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The Pennsic Pilepennsicdance.aands.org/pennsic43/PennsicPile43.pdf · Robert Smith (Alaric...
Transcript of The Pennsic Pilepennsicdance.aands.org/pennsic43/PennsicPile43.pdf · Robert Smith (Alaric...
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Pennsic War XLIII The Pennsic Pile
!!Edited by
Margaret Raynsford Aaron Drummond
!Contact: [email protected]
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Pennsic Pile 43 i
Copyright Notice
The editors have made every effort to ensure that the contents of this book may be freely duplicated andperformed within the Society for Creative Anachronism. Most of the music contained in this publication issubject to copyright protection, noted on each piece. If a copyright is not noted, the piece is believed to be inthe public domain. Thanks to all the arrangers who have given permission for their settings to be publishedfor use within the SCA.
Several arrangers have given permission for their works to be used under a Creative Commons license. Thelicences are briefly outlined below; see creativecommons.org for more information.
CC BY: You may duplicate, modify, perform, and record the work, including for commercial purposes, solong as the original author is attributed.
CC BY-NC: You may duplicate, modify, perform, and record the work, but you must attribute the originalauthor and the work may not be used commercially.
CC BY-NC-SA: You may duplicate, modify, perform, and record the work, but you must attribute theoriginal author and the work may not be used commercially; additionally, all derivative works must be sharedunder the same terms as the original.
For works not under a Creative Commons license, please contact the arranger if you wish to republish thework, make a recording, or use it outside the Society for Creative Anachronism.
Contact information for the arrangers is provided below:
Russell Almond (Mustapha al-Muhaddith): [email protected] Badowski (Margaret Raynsford): [email protected] Butler (Arden of Icombe): [email protected] Casazza (Giuseppe Casazza): [email protected] Cellio (She’erah bat Shlomo): [email protected] Cofrin (Avatar of Catsprey): [email protected] Elkiss (Aaron Drummond): [email protected] Hendricks (Samuel Piper): [email protected] Hunt (Mathilde Adycote): [email protected] Rio (Jadwiga Krzyzanowska): [email protected] Lankford (Dafydd Arth): [email protected] Pavao (John Chandler): [email protected] Schweitzer (Martin Bildner): [email protected] Sherman (Robyyan Torr d’Elandris): [email protected] Smith (Alaric McConnell): [email protected] Stockton (Robin the Just): [email protected] Svoboda (Arslan ibn Da’ud): [email protected] Ter Louw (Octavio de Flores): [email protected] Van Stone (Elsbeth Anne Roth): [email protected] Yardley (Geoffrey of Exeter): [email protected]
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ii Pennsic Pile 43
Note from the Editors
Welcome to Pennsic XLIII! There are many opportunities to play for dancers at War. First, all musicians arewelcome to drop in during any open dance time! This includes Tuesday, July 29 through Thursday, July 31starting around 9:00 PM, and after the officially scheduled ball ends on all other nights. Musicians are alsoneeded and welcome to play for the following scheduled balls:
Friday, August 1, 8-10pm: SCA Dance History BallSaturday, August 2, 11am–1pm: Children’s BallSaturday, August 2, 9pm: Dance GamesSunday August 3, 9 pm: Beginners’ BallMonday, August 4, 9 pm: Grand Masked BallTuesday, August 5, 12pm: In Pursuit of PlayfordTuesday, August 5, 7pm: Dancing TeensTuesday, August 5, 9 pm: To Italy and BeyondWednesday, August 6, 11 pm: BrawlfestThursday, August 7, 9pm: Numerological Ball
Additionally, many dance teachers are happy to have musicians play for their classes. Stop by the dance tentand see what’s going on!
Changes for this year’s edition include music for a number of additional Gresley dances and basse dances aswell as the addition of period arrangements for several dances.
Most tunes are marked with a suggested roadmap or number of repeats. However, and we cannot stressthis enough: Reconstructions and preferences vary. Always consult with the dance master fordesired tempo, roadmap, and number of repeats.
