Pennsic Pile
Transcript of Pennsic Pile
Pennsic War XLV The Pennsic Pile
Edited by Aaron Drummond
Margaret Raynsford
Contact: [email protected]
Pennsic Pile 45 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] Ter Louw (Octavio de Flores): [email protected] Van Stone (Elsbeth Anne Roth): [email protected] Yardley (Geoffrey of Exeter): [email protected]
ii Pennsic Pile 45
Note from the Editors
Greetings to all those inspired to play music for dancing! We hope you continue to find the Pennsic Pile auseful resource.
Changes for this year’s edition include tunes for many new dances: Bouffons, Giunto m’ha Amore, Gloriad’Amore, and several additional 15th C Italian and Gresley dances. We also included a new arrangementfor Bizzarria d’Amore based on the original lute tablature and a new setting for Petite Rose based on aDalza piva. Fixes from last year include fixes for bar line problems in Black Alman and Daphne as well asmisaligned chords in Gathering Peascods. Last, but not least, many more arrangements now have CreativeCommons licenses thanks to our arrangers Dave Lankford, Monica Cellio, and Richard Schweitzer!
We removed a few tunes for space reasons: Figlia Guielmina, Rustica Amorosa, Piva alla Venetiana, Mon-sieur’s Almain, and the Frog Galliard.
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].
Happy Playing, and yay, Dancing!
The Pennsic Pile Editors14th of May, A.S. LI
Pennsic Pile 45 iii
Table of Contents
Basse Dance
Alenchon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2La Allemande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Danse de Cleves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Amours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6Cupido . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Lauro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8Le Petit Rouen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10La Spagna (for Casuelle Novelle) . . . . . . . . . . . . . . . . .12
15th Century Italian Dances
Amoroso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Anello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Belfiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Belreguardo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Chirintana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18Colonesse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19Gelosia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Gratiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Jupiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Leoncello Vecchio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Marchesana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Mercantia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Petit Riens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Petite Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Pizocara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28Prexonera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Rostiboli Gioioso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30Spero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32Tesara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Vercepe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Vita di Cholino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Voltate in ca Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Dances from the Gresley Manuscript
Grene Gynger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40Ly Bens Distonys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Armyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42New Yer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Oringe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43Princitore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Rawty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Roye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44What So Ever Ye Wyll . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Dances from the Inns of Court
Quadran Pavane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Turkelone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Earl of Essex Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Tinternell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Old Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Queen’s Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Lorayne Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Madam Sosilia Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Black Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54New Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
16th Century Italian Dances
Alegrezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Alta Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Bella Gioiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60Bizzarria d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61La Caccia d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Candida Luna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63La Castellana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64Chiara Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Chiaranzana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Contrapasso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Contentezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Fedelta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70Fiamma d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71Ballo del Fiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72Fulgente Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Furioso All’Italiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74Giunto m’ha Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75Gloria d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Gracca Amorosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Maraviglia d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78Ombrosa Valle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79Passo e Mezzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Rose e Viole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Spagnoletta (Caroso) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Lo Spagnoletto (Negri) . . . . . . . . . . . . . . . . . . . . . . . . . . 85Villanella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
