The gallant movement strove to return to simplicity and instant gratification after the harsh complexities and excessive complications of the late Baroque era. This called for a simpler melody. JS Bach chose to focus on this melody sung in all the French Suites. To achieve this, he carefully avoids the use of technically complex figurations and thick textures. This can also be seen in sarabandes, which are traditionally homophonic movements. The reduced use of contrapuntal writing is also evident in the allemandes, which, in the absence of preludes, take on an introductory role. The currents come in two different types: slow and deliberate French current (nos. 1 and 3) and lively Italian current (nos. 2, 4, 5 and 6). Also noteworthy are the varieties shown in the first half jigs: French grand overture (no.1), French canary beato (no.2) and fluid Italian gigue (no.3). These characteristics further facilitate Bach's attempt and success of the gallant