Suggested guitar chords have been added and/or reviewed by the editors on most of the 16th and 17th centurytunes. Where for example “Dsus4” is marked, first play a chord (“suspension”) with the notes D/G/A, thenresolve to a D major chord D/F]/A. Where for example “D5” is marked, this indicates an open D chord -just D and A.
For the 15th century dances, a chordal accompaniment is generally not well-suited to the character of themusic. Instead, most tunes have suggested drones marked.
Please let the editors know if you find any mistakes in the music, repeat structure, roadmap or chords. If youare interested in providing arrangements for the Pile or with helping with the task of editing the Pile, pleasecontact us at [email protected].
Yours in service,
Aaron Drummond and Margaret Raynsford19th of June, A.S. XLIX
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Pennsic Pile 43 iii
Table of Contents
Basse Dance
La Allemande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Amours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3Danse de Cleves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Cupido . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Lauro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8Le Petit Rouen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
15th Century Italian Dances
Amoroso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Anello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Belfiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Chirintana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17Colonesse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19Figlia di Guielmina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Gelosia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Gratiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Leoncello Vecchio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Marchesana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Mercantia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Petit Riens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Pizocara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Rostiboli Gioioso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Spero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34Tesara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Vercepe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Vita di Cholino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Voltate in ca Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Dances from the Gresley Manuscript
Grene Gynger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Ly Bens Distonys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43New Yer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Oringe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45Rawty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Roye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Talbott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Dances from the Inns of Court
Quadran Pavane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Turkelone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Earl of Essex Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Tinternell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Old Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Queen’s Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Madam Sosilia Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Black Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Lorayne Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60New Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
16th Century Italian Dances
Alegrezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Alta Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Bella Gioiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Bizzarria d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67La Caccia d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Candida Luna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69La Castellana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70Chiara Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71Chiaranzana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Contentezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74Il Conto dell’Orco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Contrapasso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Fedelta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78Fiamma d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79Ballo del Fiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80Fulgente Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81Furioso All’Italiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Gracca Amorosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83Maraviglia d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Ombrosa Valle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85Passo e Mezzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86Rose e Viole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88Spagnoletta (Caroso) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90Lo Spagnoletto (Negri) . . . . . . . . . . . . . . . . . . . . . . . . . . 91Villanella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Dances from Arbeau’s Orchesographie
Jouyssance Vous Donneray . . . . . . . . . . . . . . . . . . . . . . 94Bransle Suites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96Bransle de Chevaulx (Horses’) . . . . . . . . . . . . . . . . . . 100Bransle de la Haye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101Bransle Montarde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Bransle Official . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103Bransle de Lavandieres (Washerwomen’s) . . . . . . . 104
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iv Pennsic Pile 43
Improvised Dances
