Proceedings of the Known World Dance Symposium 2007

Contents | Event home

 

A Day of Dance Reference

Materials by Peter Durham
(Trahaearn ap Ieuan)

This year’s Known World Dance Symposium includes a special program for beginning and local dancers modeled on the Canton of Porte de l’Eau’s (East King County, WA) annual “Day of Dance” event. This program includes six half-hour workshops introducing different genres of dance, plus the Saturday evening dance where students can perform these dances in a more formal setting. Our instructors for this program come from across the country.

This section contains reference materials for the Pavan & Galliard, Branle, Old Measures, and English Country Dance workshops. Reference materials for the 15th century Italian and 16th century Italian workshops follow. Details of reconstructions can vary across regions and instructors, so this information may not exactly match that presented by the instructors.

Pavan

Arbeau, Orchesography

Couples in procession

 

I

A1

1-4

2 Singles forward on left, right

 

Arbeau. ¶
The pavan is easy to dance, because there are only two singles and a double going forward & advancing. And two simples and a double moving back & retreating : And it is played in duple time. And note that in the dancing, the aforementioned two simples and the double of the advance, begin by the left foot : And the aforementioned two simples and the double of the retreat, begin by the right foot. ¶
Capriol. ¶
Thus the tabor and the other instruments play eight beats and measures in advancing, and eight measures in retreating. ¶
Arbeau. ¶
It is so: And if one wants, one does not move back, and walks always forward. ¶

 

Arbeau. ¶
La pauane est facile à dancer, car il n'y a que deux simples & vn double en marchant & sauanceāt. Et deux simples & vn double en reculant & desmarchant : Et se ioue par mesure binaire. Et notterez qu'en l danceant, lesdits deux simples & le dit double de l'aduance, se commencement par le pied gauche : Et lesdits deux simples & le double de la desmarche, se commencent par le pied droit. ¶
Capriol. ¶
Le tabourin dōc & aultres instruments y sont huict battemēts & mesures en marchant, & huict mesures en desmarchant. ¶
Arbeau. ¶
Il est ainsi : Et si on veut on ne recule point, & marche lon tousiours auant. ¶

5-8

Double forward on left

9-12

2 Singles forward on right, left

13-16

Double forward on right

 

II

Repeat as desired

 


Tabulation and translation by Peter Durham. Original text is transcribed from the Fonta edition.

Notes

Reconstruction. For the sake of making the dance useful as a procession, and thus incrementally more interesting, we usually choose to take the option Arbeau presents and do this dance always going forward.

Reconstruction. This reconstruction presents the most basic pavan. Embellishments and improvisations will be discussed at the workshop.

 

Cinq Pas

(Five Step)

Galliard from Arbeau, Orchesography

For individuals or couples

 

 

I

A1

Start in Posture right (with the right foot forward and the left behind)

1

Kick left

Kick left ¶

Greue gaulche ¶

2

Kick right

Kick right ¶

Greue droicte ¶

3

Kick left

Kick left ¶

Greue gaulche ¶

4

Kick right

Kick right ¶

Greue droicte ¶

5-6

Jump, landing in Posture left (in the reflection of the starting position)

Large jump ¶
Posture left ¶
Reverse. ¶

Sault majeur ¶
Posture gaulche ¶
Reuers. ¶

A2

1

Kick right

Kick right ¶

Greue droict ¶

2

Kick left

Kick left ¶

Greue gaulche ¶

3

Kick right

Kick right ¶

Greue droict ¶

4

Kick left

Kick left ¶

Greue gaulche ¶

5-6

Jump, landing in Posture right (in the starting position)

Large jump ¶
Posture right ¶

Sault majeur ¶
Posture droicte ¶

 

II

Repeat as desired

And in this way contiune and repeat the beginning ¶

Et ainsi continuant en répétant le comimencement ¶

 

 

Tabulation of the five steps of the galliard, for which the movements are done as for the tourdion, except that they are made more high and more manly, and in place of the pied en l'air, the dancer does the coups de pied or greves

 

Tabulature des cinq pas de la galliarde, de laquelle les mouuements font comme au tordiō, fors qu'ils font faicts plus hault & plus virilemēt, et en lieu du pied en l'air, le dāceur dera des coups de pied ou greves


Reconstruction based on the dance as taught in Carolingia. Original text is transcribed from the Fonta edition. Translation by Peter Durham.

