The history of Dances is the history of the transition from pure vocal
music to pure instrumental music. In the Dances of the 16th century,
we have the germs of the modern 'Sonata' Form; and in the association
of certain of them we have the first attempt at a sequence of
different 'movements,' which finally resulted in the Sonata itself.
The Elizabethan Dances, especially the Pavan, shew us this development
just at the point where instrumental music was dividing itself from
vocal.
_All the ancient dances were originally sung._ In Grove's Dictionary,
Vol. ii. p. 676, there is given the music of a _Pavan_, in four vocal
parts, with the words sung [copied from Arbeau's Orchésographie,
1588]. Morley (Practical Music, 1597) mentions _Ballete_, as being
'songs which being sung to a dittie may likewise be danced.' Again, he
speaks of 'a kind of songs ... called Justinianas ... all written in
the _Bergamasca_ language.' See _Mids. Nt. Dream_ V, ii, 30, where
Bottom is not so very inaccurate after all in asking Duke Theseus to
'_hear_ a Bergomask dance between two of our company.' The same author
also gives '_Passamesos_ with a dittie [_i.e._, sung],' and
distinguishes between these aforesaid and 'those kinds which they make
_without_ ditties.' [Passamesos are Passing-measures--or
Passamezzo--Pavans, see _Twelfth Nt._ V, i, 200.]
Hence it appears that in Elizabeth's reign some dances were sung, and
others were simply played.
Morley goes on to instance two particular dances which were commonly
associated together--viz., _Pavans_ and _Galliards_. [_Tw._ V, i, 200,
I, iii, 127, etc., _H. 5._ I, ii, 252], the first of which he says is
for 'grave' dancing, having three 'strains,' each containing 8, 12, or
16 semibreves (two beats in a bar), which are each repeated; and that
this _Pavan_ is usually followed by a _Galliard_, 'a kind of music
made out of the other' [see Bull's Pavan and Galliard, 'St Thomas
Wake,' in _Parthenia_] in _triple_ time, 'a lighter and more stirring
dance than the _Pavan_, and consisting of the same number of
straines.'
The next passage from Morley is very interesting when compared with
the stage direction in _Timon_ I, ii, 131, where a _masque_ of
_Ladies_ as _Amazons_ enter the banquetting hall at Timon's house,
with _lutes_ in their hands, _dancing and playing_. This stage
direction corresponds closely with Morley's account, 'the Italians
make their _galliards_ (which they tearm _salta relly_) plain'
[_i.e._, alone; not as an appendage to the Pavan, as in England], 'and
frame ditties to them, which in their _mascaradoes_ they sing and
dance, and manie times without any instruments at all, but instead of
instruments they have _Curtisans disguised_ in men's apparell, who
sing _and daunce_ to their own songes.'
The 'French _bransle_,' he says, is like the Alman (Allemagne of Bach,
etc.)--_i.e._, it 'containeth the time of eight, and most commonly in
short notes.' This is the Brawl, see _L.L.L._ III, i, 9, and was one
of several tunes to which the Country Dance was danced, whether in a
ring, or 'at length,' like our 'Sir Roger.'
He says that the '_voltes_ and _courantes_' also are 'like unto this,'
but are 'danced after sundrie fashions' [he means, with different
steps, but occupying the same rhythmical time, so that the same tune
would do], 'the _volte_ rising and leaping, the _courant_ travising
and running, in which measure also our Countrey dance is made, though
it be danced after _another form_ than any of the former.'
'All these be made in _straines_, either two or three.' See _Tw._ I,
i, 4, 'that _strain_ again,' or _Julius Cæsar_ IV, iii, 258, 'touch
thy instrument a _strain_ or two.'
Christopher Sympson, the royalist soldier (1667), confirms Morley's
statements as to the constitution and use of these dances. See his
'Compendium,' p. 116, where he expressly states that pure instrumental
music, 'made only to delight the ear,' is merely a development from
Dances.
He speaks of the association of Pavan and Galliard as being 'in
course.' He spells the latter _Giliard_, and says that it is
'according to its name' [see Skeat, Etym. Dict., Spanish, gallardo (ll
= ly), pleasant, gay, lively] 'of a loftly and frolick movement.'
Immediately afterwards, however, Sympson seems to forget his own
remarks, for he says the name is derived from Gallia, 'the country
whence it came.'
On page 117 he speaks of _Corants_, _Sarabands_, _Jiggs_, _Country
Dances_, etc., as 'things so common in each one's ears' that he 'need
not enlarge his Discourse' to them.