Cantiga 119 (Piva) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Saltarello II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107Saltarello la Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108Canaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Courante CLXXXIII . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Courante CXLII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Galliard “A Lieta Vita” . . . . . . . . . . . . . . . . . . . . . . . . 113Pavane “Belle Qui Tiens Ma Vie” . . . . . . . . . . . . . . 114Galliard “Can She Excuse” . . . . . . . . . . . . . . . . . . . . . 115Pavane and Galliard “La Dona” . . . . . . . . . . . . . . . . 116Pavane and Galliard “Earl of Salisbury” . . . . . . . . 118The Frog Galliard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121Pavane and Galliard “Mille Ducas” . . . . . . . . . . . . . 122Monsieur’s Almain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Galliard “New Yeere’s Gift” . . . . . . . . . . . . . . . . . . . . 126La Volta (Byrd) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128Volte CCX (Praetorius) . . . . . . . . . . . . . . . . . . . . . . . . 130
English Country Dances
Adson’s Sarabande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132All in a Garden Green . . . . . . . . . . . . . . . . . . . . . . . . . . 133Argeers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134Black Nag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135Boatman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Chestnut, or Dove’s Figary . . . . . . . . . . . . . . . . . . . . . 137Chirping of the Nightingale . . . . . . . . . . . . . . . . . . . . . 138Confesse (his Tune) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Cuckolds All A Row . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140Daphne (for Hit or Miss) . . . . . . . . . . . . . . . . . . . . . . . 141
Dargason, or Sedany . . . . . . . . . . . . . . . . . . . . . . . . . . . .142Dull Sir John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143Faine I Would if I Could . . . . . . . . . . . . . . . . . . . . . . . .144Fine Companion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145Gathering Peascods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Glory of the West . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147Goddesses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148Grimstock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149Halfe Hannikin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150Hearts’ Ease . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151Hyde Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152If All the World Were Paper . . . . . . . . . . . . . . . . . . . . 153Jenny Pluck Pears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154Lord of Carnarvan’s Jigg . . . . . . . . . . . . . . . . . . . . . . . 155Lull Me Beyond Thee . . . . . . . . . . . . . . . . . . . . . . . . . . 156Mage on a Cree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158Maiden Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157Merry Merry Milkmaids . . . . . . . . . . . . . . . . . . . . . . . . 159Millison’s Jigg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160My Lady Cullen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161New Bo Peep, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162Newcastle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163Nonesuch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164Old Mole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165Parson’s Farewell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166Picking of Sticks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167Rufty Tufty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Saint Martins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169Scotch Cap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170Sellinger’s Round . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171Stingo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Trenchmore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173Upon a Summer’s Day . . . . . . . . . . . . . . . . . . . . . . . . . 175Whirligig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
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Chapter 1
Basse Danse
Basse danse (or bassadanza in Italian) was popular across Europe in the 15th and early 16th centuries. Oneof the most important sources for basse danse is Ms 9085 in the Bibliotheque Royale, Brussels (c. 1445) Thismanuscript gives only a slow-moving tenor, or cantus firmus, as the melody for most of the dances. Musiciansnormally would have improvised multipart polyphony above the tenor line.
In the Pennsic Pile, the tenor / cantus firmus is marked for each dance. Be sure that this is the most prominentline as the dancers are dancing to it rather than the improvised melody. The exception is Danse de Cleves: inthis dance the given melody appears in the source, so emphasize this line as well as the slower-moving tenorline.
We have notated the basse danses in 6/4 time, and an appropriate tempo would be approximately dottedhalf note = 40-45.
1
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La AllemandePaul Butler
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Pennsic Pile 43 11
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12 Pennsic Pile 43
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Chapter 2
15th Century Italian Dances
The primary sources for 15th Century Italian dance are manuscripts from the mid- to late 15th centurycontaining dances by (among others) the dancing masters Domenico da Piacenza (c. 1400-1470) and hisstudent Guglielmo Ebreo (c. 1420-1848) (also known as Giovanni Ambrosio after his conversion from Judaismto Catholocism).
15th century Italian dance is somewhat unusual in that dances often change between “tempi”. These aremarked in each dance. Additionally, the melody is not always the top line. Each piece has marked which lineis the melody, and in bassadanza sections the tenor or cantus firmus is marked as the “melody”. Be sure toemphasize these lines when playing the dances.
The various tempi are transcribed as:
• Bassadanza: 6/4
• Quadernaria: 4/4
• Saltarello: 6/8 or occassionally 3/4
• Piva: 2/4 or 6/8
As a rough guide for tempo, keeping a constant tempo of approximately quarter note = 120 (or dotted quarter= 120 for 6/8 piva sections) regardless of the various tempi should work for many of the dances.
(See Joy and Jealousy by Vivian Stephens and Monica Cellio for additional information; it is available onlineat http://sca.uwaterloo.ca/~praetzel/Joy-J-book/).