Notes

Performance.  Note that the kicks in the galliard are Greves and thus should be performed with more vigor than the normal Pied en l'Air kicks.

 

Branle des Pois

(Peas Branle)

Branle from Arbeau, Orchesography

Line or circle for as many couples as will

 

I

A1

1-4

Double left

Left foot wide. Right foot approached. Left foot wide. Feet together. These four steps are a double to the left. ¶

Pied largy gaulche. Pied droit approché. Pied largy gaulche. Pieds ioincts. Ces quatre pas font vn double a gaulche. ¶

5-8

Double right

Right foot wide. Left foot approached. Right foot wide. Feet together. These four steps are a double to the right. ¶

Pied largy droit. Pied gaulche approché. Pied largy droit. Pieds ioincts. Ces quatre pas font double a droit. ¶

A2

1-8

Repeat A1

:||:

:||:

B1

1-2

Men: Jump

Large jump, by the men. Feet together. During these two steps the women do not move. ¶

Sault majeur, par les hõmes. Pieds ioincts. Pēdant ces deux pas les femmes ne se bougent. ¶

3-4

Women: Jump

Large jump, by the men. Feet together. During these two steps the women do not move. ¶

Sault majeur, par les femmes. Pieds ioincts. Pendant ces deux pas, les hommes ne se bougent. ¶

5-8

Men: Step left, 3 Small Jumps

Left foot wide. Little jump. Feet together. Little jump. Feet together. Little jump. Feet together. While the men make these three jumps here, the women do not make any movement. ¶

Pied largy gaulche. Petit sault. Pieds ioincts. Petit sault. Pieds ioincts. Petit sault. Pieds ioincts. Pendant que les hommes font ces trois saults icy, les femmes ne font aucun mounement. ¶

B2

1-2

Women: Jump

Large jump, by the women. Feet together. During these two steps the men do not move. ¶

Sault majeur, par les femmes. Pieds ioincts. Pendant ces deux pas, les hommes ne se bougent. ¶

3-4

Men: Jump

Large jump, by the men. Feet together. During these two steps the women do not move. ¶

Sault majeur, par les hommes. Pieds ioincts. Pendant ces deux pas, les femmes ne se bougent. ¶

5-8

Women: Step left, 3 Small Jumps

Left foot wide. Little jump. Feet together. Little jump. Feet together. Little jump. Feet together. While the women make these three jumps here, the men do not make any movement. ¶

Pied largy gaulche. Petit sault. Pieds ioincts. Petit sault. Pieds ioincts. Petit sault. Pieds ioincts. Pendant que les femmes font ces trois saults icy, les hommes ne font aucun mounement. ¶

 

II

Repeat as desired

 


Tabulation by Peter and Janelle Durham. Original transcribed from Fonta edition. Translation by Peter Durham.

 

Branle des Chevaulx

(Horses Branle)

Branle from Arbeau, Orchesography

Longways for as many couples as will

 

I

Begin holding both hands with partner

A

1-8

Double up and back (do branle doubles to mens' left, womens' right)

Double to left. Double to right.

Double a gaul. Double à droit.

9-16

Double up and back

Double to left. Double to right.

Double a gaul. Double a droit.

17-24

Double up and back

Double to left. Double to right.

Double à gaulche. Double à droit.

25-32

Double up and back

Double to left. Double to right.

Double a gaulche. double à droit.

B

1-2

Men: 2 Taps of right foot

Two taps of the right foot by the man. (During these taps of the foot & the turn the man makes, the lady doesn't budge.)

Deux tappements du pied droit par l’homme. (Pendant ces tappements de pied, & le tour que l'homme fait, le feme ne bouge.)

3-4

Men: Single right (moving up ½ position)

Right foot wide. Feet together. (These two steps make a single to the right.)

pied largy droit. pieds ioincts. (Ces deux pas font simple a droict.)

5-8

Men: Double left turning a full circle left (still up ½ position)

Left foot wide. Right foot approached. Left foot wide. Feet together. (During these four the man does a turn to the left hand.)

