Some of his preludes are in the style of the Italian invention, and some definitely exude a French influence, although none are so rhapsodic as those of the French clavecinistes' school. His almands and corants are full of style brise, but Purcell, like Locke is undeniably English, and he includes among the standard suite dances of the allemande, corant, and saraband, the English hornpipe. He fills his hornpipes with undeniably English harmonies. In one of his suites he includes a jig, which was a dance from Italy.

A common performance practice at the time, and originating from France, was the use of what were known as "notes inegales". This was the practice of playing notes written evenly in a stylized uneven rhythm. It was used as a form of rubato, and how unevenly the notes were played was left up to the performer. Purcell was obviously influenced by this practice, as in several MS's he has written a variety of rhythmic interpretations to his works. He also included in his "Eight Suites" a table of "Rules for Graces", in which he wrote out all the common graces or ornaments of the day with their symbol next to them.

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2.Suite No.2 in G-, Z.661

The Prelude is grand and employs suspension, sequential patterns, interplay and imitation between the voices, chromatic harmonies, marching thirds, and a driving texture of sixteenth notes. The Almand is a graceful combination of notes inegales, rolled chords, and an ornamented melodic line. The first half is full of suspensions, unresolved dissonances, and rich harmonies. The second half is completely given over to a style brise texture of broken chords.

The triple time Corant is lightly contrapuntal. The notes are divided up between the voices again in a hocket fashion, and the melody has a falling motive in the soprano voice. The sarabande, again in notes inegales, closes the suite.

It is unknown when the eight suites for harpsichord were written, but they were published posthumously in 1696 by Henry Purcell's widow, Francis, and Henry Playford. They were probably written as a teaching aid for Purcell's students, although they are not necessarily arranged by degree of difficulty. The suites were probably performed in people's homes not on the harpsichord, but on the smaller virginal or spinet, which was a common domestic instrument in Restoration England.

Purcell probably is most indebted to Matthew Locke for his style of suite writing. The English began grouping their dance movements into suites long before the French. Matthew Locke published his suites in a collection of music entitled "Melothesia" in 1673. His suites used the "style brise" so popular in France at the time. It was a type of writing derived from lute music. It used broken chords to imply contrapuntal linear writing, used consecutive notes in different voices and octaves, and used a variety of "graces", or ornaments, as an important part of the melody. Locke's suites were among the first to include a prelude. Up until that time, the prelude had been an independent piece in an improvisatory style, and suites were made up only of a variety of dance movements. His preludes use either running note passages or derive their interest from their chordal progressions. Locke was very much a proponent of the old English Virginalist school; his pieces are modulatory and filled with English harmonies and figuration.

Purcell did not need to look to the continent for musical influences, however he was probably influenced by Chambonnieres, Louis Couperin, and Lebeque, as well as by the Italian toccata. Some of his preludes are in the style of the Italian invention, and some definitely exude a French influence, although none are so rhapsodic as those of the French clavecinistes' school. His almands and corants are full of style brise, but Purcell, like Locke is undeniably English, and he includes among the standard suite dances of the allemande, corant, and saraband, the English hornpipe. He fills his hornpipes with undeniably English harmonies. In one of his suites he includes a jig, which was a dance from Italy. All of the dances are in bipartite form with repeats. All of the movements in his suites are organized by key.

A common performance practice at the time, and originating from France, was the use of what were known as "notes inegales". This was the practice of playing notes written evenly in a stylized uneven rhythm. It was used as a form of rubato, and how unevenly the notes were played was left up to the performer. Purcell was obviously influenced by this practice, as in several MS's he has written a variety of rhythmic interpretations to his works. He also included in his "Eight Suites" a table of "Rules for Graces", in which he wrote out all the common graces or ornaments of the day with their symbol next to them.

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3.Suite No.3 in G, Z.662

The prelude for this suite is in Italian invention style. The theme is heard in soprano and bass one measure apart. The invention features note against note counterpoint with suspensions, imitation of fragments, and falling sequences. There are few ornaments. The Almand and Corant are again in the style brise. They feature plenty of activity between voices and a variety of florid ornaments. The Almand is slow and grand, with constant suspensions that become denser toward the end. The Corant lilts along with the melody in the upper voice until the second half which becomes more chordal and again features a drive from the off beats.

