time and employ a 1+1/2 rhythm pattern, rather than the standard sarabande rhythm with the accent on the second beat. The gigues are almost invariably fugal, either in compound (6/8) or triple (3/4) meter; different sections may use different motifs, and occasionally the first section's subject is inverted for another section. Bizarrely, a few gigues use dotted rhythms in 4/4 time, and a couple feature exquisite rhapsodic 4/4 endings. Some of the works feature written indications such as "f" and "piano" (to notate an echo effect), "doucement" ("gently") an "avec discrétion" (expressive rubato). In some of the sources such markings are particularly abundant, and the newly (2004) discovered Berlin Sing-Akademie SA 4450 manuscript adds similar indications to free sections in organ toccatas. Some suites feature doubles; in a few, the courante is a derivative of the allemande (although this is rare; more often Froberger unites the two dances by giving them somewhat similar beginnings, but keeps the rest of the material different). Suite no. 6 from Libro Secondo is actually a set of variations subtitled Auff der Mayerin, and one of the more popular Froberger works, although it is clearly an early work and not comparable to the late suites either in technique or in expression. Apart from the suites, Froberger also wrote titled, descriptive pieces for the harpsichord (some of the suites incorporate such works as their first movement). He was one of the earliest composers to produce such programmatic pieces. Nearly all of them are very personal; the style resembles Froberger's allemandes in its irregularity and style brisé features. Such pieces include the following (in alphabetical order): Allemande, faite en passant le Rhin dans une barque en grand péril Lamentation faite sur la mort très douloureuse de Sa Majesté Impériale, Ferdinand le troisième, An. 1657 Lamentation sur ce que j'ay été volé et se joüe à la discretion et encore mieux que les soldats m'ont traité Lamento sopra la dolorosa perdita della Real Maestà di Ferdinando IV Rè de Romani Méditation sur ma mort future Plainte faite à Londres pour passer la melancholie Tombeau fait à Paris sur la mort de Monsieur Blancrocher These works frequently feature musical metaphors: in the lamentations on the deaths of the lutenist Blancrocher and Ferdinand IV, Froberger represents Blancrocher's fatal fall down a flight of stairs with a descending scale, and Ferdinand's ascent into heaven with an ascending one; in the Ferdinand