13
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AmorosoGuglielmo Ebreo da Pesaro, c. 1475 (PnA) arr. Monica CellioOne dance: AAA BB CC DD. Play: Two dances.Drone: D/A
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Anelloarr. Monica CellioDomenico da Piacenza, c. 1425-1450 (PnD)
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38 Pennsic Pile 43
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Vita di Cholinofor a lord between 2 ladies
arr. Monica Celliomodified by V. Stephens from "La Vida de Culin"One dance: 5 times through. Play: two dances.
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Voltate in Ça RosinaGuglielmo Ebreo da Pesaro, c. 1475 (PnA) arr. Monica CellioOne dance: AAA BB or AAA BBBB. Play: two dancesDrone: A/E
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40 Pennsic Pile 43
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Chapter 3
Dances from the Gresley Manuscript
The Gresley manuscript dates to the late 15th or early 16th century and was re-discovered in Derbyshire,England. It contains choreography for 26 dances and music for 13. Of the few dances included here, Ly BensDistonys and Talbott have both choreography and music in the manuscript, while Grene Gynger and NewYer appear here with music composed by Master Martin Bildner.
The dances are all transcribed in a lively 6/8 time; a tempo of dotted quarter = 115-120 should work well.Watch out for sections where the dance goes to more of a 3/4 feel – be sure to keep the measure the samelength.
41
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Greene Gyngerarr. Dennis R. Sherman Richard SchweitzerOne dance: AABCCDDE
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46 Pennsic Pile 43
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Pennsic Pile 43 47
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48 Pennsic Pile 43
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Chapter 4
Dances from the Inns of Court
The dances in this section are from the Inns of Court: professional associations for English barristers datingto the 15th century. There are several known manuscripts dating from the mid-16th to mid-17th centuryinformally describing these dances, eight of which are believed to have been performed in a fixed order at thebeginning of revels at the Inns of Court. We have preserved that order (for Quadran Pavane through BlackAlman) to facilitate dancing the entire suite, also known as “The Old Measures”.
Tempos vary wildly, so check with the dancing master for their preference. Reconstructions vary as well, socheck for the desired roadmaps especially for the more unusual ones such as Turkelone and Tinternell. Wehave included suggested numbers of repeats when playing all 8 Old Measures as a suite, but you may wantto play more times through the dance if playing just one of the dances.
49
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Quadran Pavanearr. Kristina PereyraMelody from R.C.M. Ms. 1119
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Chapter 5
16th Century Italian Dances
The major sources for 16th century Italian dances are the published books of Fabritio Caroso (c. 1526-1605)and Cesare Negri (c. 1535-1605).
Many of the dances included in this collection are cascarda, a bouncy, triple time kind of dance unique toCaroso. We have used a 3/4 time signature for these but the dances should really be felt in 1, with a tempoof approximately dotted half = 110-120.
The other dances (mostly balletti) in common time such as Bizzarria and Lo Spagnoletto should work wellwith a tempo of half note = 100-110. Some of these dances shift to 3/4 time partway through; let dotted halfnote in the 3/4 section = half note in the common time section.
A few exceptions: Passo e Mezzo is written with doubled note values in cut time, so use a tempo of wholenote = 100-110. There are also a few dances we have transcribed in 3/4 that are not cascarda, such asContrapasso and Villanella. For these use a tempo approximately half that of the cascarda, about dottedhalf = 50-55. (However, just to be confusing, sometimes Villanella is played like a cascarda, so check withthe dance master!)