Pied largy gaulche. Pied droit approché. Pied largy gaulche. Pieds ioincts. (Pendant ces quatre pas icy, l'homme fait un tour a la main gaulche.)

Since in this reconstruction the men move up and the women move down, the first man will soon be without a partner. Over the next 8 counts, the first man goes to the bottom of the set to be ready to start the next repeat of the dance with the last woman, who will also be without a partner.

9-10

Women: 2 Taps of right foot

Two taps of the right foot by the woman. (During these taps of the foot & the turn that the woman makes, the man doesn't budge.)

Deux tappements de pieds driot. par la femme. (Pendant ces tappements de pied, & le tour que la femme fait, l'homme ne bouge.)

11-12

Women: Single right (moving down ½ position to next man)

Right foot wide. Feet together. (These two steps make a single to the left.)

pied largy droit. pieds ioncts. (Ces deux pas font simple a gaulche)

13-16

Women: Double left turning a full circle left

Left foot wide. Right foot approach. Left foot wide. Feet together. (During these four steps, the woman makes a turn to the left hand).

Pied largy gaulche. Pied droit approché. Pied largy gaulche. Pieds ioincts. (Pendant ces quatre pas, la femme faict un tour a la main gaulche.)

 

II

Repeat as desired

This done, the dancers take back the two hands, and reiterate to the beginning.

Ce fait, les danceurs se repreignent par les deux mains, & reiterent comme au commencement.

 


Reconstruction based on the dance as taught in Carolingia. Translation by Peter Durham.

Notes

Reconstruction.  The Horses branle provides a puzzle to dance reconstructors, as there are instructions to take both hands with one's partner, which is incompatible with the common form of a long line or circle of dancers like its neighbors in Orchesography. Some ignore the two-hand instruction to retain the classic branle formation; some dance as two-dancer circles, and some choose a reconstruction like this which forms a line of couples. In the latter case, some reconstructors add the element of progression, which makes the dance quite enjoyable, though there is little support for it in Arbeau.

Branle des Lavandieres

(Washerwomen’s Branle)            

Branle from Arbeau, Orchesography

Line or circle for as many couples as will

 

I

A1

1-4

Double left

Left foot wide. Right foot approached. Left foot wide. Feet together. These four steps are a double to the left. ¶

Pied largy gaulche. Pied droit approché. Pied largy gaulche. Pieds ioincts. Ces quatre pas font vn double a gaulche. ¶

5-8

Double right

Right foot wide. Left foot approached. Right foot wide. Feet together. These four steps are a double to the right. ¶

Pied largy droit. Pied gaulche approché. Pied largy droit. Pieds ioincts. Ces quatre pas font vn double a droit. ¶

A2

1-8

Repeat A1

:||:

B1

1-4

Singles left, right as Men shake fingers, Women hold sides

 

Left foot wide. Feet together. Right foot wide. Feet together. During these two simples, the women hold their sides, and the men threaten them with their fingers, and in the repetition of these aforesaid simples, the men take hold of their sides and the women threaten them. ¶

 

Pied largy gaulche. Pieds ioincts. Pied largy droit. Pieds ioincts. Durant ces deux simples, les femmes se tiennent par les coustez, & les hommes les menacent du doigt, & à la repetition desdits deux simples, les hommes se preignent par les coustez, & les femmes les menacent. ¶

B2

1-4

Singles left, right as Women shake fingers, Men hold sides

C

1-4

Double left, clapping hands

Left foot wide. Right foot approached. Left foot wide. Feet together. During this double to the left, all the dancers make a noise with their hands, striking one against the other. ¶

Pied largy gaulche. Pied droit approché. Pied largy gaulche. Pieds ioincts. Pendant ce double à gaulche, tous les danceurs font un bruit de leurs mains. frappes l'une sur l'aultre. ¶

5-8

Double right

Right foot wide. Left foot approached. Right foot wide. Feet together. These four steps are a double to the right. ¶

Pied largy droit. Pied gaulche approc. Pied largy droit. Pieds ioincts. Ces quatre pas font vn double a droict. ¶

9-12

Double left, clapping hands

Left foot wide. Right foot approached. Left foot wide. Feet together. During these four steps, all the dancers make noise again, by striking of their hands the one on the other. ¶

