Sources.  This dance appears in all seven manuscripts, as the first of the Old Measures. It appears again on RCM Folio 2. Music appears in RCM.

Music.  Length: The dance provided in RCM is actually long enough to perform eight repeats of the instructions, even though RCM and all the other sources only call for four. If you wish to perform only four repeats, then we suggest that you play only the A section, deleting the last two quarter notes and extending the half note there to a whole note for a good conclusion.

Music.  B section: In the original source and the transcription above, the B section is only 15 measures long rather than 16 measures. In his arrangement for this dance, Joseph Casazza repairs this by observing that the end of the repeating section closely parallels the end of the non-repeating section. He inserts notes missing from the repeating section to match the non-repeating section, and extends the final half note to a whole note.

Reconstruction.  Singles: The main descriptions in the six manuscripts do not say which direction the pairs of singles should take. However, the short description on RCM Folio 2 describes the dance as “left right forwards left right backwards” which seems to clearly indicate that the singles should alternate directions, with both pairs starting to the left. No foot is specified for the doubles, but it seems most natural to follow a Set right with a Double on the left. The common reconstruction, from Pugliese and Casazza, and supported in Stokes and Brainard, is different. It sends the first pair of singles both to the left, and the second pair to the right. They say “the instruction that the paired singles be to the same side is not specified in the dance descriptions, but is suggested by the title; for done in that manner, each dancer describes a square.” Ward argues against this interpretation, saying that quadran is the English name for the passamezzo B quadro, and does not mean that the dancers trace a square on the floor. We believe RCM Folio 2 provides the missing specification, and that the dance described above is the correct interpretation.

Reconstruction.  Steps: Since this is specifically called a pavan, it would be appropriate to use closed pavan steps (see Arbeau) rather than the doubles and singles described in the step glossary, with the characteristic raised foot at the end of each step.

Recordings.  Dances from the Inns of Court: 4 and 8 repeats. Musick for Dauncinge: 4 repeats, nice tempo, fine sound. Dances of Queen Elizabeth’s Court, DHDS.