It is unknown when the eight suites for harpsichord were written, but they were published posthumously in 1696 by Henry Purcell's widow, Francis, and Henry Playford. They were probably written as a teaching aid for Purcell's students, although they are not necessarily arranged by degree of difficulty. The suites were probably performed in people's homes not on the harpsichord, but on the smaller virginal or spinet, which was a common domestic instrument in Restoration England.

Purcell probably is most indebted to Matthew Locke for his style of suite writing. The English began grouping their dance movements into suites long before the French. Matthew Locke published his suites in a collection of music entitled "Melothesia" in 1673. His suites used the "style brise" so popular in France at the time. It was a type of writing derived from lute music. It used broken chords to imply contrapuntal linear writing, used consecutive notes in different voices and octaves, and used a variety of "graces", or ornaments, as an important part of the melody. Locke's suites were among the first to include a prelude. Up until that time, the prelude had been an independent piece in an improvisatory style, and suites were made up only of a variety of dance movements. His preludes use either running note passages or derive their interest from their chordal progressions. Locke was very much a proponent of the old English Virginalist school; his pieces are modulatory and filled with English harmonies and figuration.

Purcell did not need to look to the continent for musical influences, however he was probably influenced by Chambonnieres, Louis Couperin, and Lebeque, as well as by the Italian toccata. Some of his preludes are in the style of the Italian invention, and some definitely exude a French influence, although none are so rhapsodic as those of the French clavecinistes' school. His almands and corants are full of style brise, but Purcell, like Locke is undeniably English, and he includes among the standard suite dances of the allemande, corant, and saraband, the English hornpipe. He fills his hornpipes with undeniably English harmonies. In one of his suites he includes a jig, which was a dance from Italy. All of the dances are in bipartite form with repeats. All of the movements in his suites are organized by key.

A common performance practice at the time, and originating from France, was the use of what were known as "notes inegales". This was the practice of playing notes written evenly in a stylized uneven rhythm. It was used as a form of rubato, and how unevenly the notes were played was left up to the performer. Purcell was obviously influenced by this practice, as in several MS's he has written a variety of rhythmic interpretations to his works. He also included in his "Eight Suites" a table of "Rules for Graces", in which he wrote out all the common graces or ornaments of the day with their symbol next to them.

© Rita Laurance, All Music Guide

4.Suite No.4 in A-, Z.663

The Prelude to this suite is very brief, arpeggiated, and can be played quite freely. The left hand has chords to begin the arpeggiations, and the upper voice has most of the notes. There is some dialogue between voices in the center, and some added harmonic interest. The top voice then descends in a long line of sixteenth notes to the low register, and the Prelude ends on a very low rolled a minor chord.

There is an alternate Prelude to this work from Christ Church, Oxford which is more evenly contrapuntal throughout. It employs imitation in the voices and style brise in the chord delineations. Purcell takes advantage of the brise style to write measures of suspensions at the climax, where he builds to a four voice texture.

Both the Almand and Corant are again in style brise with many embellishments. The two other MS's of this piece have the notes inegales note values written out, however they were published as even values in 1696. The melody is very firmly placed in the soprano voice in the Almand, but it still manages to be contrapuntally complex. The counterpoint features falling sequences which wind chromatically. Purcell's love of counterpoint betrays him, for he creates a full contrapuntal texture in a style that was meant to be ephemeral, and only suggest linear motion.

The Corant likewise has a singing melody in the soprano. Embellishments aid the melodic line, and add expressive dissonances. There is a steady dotted rhythm in three throughout which reminds one that it is the form of a dance. The second half takes that rhythm and turns it into continuous suspensions. The harmonies become chromatically rich. The suite ends with a very short and simple Saraband.

It is unknown when the eight suites for harpsichord were written, but they were published posthumously in 1696 by Henry Purcell's widow, Francis, and Henry Playford. They were probably written as a teaching aid for Purcell's students, although they are not necessarily arranged by degree of difficulty. The suites were probably performed in people's homes not on the harpsichord, but on the smaller virginal or spinet, which was a common domestic instrument in Restoration England.

