Stylised dance music and music based on dance rhythms pervade Bach's compositions. Although the music of this very special genre has long been a part of every serious musician's repertoire, little has been written about it.The original edition of this addressed works that bore the names of dances--a considerable corpus. In this expanded version of their practical and insightful study, Meredith Little and Natalie Jenne apply the same principals to the study of a great number of Bach's works that use identifiable dance rhythms but do not bear dance-specific titles.Part I describes French dance practices in the cities and courts most familiar to Bach. The terminology and analytical tools necessary for discussing dance music of Bach's time are laid out.Part II presents the dance forms that Bach used, annotating all of his named dances. Little and Jenne draw on choreographies, harmony, theorists' writings, and the music of many seventeenth- and eighteenth-century composers in order to