iv Pennsic Pile 45
Dances from Arbeau’s Orchesographie
Pavane “Belle Qui Tiens Ma Vie” . . . . . . . . . . . . . . . .88Les Bouffons . . .89 Jouyssance Vous Donneray . . .90Bransle Suites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Bransle de Chevaulx (Horses’) . . . . . . . . . . . . . . . . . . . 96Bransle de la Haye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97Bransle Montarde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98Bransle Official . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99Bransle de Pois (Pease) . . . . . . . . . . . . . . . . . . . . . . . . .100Bransle de la Guerre . . . . . . . . . . . . . . . . . . . . . . . . . . . 101Bransle de Lavandieres (Washerwomen’s) . . . . . . . 102
Improvised Dances
Cantiga 119 (Piva) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104Saltarello I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105Saltarello II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Saltarello la Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107Canaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108Courante CXLII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Courante CLXXXIII . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Courante CXVII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Galliard “A Lieta Vita” . . . . . . . . . . . . . . . . . . . . . . . . 113Pavane and Galliard “La Dona” . . . . . . . . . . . . . . . . 114Pavane and Galliard “Earl of Salisbury” . . . . . . . . 116Pavane and Galliard “Mille Ducas” . . . . . . . . . . . . . 118Galliard “New Yeere’s Gift” . . . . . . . . . . . . . . . . . . . . 120Galliard “Can She Excuse” . . . . . . . . . . . . . . . . . . . . . 122Galliard “Le Tout” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123La Volta (Byrd) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124Volte CCX (Praetorius) . . . . . . . . . . . . . . . . . . . . . . . . 126
English Country Dances
Adson’s Sarabande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128Argeers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129Black Nag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130Boatman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Chestnut, or Dove’s Figary . . . . . . . . . . . . . . . . . . . . . 132Confesse (his Tune) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133Cuckolds All A Row . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134Dargason, or Sedany . . . . . . . . . . . . . . . . . . . . . . . . . . . .135Dull Sir John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Faine I Would if I Could . . . . . . . . . . . . . . . . . . . . . . . .137Fine Companion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138Gathering Peascods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Glory of the West . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140Greenwood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Goddesses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141Grimstock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142Halfe Hannikin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143Hearts’ Ease . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144Hit and Miss (to the tune of Daphne) . . . . . . . . . . .145Hyde Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147If All the World Were Paper . . . . . . . . . . . . . . . . . . . . 148Jack-a-Lent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149Jack Pudding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150Jenny Pluck Pears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151Lord of Carnarvan’s Jigg . . . . . . . . . . . . . . . . . . . . . . . 152Lull Me Beyond Thee . . . . . . . . . . . . . . . . . . . . . . . . . . 153Mage on a Cree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155Maiden Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154Merry Merry Milkmaids . . . . . . . . . . . . . . . . . . . . . . . . 156Millison’s Jigg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157My Lady Cullen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158New Bo Peep, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159Newcastle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160Nonesuch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161Old Mole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162Parson’s Farewell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163Picking of Sticks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164Row Well Ye Mariners . . . . . . . . . . . . . . . . . . . . . . . . . . 165Rufty Tufty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166Saint Martins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167Scotch Cap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Sellinger’s Round . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169Step Stately . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170Stingo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171Trenchmore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Upon a Summer’s Day . . . . . . . . . . . . . . . . . . . . . . . . . 173Whirligig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
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
AlenchonBrussells MS #21, arr. Russell Almond
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© Russell G. Almond, SCA Mustapha al-MuhaddithPermission granted to use and copy this work with attribution
2 Pennsic Pile 45
La AllemandePaul Butler
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Pennsic Pile 45 11
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12 Pennsic Pile 45
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
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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14 Pennsic Pile 45
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Pennsic Pile 45 15
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16 Pennsic Pile 45
BelreguardoDomenico da Piacenza, c. 1425-1450 (PnD) transcr. Monica Cellio, arr. Dave LankfordAA B CC D, once or twiceNote: this music can be used for a 16-bar A section or a 12-bar version, since various reconstructions of the dance may callfor either. If a 12-bar version is desired, play A, take the first ending, then immediately play the second ending instead ofrepeating.