Pied largy gaulche. Pied droit approché. Pied largy gaulche. Pieds ioincts. Pendant ces quatre pas, tous les danceurs font encore du bruict, en frappant de leurs mains l'une sur l'aultre. ¶

13-16

Kick left, right, left, and Jump, turning 360º to left

Left foot in the air. Right foot in the air. Left foot in the air. Large jump landing with feet together. During these four steps, the dancers let go their hands, each turning a revolution to the left hand,

Pied en l’air gaulche. Pied en l’air droict. Pied en l’air gaulche. Sault majeur tumbant à pieds ioincts. Pendant ces quatre pas, les danceurs laschās leurs mains, tornent chacun un tour à la main gaulche, &

 

II

Repeat as desired

and after the jump they retake hands, to repeat the beginning. ¶

aprez le sault se repreignent, pour repeter le commencement. ¶

 


Tabulation and translation by Peter Durham. Original transcribed from Fonta edition.


 

Branle des Hermites

(Hermits Branle)

Branle from Arbeau, Orchesography

Line or circle for as many as will

 

I

A1

1-4

Double left

left foot wide. right foot approach. left foot wide. feet together. (These four steps make a double left)

pied largy gaulche. pied droit approché. pied largy gaulche. pieds ioincts. (Ces quatre pas font un double a gaulche.)

5-8

Double right

right foot wide. left foot approach. right foot wide. feet together. (These four steps make a double right)

peid largy droit. pied gaulche approché. poied largy driot, pieds ioincts. (Ces quatre pas font un double a droict.)

A2

1-8

Repeat A1

:||:

:||:

B1

1-4

While turning ½ left, Kick right, left, right; feet together (end facing out from the circle)

Right foot in the air. Left foot in the air. Right foot in the air. Feet together. (During these four steps, the dancers make a half turn to the left hand, & they turn their faces outside the dance)

Pied en l'air droit. Pied en l'air gaulche. Pied en l'air droit. Pieds ioincts. (Pendant ces quatre pas, les danceurs font un demi tour a la main gaulche, & se retreuuent se visage en dehors la dance)

5-8

Tap right toe, Tap left toe, Tap right toe, feet together (with arms crossed and bowing the head)

Mark right foot. Mark left foot. Mark right foot. Feet together. (During these four steps, the dancers intertwine their arms, & bow, as the young novices make.)

Marque pied droict. Marque pied gaulche. Marque pied drioct. Pieds ioncts. (Pendant ces quatre pas, les danceurs entrecroisent leurs bras, & s'enclinent, comme font les ieunes nouices)

B2

1-4

While turning ½ left, Kick right, left, right; feet together (end facing back into the circle)

Right foot in the air. Left foot in the air. Right foot in the air. Feet together. (During these four steps, the dancers make a half turn to the left, & they turn their faces inside the dance, like at the beginning)

Pied en l'air droit. Pied en l'air gaulche. Pied en l'air droit. Pieds ioincts. (Pendant ces quatre pas, les danceurs font un demi tour a gaulche, & se retreuuent se visage en dedans, comme au commencement)

5-8

Tap right toe, Tap left toe, Tap right toe, feet together (with arms crossed and bowing the head)

Mark right foot. Mark left foot. Mark right foot. Feet together. (During these four steps, the dancers nod as we have just said).

Marque pied droict. Marque pied gaulche. Marque pied drioct. Pieds ioncts. (Pendant ces quatre pas, les danceurs s'enclinent comme nous venons de dire)

 

II

Repeat as desired

 


Reconstruction by Peter and Janelle Durham. Translation by Peter Durham.

The Queens Alman

Alman from Buggins? [RCM 1119]

Couples in procession

 

I

A1

1-8

 

4 Doubles forward starting on left

 

The Queens Almaine. Honour. {* 4. d. | forward.}

A2

1-8

B1

1-4

Double forward on left

A double forward

5-8

Double back on right; Face partner

& a .d. backe

9-16

Set and Turn Single left; Face up

.2. singles syde & | a .d. rounde on your lefte hande.

B2

1-4

Double forward on right

a .d. forwarde

5-8

Double back on left; Face partner

& a .d. | backe

Set and Turn Single right; Face up

.2. S. syde & a .d. round on your right hande.

