This group of two pieces is the nucleus about which the suite developed during the first half of the seventeenth century. The several steps in its growth are rather obscure; and, as they are to be observed more in music for groups of strings than in harpsichord music, it will serve us merely to mention them. The pavan and the galliard gave way early to the _allemande_ and the _courante_. The origin of the former is doubtful. There were two kinds of courantes--one evidently native to France, the other to Italy. Both were in triple time, but were in many other ways clearly differentiated. To the allemande and courante was later added a slow dance from Spain--the _sarabande_; and before the middle of the century the _gigue_, or _giga_, from Italy, made secure its place as the last of the standard group of four. These four pieces so combined were invariably in the same key. Apart from this they had no relationship.[5] The tie which held them together was wholly one of convention. Such is the stereotype of the suite when it becomes firmly established in music for the harpsichord, as we find it in the works of the German J. J. Froberger. Froberger died in 1667, but his suites for harpsichord, twenty-eight in all, were written earlier; some in 1649, others in 1656, according to autograph copies. He had been a wanderer over the face of Europe. After studying with Frescobaldi in Rome he had spent some years in Paris, where he had come into contact with French composers for the harpsichord, whose work we shall discuss later on. Thence he had gone to London, where his skill in playing the organ and harpsichord seems to have lifted him from the mean position of pumping air into the organ at Westminster (he had been robbed on his journey and had reached London friendless and poverty-stricken) to that of court favorite. Later he returned to Europe, evidently pursued by ill luck, and he died at Héricourt, near Montbelliard, at the home of Sibylla, Duchess of Würtemberg, a pupil who had offered him refuge.