The allemande that opens suite 3 initially runs an octave from F4 to F5, a coupling of ^3 to ^3. What immediately follows in the descent, however, suggests an interval frame ^1-^3 (as D5-F5) in bar 3 (not marked), which then expands to C5-F5, the latter remaining stable to the end of the strain. The upper voice marks a neighbor-note figure about ^8.
The second courante from suite 4. Very similar to the first example but the interval frame F5-C5 is stretched out and confirmed over a longer distance.
The first courante from suite 5. The minor key always causes problems for ascending lines. Here Chambonnieres creates an audible "break" between Eb5 and E-natural5. The octave line traced from G5 to G4 and including Eb5 is obvious, but any earlier note connecting to E-natural5 is not. One might prefer to hear A5 (bar 14) connecting to G5 (bar 14) and then to the cadential G-F#-G in bars 17-18.
