Courante

The courante, corrente, coranto and corant are some of the names given to a family of triple metre dances from the late Renaissance and the Baroque era.

But the courante commonly used in the baroque period was described by Johann Mattheson in Der vollkommene Capellmeister (Hamburg, 1739) as "chiefly characterized by the passion or mood of sweet expectation.

"[3] Johann Gottfried Walther in the Musicalisches Lexicon (Leipzig, 1732), wrote that the rhythm of the courante is "absolutely the most serious one can find.

Bach uses courante and corrente to differentiate the French and Italian styles respectively in his Partitas of the Clavierübung[5] and, in Dance and the Music of J. S. Bach by Meredith Little and Natalie Jenne, the courante and corrente are treated as distinct dances,[6] but editors have frequently ignored the distinction.

An indication of faster tempo that appears to exist in Baroque composer Georg Muffat's instructions on Lullian bowing is a confusion in translation.