Purcell probably is most indebted to Matthew Locke for his style of suite writing. The English began grouping their dance movements into suites long before the French. Matthew Locke published his suites in a collection of music entitled "Melothesia" in 1673. His suites used the "style brise" so popular in France at the time. It was a type of writing derived from lute music. It used broken chords to imply contrapuntal linear writing, used consecutive notes in different voices and octaves, and used a variety of "graces", or ornaments, as an important part of the melody. Locke's suites were among the first to include a prelude. Up until that time, the prelude had been an independent piece in an improvisatory style, and suites were made up only of a variety of dance movements. His preludes use either running note passages or derive their interest from their chordal progressions. Locke was very much a proponent of the old English Virginalist school; his pieces are modulatory and filled with English harmonies and figuration.

Purcell did not need to look to the continent for musical influences, however he was probably influenced by Chambonnieres, Louis Couperin, and Lebeque, as well as by the Italian toccata. Some of his preludes are in the style of the Italian invention, and some definitely exude a French influence, although none are so rhapsodic as those of the French clavecinistes' school. His almands and corants are full of style brise, but Purcell, like Locke is undeniably English, and he includes among the standard suite dances of the allemande, corant, and saraband, the English hornpipe. He fills his hornpipes with undeniably English harmonies. In one of his suites he includes a jig, which was a dance from Italy. All of the dances are in bipartite form with repeats. All of the movements in his suites are organized by key.

A common performance practice at the time, and originating from France, was the use of what were known as "notes inegales". This was the practice of playing notes written evenly in a stylized uneven rhythm. It was used as a form of rubato, and how unevenly the notes were played was left up to the performer. Purcell was obviously influenced by this practice, as in several MS's he has written a variety of rhythmic interpretations to his works. He also included in his "Eight Suites" a table of "Rules for Graces", in which he wrote out all the common graces or ornaments of the day with their symbol next to them.

© Rita Laurance, All Music Guide

5.Suite No.5 in C, Z.666

The Prelude for suite No. 5 is in invention style. The theme is straight forward, and there are three complete statements of it before Purcell begins his counterpoint in earnest. He develops his theme, thins the texture so that the top voice takes the running figures, then introduces the theme again. He fragments it in a frenzy of activity toward the cadence. The Almand, for a change, is very lyrically written, with a moderate amount of style brise in the second section. The matching Corant and Saraband are simple and fine.

It is unknown when the eight suites for harpsichord were written, but they were published posthumously in 1696 by Henry Purcell's widow, Francis, and Henry Playford. They were probably written as a teaching aid for Purcell's students, although they are not necessarily arranged by degree of difficulty. The suites were probably performed in people's homes not on the harpsichord, but on the smaller virginal or spinet, which was a common domestic instrument in Restoration England.

Purcell probably is most indebted to Matthew Locke for his style of suite writing. The English began grouping their dance movements into suites long before the French. Matthew Locke published his suites in a collection of music entitled "Melothesia" in 1673. His suites used the "style brise" so popular in France at the time. It was a type of writing derived from lute music. It used broken chords to imply contrapuntal linear writing, used consecutive notes in different voices and octaves, and used a variety of "graces", or ornaments, as an important part of the melody. Locke's suites were among the first to include a prelude. Up until that time, the prelude had been an independent piece in an improvisatory style, and suites were made up only of a variety of dance movements. His preludes use either running note passages or derive their interest from their chordal progressions. Locke was very much a proponent of the old English Virginalist school; his pieces are modulatory and filled with English harmonies and figuration.

Purcell did not need to look to the continent for musical influences, however he was probably influenced by Chambonnieres, Louis Couperin, and Lebeque, as well as by the Italian toccata. Some of his preludes are in the style of the Italian invention, and some definitely exude a French influence, although none are so rhapsodic as those of the French clavecinistes' school. His almands and corants are full of style brise, but Purcell, like Locke is undeniably English, and he includes among the standard suite dances of the allemande, corant, and saraband, the English hornpipe. He fills his hornpipes with undeniably English harmonies. In one of his suites he includes a jig, which was a dance from Italy. All of the dances are in bipartite form with repeats. All of the movements in his suites are organized by key.

A common performance practice at the time, and originating from France, was the use of what were known as "notes inegales". This was the practice of playing notes written evenly in a stylized uneven rhythm. It was used as a form of rubato, and how unevenly the notes were played was left up to the performer. Purcell was obviously influenced by this practice, as in several MS's he has written a variety of rhythmic interpretations to his works. He also included in his "Eight Suites" a table of "Rules for Graces", in which he wrote out all the common graces or ornaments of the day with their symbol next to them.