63
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Bella GioiosaCascarda for three
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Passo e Mezzo
arr. Dave LankfordFabritio Caroso, Il Ballarino, 1581for Passo e Mezzo: 11 times throughfor Dolce Amoroso Fuoco: 5 times throughfor Ardente Sola: 7 times through
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Rose e Violearr. Paul Butlerattrib. Antonio Casteliono, 1536
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Spagnolettaarr. David YardleyFabritio Caroso, Il Ballarino, 1581
5 times through (6 for Spagnoletta Nuova)
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Lo SpagnolettoBalletto for two couples in a diamond
arr. Katrina HuntCesare Negri, Le Grazie d'Amore, 1602AABBCC x 7
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VillanellaBalletto
arr. Kathy Van StoneFabritio Caroso, Il Ballarino, 1581AABB x 6 (fast) or AABB x 3 (slow)
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Chapter 6
Dances from Arbeau’s Orchesographie
Published in 1589 in Langres, France, Orchesographie includes music and instructions for many differentkinds of dances. Numerically speaking, the bulk of the dances in Arbeau are bransles. Most of the branslesare in duple time and should be played at about half note = 115. The triple time bransles are Bransle Gayand Bransle de Poictou; for these, a tempo of dotted half = 60-65 should work.
Many of the bransles are included as single melody lines with suggested drones to facilitate on-the-fly creationof bransle suites: just have the leader call out which number to play next! We have also included 4-part settingsfor some of the bransles which are likely to be done on their own, including a wonderful period setting ofWasherwoman’s Bransle. For Bransle de la Torche, see the Praetorius setting on page 80 – the dance isheavily related to the Italian Ballo del Fiore.
Arbeau also includes instructions for the pavane, galliard and courante, music for which appears in theImprovised Dances section.
93
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Jouyssance vous donnerayarr. Steven HendricksThoinot Arbeau, Orchésographie, 1589
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Bransles CouppésMixed Bransles
Thoinot Arbeau, Orchésographie, 15891 Air du branle couppé nommé Cassandre.
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Bransles de Base et RégionauxBasic and Regional Bransles
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98 Pennsic Pile 43
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Bransle des Chevaulx (Horse's Bransle)arr. Steven HendricksThoinot Arbeau, Orchésographie, 1589
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102 Pennsic Pile 43
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Bransle Officialarr. Russell G. AlmondThoinot Arbeau, Orchésographie, 1589
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Chapter 7
Improvised Dances
Improvised dances such as the Pavane, Galliard, Courante and Volta were very popular in the 16th centuryall over Europe. Music and instructions for these dances appear in numerous sources. Settings are providedfrom such sources as Praetorius’ Terpsichore of 1612, We have also included tunes for some early Italianimprovised dances, the Piva and the Saltarello.
The Canarie and the Courantes are transcribed in 6/4. For the Canarie, use a tempo of approximately dottedhalf = 70; the courante should be played faster, around dotted half = 85.
Galliards can be transcribed in either 3/2 or 6/4. We have chosen to use 3/2 for clarity for some of the morerhythmically complex settings while halving the original note values and using 6/4 for the more straightforwardones. The tempo for galliards (for the 6/4 settings) can be anywhere from dotted half = 45 - 60, depending onthe whims of the dancing master. For transcriptions in 3/2 use dotted whole = 45 - 60 instead (two measuresof a 3/2 galliard equating to one measure of 6/4 galliard). The Volta is really just a variation on the galliardand can be played as such.
The pavanes are transcribed in cut time, and again, the tempo can range from half note = 45 to 60.
Preferences vary, so always check with the dancing master for desired tempo. Additionally, modern chore-ographies have been created for some of these tunes, so be sure to confirm the roadmap with the dancingmaster if these are being danced.
105
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Cantiga 119arr. Jay Ter LouwAlfonso X- 13th Century Spanish
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Chapter 8
English Country Dances
While John Playford’s The English Dancing Master of 1651 was the first published book to give instructionsfor the dances, many dances such as Trenchmore, Heart’s Ease and Sellinger’s Round have published musicor are referenced by name in the late 16th or early 17th century.
The dances are generally transcribed in either cut time or in 6/4. For cut time use a tempo of approximatelyhalf note = 115 or for 6/4, dotted half = 115. Some dances such as Chestnut are often danced slower, so besure to check with the dancing master just in case.