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Pennsic Pile 45 17
ChirintanaT'Andernaken / Laet Ons Mit Hartzen
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18 Pennsic Pile 45
ColonesseGuglielmo Ebreo da Pesaro, 1463 (PnG) arr. Monica CellioOne dance: AAAA BBB CC D. Play: two dancesDrone: F/C
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Pennsic Pile 45 19
GelosiaLongways for 3 couples
Domenico da Piacenza, c. 1425-1450 (PnD) arr. Monica CellioOne dance: AAA B CC D EE FFF GG. Play: 3 dances.Drone: G/D
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20 Pennsic Pile 45
GratiosaGuglielmo Ebreo da Pesaro, 1463 (PnG) arr. Monica CellioDrone: G/D
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Pennsic Pile 45 21
JupiterDomenico da Piacenza, c. 1425-1450 (PnD) arr. Monica CellioAA BB CCC DD EDrone: C/G
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22 Pennsic Pile 45
LeoncelloDomenico da Piacenza, c. 1425-1450 (PnD) arr. Monica CellioAx5 BB CC D E FDrone: F/C
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Pennsic Pile 45 23
MarchesanaDomenico da Piacenza, c. 1425-1450 (PnD) arr. Monica CellioDrone: F/C
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24 Pennsic Pile 45
MercantiaDomenico da Piacenza, c. 1425-1450 (PnD) arr. Monica CellioDrone: F/C
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Pennsic Pile 45 25
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Pennsic Pile 45 27
PizocaraDomenico da Piacenza, c. 1425-1450 (PnD) arr. Monica Cellio
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Pennsic Pile 45 29
Rostiboli GioiosoGuglielmo Ebreo da Pesaro, 1463 (PnG) arr. Aaron PavaoOne dance: AA BB CC DD. Play: two dances.
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Pennsic Pile 45 31
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Pennsic Pile 45 33
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34 Pennsic Pile 45
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Pennsic Pile 45 35
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36 Pennsic Pile 45
Vita di Cholinofor a lord between 2 ladies
arr. Monica CellioOne dance: 5 times through. Play: two dances. modified by V. Stephens from "La Vida de Culin"
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Pennsic Pile 45 37
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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38 Pennsic Pile 45
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. We include newly-composed music byMaster Martin Bildner for some of the dances that are missing music in the manuscript.
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.
39
Greene Gyngerarr. Dennis R. Sherman Richard SchweitzerOne dance: AABCCDDE
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40 Pennsic Pile 45
Ly Bens DistonysGresley Manuscript, c. 1500 arr. Kathy Van StoneABBC or ABC
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Pennsic Pile 45 41
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42 Pennsic Pile 45
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Pennsic Pile 45 43
Rawtyfor two
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44 Pennsic Pile 45
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.
45
Quadran PavaneMelody from R.C.M. Ms. 1119 arr. Kristina PereyraPlay once through.
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TurkeloneWilloughby Lute Book, c.1585 arr. Monique RioAA BB CC D x 4
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The Earl of Essex MeasureMelody from R.C.M. Ms. 1119 arr. Steven HendricksAAB x 2
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Pennsic Pile 45 49
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50 Pennsic Pile 45
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52 Pennsic Pile 45
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Pennsic Pile 45 53
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Pennsic Pile 45 55
New AlmanBernard Schmid (c. 1577) arr. Robert SmithABB
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56 Pennsic Pile 45
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!)
57
Allegrezza d'AmoreCascarda for three
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58 Pennsic Pile 45
Alta ReginaCascarda
Fabritio Caroso, Il Ballarino, 1581 arr. Aaron ElkissFor Alta Regina: AB x 6For Squilina: A x 21
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Pennsic Pile 45 59
Bella GioiosaCascarda for three
Fabritio Caroso, Il Ballarino, 1581 arr. Steven HendricksAA BBC x 7 (or sometimes AA BBC AA x 6)
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60 Pennsic Pile 45
Bizzarria d'AmoreBalletto for two couples in a diamond
Cesare Negri, Le Grazie d'Amore, 1602 arr. Monique RioAA BB CC x 6
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Pennsic Pile 45 61
La Caccia d'AmoreQuesta dolce sirena
Giovanni Giacomo Gastoldi, Balletti a cinque voci, 1591
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64 Pennsic Pile 45
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Pennsic Pile 45 65
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66 Pennsic Pile 45
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Pennsic Pile 45 67
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Pennsic Pile 45 69
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70 Pennsic Pile 45
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Pennsic Pile 45 71
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Pennsic Pile 45 73
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Pennsic Pile 45 75
Gloria d'AmoreCascarda
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76 Pennsic Pile 45
Gracca AmorosaCascarda
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Pennsic Pile 45 77
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78 Pennsic Pile 45
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Pennsic Pile 45 79
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Pennsic Pile 45 83
SpagnolettaFabritio Caroso, Il Ballarino, 1581 arr. David Yardley5 times through (6 for Spagnoletta Nuova)
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84 Pennsic Pile 45
Lo SpagnolettoBalletto for two couples in a diamond
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Pennsic Pile 45 85
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86 Pennsic Pile 45
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 72 – 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.
