1. Cinquepace is the name of the original Galliard. Praetorius (b.
1571) says a Galliard has _five_ steps, and is therefore called
_Cinque_ Pas. These five steps are described in the Orchésographie,
1588. See the Note on that work for the explanation of the steps of
this and other Shakespeare dances.
Beatrice's description seems to connect the cinquepace with the
tottering and uncertain steps of old age. 'Repentance,' she says,
'with his _bad legs_ falls into the cinquepace faster and faster, till
he _sink_ into his grave.'
2. Coranto is the Italian form of our Country dance. The Country dance
is original in England, but under different foreign names has been
called French or Italian. It means simply 'country' or 'rustic' dance.
Skeat is entirely opposed to the derivation from _Contra_ danza, with
a supposed reference to two opposite lines of partners; and in this he
is confirmed by Shakespeare, _Tempest_ IV, i, 138, 'country footing.'
The old English name was 'current traverse,' and Morley (1597) speaks
of the Courant step as 'travising and running,' which would appear to
connect the Italian word with _curro_. Sir John Davies (1570-1626), in
his poem 'Orchestra,' identifies Rounds, Corantos, measures, and some
other dances with Country Dances. That is, whatever the rhythm or
speed of the actual tune used, these variously named Country Dances
could be performed to it. Sir Roger de Coverly, our typical English
Country Dance, is in _form_ almost the same as the Brawl, Coranto,
Galliard, or measure. A Courant by Frescobaldi (1591-1640) is in
triple time. As for its 'step,' Davies says it is 'on a triple dactile
foot,' 'close by the ground with sliding passages.' According to Sir
Toby, it would be a quicker and gayer dance than the Galliard, for he
compares the walk to church to the latter; but the more lighthearted
journey back to dinner he likens to the Coranto. The Jig would be even
faster, for Sir Andrew's 'very walk,' that is, his _week-day_ gait,
was to be 'a jig.'
3. The Galliard, in accordance with its derivation, is properly
described in _H. 5._ I, ii, 252, as a '_nimble_' galliard. This was
extremely popular, both as a virginal piece and for dancing. There is
quite a long list of Galliards by various composers, in Qu.
Elizabeth's Virginal Book. There are several in _Parthenia_ (1611) by
Byrde, Bull, and Gibbons. They are always in triple time, and consist
of either two or three strains of an even number of bars.
Sir Toby seems to connect a Galliard with somewhat violent 'capers.'
He remarks on the 'excellent constitution' of Sir Andrew's leg, 'it
was formed under the star of a galliard.' Sir Andrew complacently
replies, 'Ay, 'tis strong,' upon which Sir Toby proposes to the
foolish knight to give an example of his powers; 'Let me see thee
_caper_. Ha! _higher_.' This capering or 'sault majeur' was also a
feature of the 'high lavolt' [La Volta] mentioned in _Troilus_ IV, iv,
84, concerning which Sir John Davies says--
'An anapaest is all their music's song,
Whose first two feet are short, and third is long.'
Also he calls the lavolte 'a lofty jumping.' Morley (1597) speaks of
the Volte, and says it is characterised by 'rising and leaping,' and
is of the same 'measure' as a coranto. These statements do not all
agree with the 'Orchésographie.'
4. Jigg [later Gigue, and Jig]. The name comes from Giga (Geige), a
sort of fiddle in use during the 12th and 13th centuries. The oldest
jigs are Scottish, and were 'round dances' for a large number of
people. As for the time of the Jig tunes, those of the 18th century
were certainly written in a triple rhythm, like 3/8, 6/4 or 12/8. The
Jegge of 1678, mentioned above, is in quick 6/4 time. But 'The
Cobbler's Jig' [Appendix], 1622, and a Jigg by Matthew Locke, dated
1672, in his 'Compositions for Broken and Whole Consorts of 2, 3, 4,
5, and 6 parts,' are very decidedly in quick 4/4 time, and have no
such characteristics as a 'dotted note' anywhere about them. Moreover,
Bull's 'The King's Hunting Jigg,' is also in quick 4/4 time, with a
similar absence of dotted notes. This last example is probably earlier
than 1600. At any rate it was a lively dance, as we can learn from
Hamlet.
_Hamlet_ II, ii, 504. The _1st Player_ recites a speech.
_Polonius._ This is _too long_.
_Hamlet._ It shall to the barber's, with your
beard.--Pr'ythee (to the _1st Player_), say on: _he's for a
jig, ... or he sleeps_.
5. Measure. Beatrice, in the quoted passage from _Much Ado About
Nothing_, gives a capital idea of the relative speed of the Scotch jig
and the Measure. The jig, she says, is like the lover's wooing, hot,
hasty, and fantastical; the measure, however, is like the Wedding,
mannerly modest, full of state and ancientry.
The term Measure certainly seems to have been used to signify a
particularly staid and formal dance. Selden (see above), at least,
puts 'grave Measures' at the sober beginning of his list, and so goes
on, by easy descent, through the more spirited Coranto, and tolerably
lively Galliard, to the lower depths of the Cushion-Dance, which were
reached towards the close of the evening, when the grave and reverend
Elders may be supposed to have gone to bed.
But, besides this, the word appears to have been used generically,
meaning merely 'a dance.' It was certainly applied to the Passamezzo,
_and to other country dances_. In _H. 8._ I, iv, 104, King Henry
says--
... 'I have half a dozen healths
To drink to these fair ladies, and a _measure_
To lead 'em once again.'
The next passage uses the word for a pun.
_As You_ V, iv, 178.
_Duke Senior._ _Play Music!_ and you brides and bridegrooms all,
With _measure_ heap'd in joy, to the _measures_ fall.