© Rita Laurance, All Music Guide

6.Suite No.6 in D, Z.667

This suite's prelude is free and arpeggiated. Very short, it quickly leads into the customary Almand. Still in style brise, the Almand has a florid opening, followed by a disjunct, winding set of lines. Still highly contrapuntal, he closes in interacting sets of arpeggiated chords in bass and treble. In this suite Purcell inserts an English Hornpipe instead of the customary Corant. The theme is full of repeated downward leaps of a third and a fourth, giving the entire song a distinctive sonority. The embellishments bring in relief the drive of the hornpipe rhythm, and aid the flow of the melody. The movement is entirely carefree and happy, and very typically Purcellian. The theme employs descending sequences, and a winding, running eighth note passage to prepare for the cadence of the first half, and an upward sequence to close.

It is unknown when the eight suites for harpsichord were written, but they were published posthumously in 1696 by Henry Purcell's widow, Francis, and Henry Playford. They were probably written as a teaching aid for Purcell's students, although they are not necessarily arranged by degree of difficulty. The suites were probably performed in people's homes not on the harpsichord, but on the smaller virginal or spinet, which was a common domestic instrument in Restoration England.

Purcell probably is most indebted to Matthew Locke for his style of suite writing. The English began grouping their dance movements into suites long before the French. Matthew Locke published his suites in a collection of music entitled "Melothesia" in 1673. His suites used the "style brise" so popular in France at the time. Derived from lute music, it used broken chords to imply contrapuntal linear writing, used consecutive notes in different voices and octaves, and used a variety of "graces", or ornaments, as an important part of the melody. Locke's suites were among the first to include a prelude. Up until that time, the prelude had been an independent piece in an improvisatory style, and suites were made up only of a variety of dance movements. His preludes use either running note passages or derive their interest from their chordal progressions. Locke was very much a proponent of the old English Virginalist school; his pieces are modulatory and filled with English harmonies and figuration.

Purcell did not need to look to the continent for musical influences, however he was probably influenced by Chambonnieres, Louis Couperin, and Lebeque, as well as by the Italian toccata. Some of his preludes are in the style of the Italian invention, and some definitely exude a French influence, although none are so rhapsodic as those of the French clavecinistes' school. His almands and corants are full of style brise, but Purcell, like Locke is undeniably English, and he includes among the standard suite dances of the allemande, corant, and saraband, the English hornpipe. He fills his hornpipes with undeniably English harmonies.

A common performance practice at the time, and originating from France, was the use of what were known as "notes inegales". This was the practice of playing notes written evenly in a stylized uneven rhythm. It was used as a form of rubato, and how unevenly the notes were played was left up to the performer. Purcell was obviously influenced by this practice, as in several MS's he has written a variety of rhythmic interpretations to his works. He also included in his "Eight Suites" a table of "Rules for Graces", in which he wrote out all the common graces or ornaments of the day with their symbol next to them.

© Rita Laurance, All Music Guide

7.Suite No.7 in D-, Z.668

The Almand is rather rhapsodic, featuring a very florid upper voice, broken chords in the brise style, embellishments and figurations. The second section features a dense four voice texture combined with rich harmonies. He begins in F major and passes back to the tonic through suspension filled harmonies and a winding melodic line as flexible as any in his vocal music. The Corant that goes with this Almand is quite simple. He adds a Hornpipe again at the end. This time, it is the same hornpipe as one he used in "A Married Beau". The setting is simple, but effective.

It is unknown when the eight suites for harpsichord were written, but they were published posthumously in 1696 by Henry Purcell's widow, Francis, and Henry Playford. They were probably written as a teaching aid for Purcell's students, although they are not necessarily arranged by degree of difficulty. The suites were probably performed in people's homes not on the harpsichord, but on the smaller virginal or spinet, which was a common domestic instrument in Restoration England.

Purcell probably is most indebted to Matthew Locke for his style of suite writing. The English began grouping their dance movements into suites long before the French. Matthew Locke published his suites in a collection of music entitled "Melothesia" in 1673. His suites used the "style brise" so popular in France at the time. It was a type of writing derived from lute music. It used broken chords to imply contrapuntal linear writing, used consecutive notes in different voices and octaves, and used a variety of "graces", or ornaments, as an important part of the melody. Locke's suites were among the first to include a prelude. Up until that time, the prelude had been an independent piece in an improvisatory style, and suites were made up only of a variety of dance movements. His preludes use either running note passages or derive their interest from their chordal progressions. Locke was very much a proponent of the old English Virginalist school; his pieces are modulatory and filled with English harmonies and figuration.