131
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Adson's SarabandLongways for three couples
arr. Jay Ter LouwJohn Playford, The English Dancing Master, 1651Play 12 times through
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All in a Garden GreenLongways for Three Couples
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Argeersfor two couples facing
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John Playford, The Dancing Master, 1670 arr. Jay Ter LouwAA BB x 3
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Longways for three couplesarr. Steven HendricksJohn Playford, The English Dancing Master, 1651
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Chirping of the NightingaleRound for as Many as Will
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The Fine CompanionSquare for four couples
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Gathering PeascodsRound for as many as will
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146 Pennsic Pile 43
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Pennsic Pile 43 147
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GoddessesLongways for four couples
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Pennsic Pile 43 153
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Mage on a CreeRound for four couples
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Millison's JigLongways for three couples
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My Lady CullenLongways for as many as will
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The New Bo PeepLongways for as many as will
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NewcastleSquare for four couples
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NonesuchLongways for four couples
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164 Pennsic Pile 43
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Old MoleLongways for three couples
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Pennsic Pile 43 165
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Parson's Farewellfor two couples facing
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166 Pennsic Pile 43
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Picking of SticksLongways for three couples
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Scotch CapLine of three couples
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arr. Steven HendricksJohn Playford, The English Dancing Master, 1651AA BB x 3
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174 Pennsic Pile 43
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Upon a Summer's DayLongways for three couples
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WoodycockLongways for three couples
John Playford, The English Dancing Master, 1651For Whirlygig: Woodycock (A BB)x3 A Whirlygig (AA BB)x3 AA Woodycock (A BB)x3 A
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WhirlygigLongways for three couples
John Playford, The English Dancing Master, 1651
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Pennsic Pile 43 177
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178 Pennsic Pile 43
Index
Adson’s Sarabande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132Alegrezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64A Lieta Vita (Galliard) . . . . . . . . . . . . . . . . . . . . . . . . . 113Allemande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2All in a Garden Green . . . . . . . . . . . . . . . . . . . . . . . . . . 133Alta Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Amoroso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Amours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3Anello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Ardente Sola – see Passo e Mezzo . . . . . . . . . . . . . . . . 86Argeers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134Ballo del Fiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80Belfiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Bella Gioiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Belle Qui Tiens Ma Vie (Pavane) . . . . . . . . . . . . . . . 114Bizzarria d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Black Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Black Nag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135Boatman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Bransle de Chevaulx (Horses’) . . . . . . . . . . . . . . . . . . 100Bransle de la Haye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101Bransle de la Torche (Praetorius) . . . . . . . . . . . . . . . . 80Bransle de Lavandieres (Washerwomen’s) . . . . . . . 104Bransle Montarde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Bransle Official . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103Bransles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96Caccia d’Amore, La . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Canaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Candida Luna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Can She Excuse (Galliard) . . . . . . . . . . . . . . . . . . . . . 115Cantiga 119 (Piva) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Castellana, La . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70Chestnut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137Chiara Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71Chiaranzana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Chirintana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17Chirping of the Nightingale . . . . . . . . . . . . . . . . . . . . . 138Cleves, Danse de . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4Colonesse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19Confesse (his Tune) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Contentezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74Conto dell’Orco, Il . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76Contrapasso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Courante CLXXXIII (Entree Courante) . . . . . . . . 110Courante CXLII (So ben mi ch’ha bon tempo) . .112Cuckolds All A Row . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140Cupido . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Danse de Cleves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Daphne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Dargason, or Sedany . . . . . . . . . . . . . . . . . . . . . . . . . . . .142Dolce Amoroso Fuoco – see Passo e Mezzo . . . . . . .86Dove’s Figary, or Chestnut . . . . . . . . . . . . . . . . . . . . . 137Dona, La, Pavane and Galliard . . . . . . . . . . . . . . . . . 116Dull Sir John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143Earl of Essex Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Earl of Salisbury Pavane and Galliard . . . . . . . . . . 118Entree Courante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110Faine I Would if I Could . . . . . . . . . . . . . . . . . . . . . . . .144Fedelta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78Fiamma d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79Figlia di Guielmina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Fine Companion, The . . . . . . . . . . . . . . . . . . . . . . . . . . 