1, 2, 3, 4, 6 are the 'Cinq' pas, and 5 is the characteristic leap or
caper.
The next six minims are danced to the Revers, which is just the same,
except that the words 'right' and 'left' (_droicte_ and _gaulche_)
change places all the way down. Then repeat till the tune is finished.
Arbeau gives several other varieties of Galliard, and another very
good tune for it, called
'ANTHOINETTE.' GALLIARD.
[Music]
The 'sault majeur' in this tune would come in the middle of the
semibreves in the first strain; at the 'dot' of the dotted minims in
the 2nd and 3rd strains; or, again, in the middle of the semibreves in
the same strains.
Of the Pavan [commonly danced before the Basse-dance], Arbeau says it
is very easy, consisting only of 'two simples and a double' advancing,
and again 'two simples and a double' retiring. It is (as we already
know) in Binary measure, and the careful Capriol once more joins in
with his calculations of time, saying that he makes the Pavan 8
measures [semibreves] 'en marchant,' and 8 measures 'desmarchant.'
The master now gives particular instructions about the form and manner
of dancing the Pavan. Noblemen dance these pavans and basse-dances
'belles et graves,' with cap and sword; others in long robes,
'marchants honnestement, avec une gravité posée.' And the damoiselles
with an humble countenance, 'les yeulx baissez, regardans quelquefois
les assistans avec une pudeur virginale.' Kings, princes, and
'Seigneurs graves,' in dancing the pavan on great occasions, wear
their 'grands manteaux, et robes de parade.' Also, Queens, Princesses,
and Ladies accompanying them, have their robes 'abaissées et
trainans,' 'quelquefois portées par demoiselles.' The Pavan on these
occasions is called LE GRAND BAL, and the music is provided, not by
simple flute and drum, but by 'haulbois et saquebouttes,' and they
continue the tune until the dancers have made the circuit of the
'salle' twice or thrice.
Besides this state dancing of pavans, this dance was used in
Mascarade, when triumphal chariots of gods and goddesses enter, or of
emperors and kings 'plains de maiesté.'
On p. 29 ff, Arbeau gives the vocal Pavan for four voices, 'Belle qui
tiens ma vie,' which is quoted in Grove. The proper drum
accompaniment, continued throughout the 32 bars (2/2) is--[Music] etc.
He also gives seven more verses of words to it, and says if you do not
wish to dance, you can play or sing it. Moreover, he adds, that the
drum is not a necessity, but is good to keep the time equal; and that
for dancing you may use violins, spinets, flutes, both traverse and 'à
neuf trous' (nine-holed flute--_i.e._, a flageolet), hautboys, and, in
fact, 'all sorts of instruments'; or you may sing instead.
Arbeau's account of the Passemeze, or Passy-measures-pavin of
Shakespeare, is very simple. He says that the instrumentalists
increase the speed of the _pavan_ every time they play it through, and
by the time it has reached the moderate speed of a _basse-dance_, it
is no longer called Pavan, but Passemeze.
Besides the State Pavan, and the Passamezzo Pavan, there is the
'Pavane d'Espagne,' which has some similarity to the Canaries.
Arbeau says that some consider the name Canaries to be that of a dance
in use in those islands. But he thinks it more likely to have
originated in a Ballet in a Mascarade, where the dancers were clad as
kings and queens 'de Mauritanie,' as savages, with various coloured
feathers. He says it is danced by a gentleman and a lady, from
opposite ends of the room, each advancing and then retiring in turn.