87
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Les BouffonsJean d'Estreés, Tiers Livre de Danseries, 1559
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Pennsic Pile 45 91
Bransles CouppésMixed Bransles
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92 Pennsic Pile 45
Bransles de Base et RégionauxBasic and Regional Bransles
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Pennsic Pile 45 93
94 Pennsic Pile 45
Bransles MorguezMimed Bransles
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Bransle des Chevaulx (Horse's Bransle)Thoinot Arbeau, Orchésographie, 1589 arr. Steven Hendricks
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96 Pennsic Pile 45
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Pennsic Pile 45 97
Bransle de la Montardefor sets of 4 (or more)
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98 Pennsic Pile 45
Bransle OfficialThoinot Arbeau, Orchésographie, 1589 arr. Russell G. Almond
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100 Pennsic Pile 45
Premier Bransle de la GuerrePierre Phalese (1571) arr. Emma Badowski
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Pennsic Pile 45 101
Bransle des LavandieresWasherwoman's Bransle
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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.
103
Cantiga 119Alfonso X- 13th Century Spanish arr. Jay Ter Louw
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104 Pennsic Pile 45
Saltarellofor couples
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Courante CXLII à 4So ben mi ch'ha bon tempo
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Courante CLXXXIII à 4Entree Courante
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Pennsic Pile 45 123
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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.
127
Adson's SarabandLongways for three couples
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Argeersfor two couples facing
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Pennsic Pile 45 129
Black NagLongways for three couples
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130 Pennsic Pile 45
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Pennsic Pile 45 131
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132 Pennsic Pile 45
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Pennsic Pile 45 133
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134 Pennsic Pile 45
Dargason, or SedanyFor as many as will
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Pennsic Pile 45 135
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136 Pennsic Pile 45
Faine I WouldSquare for four couples
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Pennsic Pile 45 137
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138 Pennsic Pile 45
Gathering PeascodsRound for as many as will
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Pennsic Pile 45 139
Glory of the Westfor two couples facing
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140 Pennsic Pile 45
GoddessesLongways for four couples
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Pennsic Pile 45 141
GrimstockLongways for 3 couples
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142 Pennsic Pile 45
Half HannikinLongways for as many as will
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Pennsic Pile 45 143
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144 Pennsic Pile 45
Hit or Miss (to the tune of Daphne)for two couples facing
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Pennsic Pile 45 145
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146 Pennsic Pile 45
Hyde ParkSquare for four couples
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Pennsic Pile 45 147
If all the World were PaperSquare for four couples
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148 Pennsic Pile 45
Jack a LentLongways for three couples
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Pennsic Pile 45 149
Jack PuddingLongways for three couples
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150 Pennsic Pile 45
Jenny Pluck PearsRound for three couples
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Pennsic Pile 45 151
Lord of Carnarvan's JigLongways for four couples
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152 Pennsic Pile 45
Lull Me Beyond TheeLongways for four couples
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Pennsic Pile 45 153
Maiden LaneLongways for three couples
John Playford, The English Dancing Master, 1651 arr. Steven HendricksAABBCC x 3
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154 Pennsic Pile 45
Mage on a CreeRound for four couples
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Pennsic Pile 45 155
Merry Merry MilkmaidsLongways for four couples
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156 Pennsic Pile 45
Millison's JigLongways for three couples
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Pennsic Pile 45 157
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158 Pennsic Pile 45
The New Bo PeepLongways for as many as will
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Pennsic Pile 45 159
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160 Pennsic Pile 45
NonesuchLongways for four couples
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Pennsic Pile 45 161
Old MoleLongways for three couples
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162 Pennsic Pile 45
Parson's Farewellfor two couples facing
Bouree XXXII à 4
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Pennsic Pile 45 163
Picking of SticksLongways for three couples
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164 Pennsic Pile 45
Row Well Ye MarinersLongways for as many as will
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Pennsic Pile 45 165
Rufty Tuftyfor two couples facing
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166 Pennsic Pile 45
Saint Martinsfor two couples facing
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Pennsic Pile 45 167
Scotch CapLine of three couples
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168 Pennsic Pile 45
Sellinger's RoundRound for as many as will
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Pennsic Pile 45 169
Step StatelyLongways for 3, 5, 7 or 9 couples