Purcell did not need to look to the continent for musical influences, however he was probably influenced by Chambonnieres, Louis Couperin, and Lebeque, as well as by the Italian toccata. Some of his preludes are in the style of the Italian invention, and some definitely exude a French influence, although none are so rhapsodic as those of the French clavecinistes' school. His almands and corants are full of style brise, but Purcell, like Locke is undeniably English, and he includes among the standard suite dances of the allemande, corant, and saraband, the English hornpipe. He fills his hornpipes with undeniably English harmonies. In one of his suites he includes a jig, which was a dance from Italy. All of the dances are in bipartite form with repeats. All of the movements in his suites are organized by key.

A common performance practice at the time, and originating from France, was the use of what were known as "notes inegales". This was the practice of playing notes written evenly in a stylized uneven rhythm. It was used as a form of rubato, and how unevenly the notes were played was left up to the performer. Purcell was obviously influenced by this practice, as in several MS's he has written a variety of rhythmic interpretations to his works. He also included in his "Eight Suites" a table of "Rules for Graces", in which he wrote out all the common graces or ornaments of the day with their symbol next to them.

© Rita Laurance, All Music Guide

8.Suite No.8 in F, Z.669

Suite No. 8 opens with a prelude full of arpeggiations and dramatic flourishes of notes. Not a long prelude, it closes with an elaborate arpeggiated figure in the right hand over a pedal c in the left. The Almand features a graceful diatonic melody. All of these pieces have a great deal of harmonic direction, and this is no exception. Through a florid , full texture full of notes inegales and embellishments, Purcell smoothly brings the piece to a cadence in the dominant. The second section is all broken chords, but with long, elegant lines implied. The Corant dances like no other. Straight eighth note movement in the bass lets the melody freely wind in leaps and bounds and dotted rhythms. A simple minuet with a truly elegant melody, set impeccably, closes this suite. This same minuet was part of the Incidental music for "The Double Dealer".

It is unknown when the eight suites for harpsichord were written, but they were published posthumously in 1696 by Henry Purcell's widow, Francis, and Henry Playford. The suites were probably performed in people's homes not on the harpsichord, but on the smaller virginal or spinet, which was a common domestic instrument in Restoration England.

Purcell probably is most indebted to Matthew Locke for his style of suite writing. The English began grouping their dance movements into suites long before the French. Matthew Locke published his suites in a collection of music entitled "Melothesia" in 1673. His suites used the "style brise" so popular in France at the time. It was a type of writing derived from lute music. It used broken chords to imply contrapuntal linear writing, used consecutive notes in different voices and octaves, and used a variety of "graces", or ornaments, as an important part of the melody. Locke's suites were among the first to include a prelude. Up until that time, the prelude had been an independent piece in an improvisatory style, and suites were made up only of a variety of dance movements. His preludes use either running note passages or derive their interest from their chordal progressions. Locke was very much a proponent of the old English Virginalist school; his pieces are modulatory and filled with English harmonies and figuration.

Purcell did not need to look to the continent for musical influences, however he was probably influenced by Chambonnieres, Louis Couperin, and Lebeque, as well as by the Italian toccata. Some of his preludes are in the style of the Italian invention, and some definitely exude a French influence, although none are so rhapsodic as those of the French clavecinistes' school. His almands and corants are full of style brise, but Purcell, like Locke is undeniably English, and he includes among the standard suite dances of the allemande, corant, and saraband, the English hornpipe. He fills his hornpipes with undeniably English harmonies. In one of his suites he includes a jig, which was a dance from Italy.

A common performance practice at the time, and originating from France, was the use of what were known as "notes inegales". This was the practice of playing notes written evenly in a stylized uneven rhythm. It was used as a form of rubato, and how unevenly the notes were played was left up to the performer. Purcell was obviously influenced by this practice, as in several MS's he has written a variety of rhythmic interpretations to his works. He also included in his "Eight Suites" a table of "Rules for Graces", in which he wrote out all the common graces or ornaments of the day with their symbol next to them.

© Rita Laurance, All Music Guide