There is a capital bit of patriotism on page 118, which deserves
quoting, first, because at the time it was entirely justifiable;
secondly, because it shews us that in 1667, instrumental music had at
last decidedly parted company with vocal part-writing, and had an
independent existence. 'You need not seek Outlandish Authors,
especially for Instrumental _Music_; no Nation (in my opinion) being
equal to the _English_ in that way; as well for their excellent as
their various and numerous Consorts, of 3, 4, 5, and 6 Parts, made
properly [on purpose] for Instruments, of all which (as I said)
_Fancies_ are the chief.' For 'Consort,' see _Two Gent._ III, ii, 83;
and for 'Fancies,' _Hen. IV. B._ III, ii, 323.
Hawkins (1776) does not add much of interest to the above account of
the Elizabethan dances, except (p. 704) that there is no authority for
a Jigg having generally a pointed (_i.e._, dotted) note at the
beginning of every bar. There is, however, a 'Jegge' given in Stainer
and Barrett's Dict. of Musical Terms, dated 1678, where the 'pointed'
note is quite characteristic. This may be a more modern feature, for
an undoubtedly ancient Jig--viz., Dr Bull's 'King's Hunting Jigg,' not
only has no dotted note, but is in common time, without even a
tendency towards the rhythm of triplets. [Also see Appendix,
'Cobbler's Jig.' 1622.]
Here is a most entertaining quotation from Selden,[19] dealing with
fashionable court dances in Elizabeth's reign, and shewing how things
had gone from bad to worse in respect of dignity and state in dancing,
under the Stuarts.
[Footnote 19: Selden's Table Talk, article 'King of England,' § 7.]
'The court of England is much alter'd. At a solemn dancing,
_first_ you had the _grave measures_, _then_ the _Corantoes_
and the _Galliards_, and _this_ kept up _with ceremony_; and
_at length_ to Trenchmore, and the Cushion dance: _Then_ all
the company dances, lord and groom, lady and kitchen-maid,
_no distinction_. So in our court in queen _Elizabeth's_
time, _gravity and state_ were kept up. In king _James's_
time things were _pretty well_. But _in king Charles's
time_, there has been nothing but Trenchmore and the
Cushion-dance, _omnium gatherum, tolly polly, hoite cum
toite_.'
There are very many passages of interest, containing references to
Dances. The first one here given is an instance (in Shakespeare's very
text) of singing a dance and dancing to it at the same time. Here the
_Brawl_, and _Canary_, the first in alphabetical order, are coupled
together.
_L.L.L._ III, i, 9.
_Moth._ Master, will you win your love with a _French
brawl_?
_Arm._ How meanest thou? _brawling in French_?
_Moth._ No, my complete master; but to _jig off a tune_ at
the tongue's end, _canary to it_ with your feet, ... _sigh a
note_, and _sing a note_.'
Two other examples of dancing to one's own singing are, _Mids._ V, ii,
25 and _Wiv._ V, v, 93.
The _Brawl_ was written in quick four-in-a-bar time. There are several
well-known tunes to it. [See Note on Arbeau's 'Orchésographie.' 1588.]
The derivation of the name is from the French, _bransle_, a totter,
swing, shake, etc., or perhaps from Old French _Brandeler_, to wag,
shake, swing. Skeat thinks the original dance may have been a _sword_
dance, and with this he connects the word Brandish.[20] It was danced,
sometimes in a ring, holding hands, and sometimes 'at length.'
[Footnote 20: This hardly seems a necessary theory. See the Note on
'Orchésographie,' where the 'swinging' movement is fully accounted
for.]
The _Canary_ (or Canaries) was in 6/8 time, and was a lively dance.
[Stainer and Barrett's Dict. gives one by Delaborde in 4/4 time.]
There are many examples by Lully and other Frenchmen of the 17th
century. One of Lully's, in Lajarte's 'Airs à Danser,' dates 1666.
There is no history of the name. Skeat says it is so called from the
Canary Islands. Hawkins does not attempt to account for the title, but
cunningly infers that it is of English origin because it has _not_ got
a foreign name. Also he mentions that Purcell wrote a Canaries for his
Opera of Dioclesian, 1690. [See Note on 'Orchésographie.']
The Canary is also alluded to in two other places, where the lively
character of the dance is clear. Mr Ford puns on 'wine,' 'pipe,' and
'canary.' Of course _he_ means _whine_, _pipe_ (for dancing to), and
the _Canary_ that he meant Falstaff to dance.
_Wiv._ III, ii, 83.
_Host._ Farewell, my hearts. I will to my honest knight
Falstaff, and drink _canary_ with him.
_Ford._ [_aside_] I think, I shall drink in _pipe-wine_
first with him; I'll make him _dance_.