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170 Pennsic Pile 45
StingoLongways for three couples
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Pennsic Pile 45 171
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Upon a Summer's DayLongways for three couples
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Pennsic Pile 45 173
WoodycockLongways for three couples
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174 Pennsic Pile 45
WhirlygigLongways for three couples
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Pennsic Pile 45 175
176 Pennsic Pile 45
Index
Adson’s Sarabande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128Alegrezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58A Lieta Vita (Galliard) . . . . . . . . . . . . . . . . . . . . . . . . . 113Alenchon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Allemande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Alta Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Amoroso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Amours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6Anello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Ardente Sola – see Passo e Mezzo . . . . . . . . . . . . . . . . 80Argeers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129Armyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Ballo del Fiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72Belfiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Belreguardo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Bella Gioiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60Belle Qui Tiens Ma Vie (Pavane) . . . . . . . . . . . . . . . . 88Bizzarria d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Black Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Black Nag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130Boatman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131Bouffons, Les . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Bransle de Chevaulx (Horses’) . . . . . . . . . . . . . . . . . . . 96Bransle de la Guerre (War) . . . . . . . . . . . . . . . . . . . . . 101Bransle de la Haye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97Bransle de la Torche (Praetorius) . . . . . . . . . . . . . . . . 72Bransle de Lavandieres (Washerwomen’s) . . . . . . . 102Bransle de Pois (Pease) . . . . . . . . . . . . . . . . . . . . . . . . .100Bransle Montarde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98Bransle Official . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99Bransles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Caccia d’Amore, La . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Canaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108Candida Luna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63Can She Excuse (Galliard) . . . . . . . . . . . . . . . . . . . . . 122Cantiga 119 (Piva) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104Castellana, La . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Casuelle Novelle (La Spagna) . . . . . . . . . . . . . . . . . . . . 12Chestnut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132Chiara Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Chiaranzana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Chirintana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18Cleves, Danse de . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4Colonesse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19Confesse (his Tune) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133Contentezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Contrapasso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Courante CLXXXIII (Entree Courante) . . . . . . . . 110Courante CXVII (Entree Courante part 2) . . . . . .112
Courante CXLII (So ben mi ch’ha bon tempo) . .109Cuckolds All A Row . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134Cupido . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Danse de Cleves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Daphne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145Dargason, or Sedany . . . . . . . . . . . . . . . . . . . . . . . . . . . .135Dolce Amoroso Fuoco – see Passo e Mezzo . . . . . . .80Dove’s Figary, or Chestnut . . . . . . . . . . . . . . . . . . . . . 132Dona, La, Pavane and Galliard . . . . . . . . . . . . . . . . . 114Dull Sir John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Earl of Essex Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Earl of Salisbury Pavane and Galliard . . . . . . . . . . 116Entree Courante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110Faine I Would if I Could . . . . . . . . . . . . . . . . . . . . . . . .137Fedelta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70Fiamma d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71Fine Companion, The . . . . . . . . . . . . . . . . . . . . . . . . . . 138Fiore, Ballo del . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72Fulgente Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Furioso All’Italiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74Galliard “A Lieta Vita” . . . . . . . . . . . . . . . . . . . . . . . . 113Galliard “Can She Excuse” . . . . . . . . . . . . . . . . . . . . . 122Galliard “La Dona” . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115Galliard “Earl of Salisbury” . . . . . . . . . . . . . . . . . . . . 117Galliard “Mille Ducas” . . . . . . . . . . . . . . . . . . . . . . . . . 119Galliard “New Yeere’s Gift” . . . . . . . . . . . . . . . . . . . . 120Galliard “Le Tout” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123Gathering Peascods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Gelosia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Giunto m’ha Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75Gloria d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Glory of the West . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140Goddesses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141Gracca Amorosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Gratiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Greenwood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Grene Gynger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40Grimstock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142Halfe Hannikin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143Hearts’ Ease . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144Hit and Miss (to Daphne) . . . . . . . . . . . . . . . . . . . . . . 145Horses Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96Hyde Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147If All the World Were Paper . . . . . . . . . . . . . . . . . . . . 148Inns of Court . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Jack-a-Lent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149Jack Pudding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150Jenny Pluck Pears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151Jouyssance Vous Donneray . . . . . . . . . . . . . . . . . . . . . . 90