145Fiore, Ballo del . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Frog Galliard, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121Fulgente Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81Furioso All’Italiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Galliard “A Lieta Vita” . . . . . . . . . . . . . . . . . . . . . . . . 113Galliard “Can She Excuse” . . . . . . . . . . . . . . . . . . . . . 115Galliard “Earl of Salisbury” . . . . . . . . . . . . . . . . . . . . 119Galliard “Frog” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121Galliard “La Dona” . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117Galliard “Mille Ducas” . . . . . . . . . . . . . . . . . . . . . . . . . 123Galliard “New Yeere’s Gift” . . . . . . . . . . . . . . . . . . . . 126Gathering Peascods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Gelosia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Glory of the West . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147Goddesses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148Gracca Amorosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83Gratiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Grene Gynger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Grimstock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149Halfe Hannikin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150Hearts’ Ease . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151Hit and Miss (to Daphne) . . . . . . . . . . . . . . . . . . . . . . 141Horses Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100Hyde Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152If All the World Were Paper . . . . . . . . . . . . . . . . . . . . 153Inns of Court . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Jenny Pluck Pears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154Jouyssance Vous Donneray . . . . . . . . . . . . . . . . . . . . . . 94Lauro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8Leoncello Vecchio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Lorayne Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60Lord of Carnarvan’s Jigg . . . . . . . . . . . . . . . . . . . . . . . 155Lull Me Beyond Thee . . . . . . . . . . . . . . . . . . . . . . . . . . 156Ly Bens Distonys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Madam Sosilia Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Mage on a Cree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
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Maiden Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157Maraviglia d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Marchesana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Mercantia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Merry Merry Milkmaids . . . . . . . . . . . . . . . . . . . . . . . . 159Mille Ducas Pavane and Galliard . . . . . . . . . . . . . . . 122Millison’s Jigg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160Monsieur’s Almain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Montarde Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102My Lady Cullen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161New Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61New Bo Peep, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162Newcastle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163New Yeere’s Gift (Galliard) . . . . . . . . . . . . . . . . . . . . .126New Yer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Nonesuch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164Official Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Old Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Old Measures Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Old Mole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165Ombrosa Valle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85Oringe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45Parson’s Farewell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166Passo e Mezzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86Pavane and Galliard “Earl of Salisbury” . . . . . . . . 118Pavane and Galliard “La Dona” . . . . . . . . . . . . . . . . 116Pavane and Galliard “Mille Ducas” . . . . . . . . . . . . . 122Pavane “Belle Qui Tiens Ma Vie” . . . . . . . . . . . . . . 114Petit Riens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Petit Rouen, Le . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Picking of Sticks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167Piva (Cantiga 119) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Pizocara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Quadran Pavane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Quadran Pavane (Inns of Court) . . . . . . . . . . . . . . . . . 50Queen’s Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Rawty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Rose e Viole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88Rostiboli Gioioso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Roye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Rufty Tufty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Saint Martins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169Saltarello II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107Saltarello la Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108Scotch Cap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170Sedany, or Dargason . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142Sellinger’s Round . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171Spagnoletta (Caroso) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90Spagnoletto, Lo (Negri) . . . . . . . . . . . . . . . . . . . . . . . . . .91Spero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34Squilina – see Alta Regina . . . . . . . . . . . . . . . . . . . . . . . 65Stingo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Talbott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Tesara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Tinternell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Trenchmore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173Turkelone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Upon a Summer’s Day . . . . . . . . . . . . . . . . . . . . . . . . . 175Vercepe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Villanella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Vita di Cholino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Volta, La (Byrd) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128Voltate in ca Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40Volte CCX (Praetorius) . . . . . . . . . . . . . . . . . . . . . . . . 130Washerwoman’s Bransle . . . . . . . . . . . . . . . . . . . . . . . . 104Whirligig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
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