The gallant movement strove to return to simplicity and immediate gratification after the harsh complexities and excessive complications of the late Baroque. This required a simpler melody. JS Bach chose to focus on this melody sung throughout the French Suites. To achieve this, he carefully avoids the use of technically complex figurations and thick textures. This is even seen in sarabandes, which are traditionally homophonic movements. The reduced use of contrapuntal writing is also evident in the Germans, which, in the absence of preludes, take on an introductory role. The currents appear in two different types: slow and deliberate French (Nos. 1 and 3) and lively Italian corrente (Nos. 2, 4, 5 and 6). Also note the varieties presented in the jigs of the first half: French grand overture (No. 1), blissful French canary (No. 2) and flowing Italian giga (No. 3). These characteristics further facilitate Bach's attempt and success of the gallant