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Jupiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Lauro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8Leoncello Vecchio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Lorayne Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Lord of Carnarvan’s Jigg . . . . . . . . . . . . . . . . . . . . . . . 152Lull Me Beyond Thee . . . . . . . . . . . . . . . . . . . . . . . . . . 153Ly Bens Distonys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Madam Sosilia Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Mage on a Cree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155Maiden Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154Maraviglia d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78Marchesana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Mercantia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Merry Merry Milkmaids . . . . . . . . . . . . . . . . . . . . . . . . 156Mille Ducas Pavane and Galliard . . . . . . . . . . . . . . . 118Millison’s Jigg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157Montarde Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98My Lady Cullen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158New Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56New Bo Peep, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159Newcastle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160New Yeere’s Gift (Galliard) . . . . . . . . . . . . . . . . . . . . .120New Yer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Nonesuch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161Official Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99Old Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Old Measures Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Old Mole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162Ombrosa Valle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79Oringe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43Parson’s Farewell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163Passo e Mezzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Pavane and Galliard “Earl of Salisbury” . . . . . . . . 116Pavane and Galliard “La Dona” . . . . . . . . . . . . . . . . 114Pavane and Galliard “Mille Ducas” . . . . . . . . . . . . . 118Pavane “Belle Qui Tiens Ma Vie” . . . . . . . . . . . . . . . .88Pease Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100Petit Riens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Petite Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Petit Rouen, Le . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Picking of Sticks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164Piva (Cantiga 119) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Pizocara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28Prexonera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Princitore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Quadran Pavane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Quadran Pavane (Inns of Court) . . . . . . . . . . . . . . . . . 46Queen’s Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Rawty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Rose e Viole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Rostiboli Gioioso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30Row Well Ye Mariners . . . . . . . . . . . . . . . . . . . . . . . . . . 165Roye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Rufty Tufty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166Saint Martins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167Saltarello I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105Saltarello II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Saltarello la Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107Scotch Cap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Sedany, or Dargason . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135Sellinger’s Round . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169Spagna, La . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Spagnoletta (Caroso) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Spagnoletto, Lo (Negri) . . . . . . . . . . . . . . . . . . . . . . . . . .85Spero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32Squilina – see Alta Regina . . . . . . . . . . . . . . . . . . . . . . . 59Step Stately . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170Stingo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171Tesara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Tinternell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Trenchmore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Turkelone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Upon a Summer’s Day . . . . . . . . . . . . . . . . . . . . . . . . . 173Vercepe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Villanella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86Vita di Cholino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Volta, La (Byrd) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124Voltate in ca Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Volte CCX (Praetorius) . . . . . . . . . . . . . . . . . . . . . . . . 126War Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101Washerwoman’s Bransle . . . . . . . . . . . . . . . . . . . . . . . . 102What So Ever Ye Wyll . . . . . . . . . . . . . . . . . . . . . . . . . . 44Whirligig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
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