 

II

Repeat

{*} a .d. forward & a .d. backe 2. S. syde as afore./ ¶

 


Reconstruction by Peter and Janelle Durham. Text is from Wilson's transcription of RCM 1119.

Notes

Sources.  This dance appears in all seven manuscripts as the sixth Old Measure. Music entitled “Queen’s Alman” appears in William Byrd, The Fitzwilliam Virginal Book, Cambridge Fitzwilliam Museum, Ms. 32.G29, from about 1609-1619. The earliest version of this dance, in RP, varies substantially from the other versions. This reconstruction is based on the other five manuscripts.

Reconstruction.  The five manuscripts first describe the section of the dance we have called section B (because it matches the second, 16 measure, portion of the music), then describe our section A (which aligns with the 8-measure portion at the beginning of the music). RD describes the dance as “begening at the second strayne”. To be faithful to the manuscripts, dancers should wait through the first eight measures of the music, then begin the dance with section B, only doing section A in the repeats. We prefer to simply begin with section A. In the transcription, the text for section A is shown between curly braces.

Reconstruction.  The five manuscripts vary some in their description of section A. HA has two doubles forward, followed by two doubles backward. DO and RD both have four doubles forward. (The texts of SRO and RD list 5 doubles forward, 1 double back, which initially appears to be an additional difference; however, upon examination, it’s clear that the 5th double forward and the double back are “borrowed” from the next repeat of the B figure.) IT and RCM have “slide” four doubles “round about the house.” We have chosen to use the DO/RD version, primarily because this is the version reconstructed by Pugliese and Casazza and is thus likely to be the most familiar version to others who have done this dance.

Recordings.  Dances from the Inns of Court: 2 and 4 repeats. Dances from the Courts of Europe: 2 repeats, nice tempo, fine sound. Musick for Dauncinge: 4 repeats, nice tempo, fine sound. Rose and Nefr: 4 repeats, a little slow, decent sound.

 

The Black Alman    

Alman from Ashmole [Rawl 864]

Couples in procession

 

I

A1

1-8

 

4 Doubles forward starting on left; Face partner

 

8th. The Black Almaine. Sides 4 doubles round about the house and Close the last Double face to face |

A2

1-8

B1

1-4

Double back on left (away from partner)

then part yr hands and go all in a Double back one from the other

5-8

Double forward on right; Face left (men are facing up, women are facing down)

and meet a Double againe.

B2

1-4

Double forward on left; Face right (possibly facing a dancer of the opposite gender)

Then | go a Double to yr left hand

5-8

Face right; Double forward on right; Face partner (reutrned to partner)

and as much back to your right hand,

C1

1-8

Men: Set and Turn Single left

then all ye women stand still | and the men set & turne,

C2

1-8

Women: Set and Turn Single left

then all ye men stand still and the women set and turne,

D1

1-4

Take both hands; Double on left, trading places to left (clockwise)

then hold both hands | and change places with a double

5-8

4 Slides up (to men's right)

and slide four french slides to the mans right hand,

D2

1-4

Double on left, trading places to left

change places | againe wth a Double

5-8

4 Slides down

and slide four french slides to the right hand againe,

E1

1-4

Face partner; Double back on left

Then part hands and go | back a Double one from another

E2

1-4

Double forward on right; Face up

and meet a Double againe.

 

II

Repeat I, except in C section, women set and turn first

Then all this measure once over | and so end. The second all the men stand still and the women begin set and turne and then men last.

 


Reconstruction by Peter and Janelle Durham informed by that of Pugliese and Casazza. Text from Wilson's transcription of RCM.

Notes

Sources.  Appears in full in DO, IT, and twice in RCM. Incomplete in HA. Only name appears in RD. It does not appear at all in RP. Music appears in RCM.

Reconstruction.  Section A1-A2: Two sources (IT and RCM) describe this section as “Sides 4 Doubles round about the house and Close the last Double face to face”. This is not very clear; however, since HA and DO both clearly describe this section as 4 doubles forward, that is the way we have reconstructed it.

Reconstruction.  Section B2: This section is ambiguous in the original text. (See RCM above; also, DO says “A .d. on your lefte hand, a nother on your right hand.”) There are varying interpretations of it in modern sources. The most common appears to be the one given above. A Dolmetsch Historical Dance Society publication says, “still facing each other both do 2 sideways almaine doubles L, R”. In other words, sideways doubles, similar to those done in branles… This seems an equally valid interpretation; when choosing between two valid interpretations, we have chosen the one we believe to be more common, however, either is viable.We encourage dancers to treat the change of direction in the middle of this section as two 90° right turns rather than a quick 180° spin; this affords time for a friendly glance at the dancer of the opposite gender who has come your way.

 

Jenny Pluck Pears  

English Country Dance from Playford, EDM 1st Ed

Circle for three couples

 

I

A1

1-8

2 Doubles left (walking around circumference of circle)

Hands and 2. D. round,

9-16

Face partner; Set and Turn Single left

set and turne S. •

A2

1-8

Face in and take hands around; 2 Doubles right

 

That againe •• §

9-16

Face partner; Set and Turn Single right

B1

1-6

Man 1: Place partner in center of circle

First man set his Wo. in the midst with his face to him,

7-12

Man 2: Place partner in center of circle

the 2. man set in his Wo.

13-18

Man 3: Place partner in center of circle

the 3. as much.

19-24

All: Reverence

Honor all. • ¶

A3

1-16

Men: 4 Doubles left (around the circle, flirting of course)

Men goe round about the We. back again •

A4

1-16

Men: Face other way; 4 Doubles right (returning to partner)

back again •• §

B2

1-6

Man 1: Take partner out from center (to normal position at side)

First man take out his Wo.

7-12

Man 2: Take partner out from center

2. as much,

13-18

Man 3: Take partner out from center

3. as much.

19-24

All: Reverence

Honor • ¶

 

II

A1

1-8

Side left

Sides all,

9-16

Set and Turn Single left

set and turne S. •

A2

1-8

Side right

 

That againe •• §

9-16

Set and Turn Single right

Repeat remainder of I reversing genders throughout

As at the first, We. setting in the men • Then We. go round and take them out. ¶

 

III

A1

1-8

Arm left

Armes all,

9-16

Set and Turn Single

set and turne S. •

A2

1-8

Arm right

 

That againe •• §

9-16

Set and Turn Single

Repeat remainder of I with original genders

As the first time • ¶ Men go Round • Back againe •• § First man take out his Wo. 2. as much, 3. as much. Honour all • ¶

 


Reconstruction based on the dance as taught in Carolingia. Text transcribed from Mellor-Bridgewater edition.

 

Upon a Summers Day     

English Country Dance from Playford, EDM 1st Ed

Longways for three couples

 

I

A1

1-8

Double forward and back

Leade up all a D. forwards and back,

9-16

Set and Turn Single left

set and turne S. •

A2

1-8

Double forward and back

 

That againe •• §

9-16

Set and Turn Single right

B1

1-8

Men: Take hands in line; Women: Take hands in line; Double forward and back

The men take all hands, and the women hands meet all a D. back againe;

9-12

M1-W1: Drop hands; Double down (passing between M2-W2)

the first on each side goe

13-16

M1-W1: Double down (through arms to pass outside M3-W3)

under the others armes on their owne side, and meet below •

B2

1-16

Repeat B1 with M2-W2 moving down

Hands againe, and the next Cu. as much ••

B3

1-16

Repeat B1 with M3-W3 moving down

Hands againe, and the next Cu. as much ••• ¶

 

II

A1

1-8

Side left

Sides all,

9-16

Set and Turn Single left

set and turne single •

A2

1-8

Side right

 

That againe •• §

9-16

Set and Turn Single right

Repeat remainder of I

As before ••• ¶

 

III

A1

1-8

Arm left

Armes all,

9-16

Set and Turn Single left

set and turne single •

A2

1-8

Arm right

 

That againe •• §

9-16

Set and Turn Single right

Repeat remainder of I

As before ••• ¶

 


Reconstruction by Peter and Janelle Durham. Original text transcribed from facsimile in Keller and Shimer.

Notes

Recordings.  Country Capers, Country Dances by the Broadside Band, Danses Populaires, English Dancing Master, 1.