Louis Horst - Pre-Classic Dance Forms (1987) PDF

Pre-Classic
Dance Forms
by
LOUIS HORST
With a New Foreword by

J A N E T SOARES
The Juilliard School
A DANCE HORIZONS BOOK

Princeton Book Company, Publishers
Princeton, New Jersey
Publisher's Note: I'w-Classic Dance Forms was originally pub-
lished in 1937, and subsequently updated in 1940, 19.53, and
1968. I t is a classic work in the field of dance history and
choreography. For this reason, we have decided not to make
changes in the original text, except where ot~viouserrors (such
as omitted lines or words) were made in the original typog-
raphy. Readers are encouraged to consult current research
by dance historians and musicologists for further information.
Copyight, 1937, 1940, 1968 hl I hr, Dnnw 0bser7w

0 1987 by P~zntelonRook Cornpan), Pzlbliihrrs
Thzs ts an unnbrzdgrrl rrpubltcntion of the
onpnal edztzon, firrt publtshrd 111 1937,
by The 1)nncr Obwrwr, Arew York
ISBN 0-87127-276-8
To
Irene Lewisohn,
whose foresight
first made possible new experiments
in these old forms.
Foreword
In 1928, Louis Horst began his search for choreographic trad-
itions that predated ballet. He hoped to find material that
would be applicable to modern dancers who were searching
for new ways to study movement. Nine years later, his studies
bore fruit in the book Pre-Classic Dance Forms. Horst continued
to teach this course until his death in 1964. Fifty years after
its first publication, the text remains an important resource
for students, choreographers, stage directors, dance histo-
rians, and musicologists.
Horst's ideas on the relationship of dance to the other arts
provided the basis for his enlightened pedagogy. He encour-
aged musicality, discipline, originality, and respect fbr histor-
ical dance forms among his students. Horst's special mode of
teaching demonstrated unparalleled results, beginning with
the success of Martha Graham, his "first and best student."
An ardent supporter for modernity in contemporary dance,
Horst believed that dance should no longer be represented
as the handmaiden of music. By returning to a time when
court composers wrote specifically for dance, Horst felt that
a renewed independence could emerge with dance taking a
predominant position. He defined the "pre-classic" period as
one where musical accompaniment provided a framework for
dance, aptly offering a resource for the teaching of' formal
principles of composition to dancers.
In 1928, Louis Horst began to teach choreography at the
PRE-CLASSIC DANCE FORMS
Neighborhood Playhouse, in the midst of his active career as

concert pianist and musical director for the era's most innova-
tive dancers including Agnes de Mille, Doris Humphrey,
Michio Ito, Harald Kruetzberg, and Helen Tamiris. For the
next six years, Horst researched and experimented with var-
ious musical forms. With the precision of an etymologist, he
sought definitions from early musicologists, studied the social
milieu of distant times and examined the simple structures of
rondos, theme and variations, and 2- and 3-part forms. T h e
results of his study were originally published in a series of
articles for his journal Dance Observer between 1934 and 1933,
and were subsequently published in book form in 1937.
Horst lamented the lack of dance literature in an interview
in 1936. "We have histories and polemics and panegryics and
poetry, but no studies in form and composition. It is very easy
for the musician to procure all sorts of theoretical works, but
the absence of this same type of material in dance literatures
has caused me to use music as form (parallel) examples for
[the making ofl formal compositions. In a sense, we are return-
ing music to dance from which it originated.*
In Pre-Classic Dance Forms, Horst asked students to work
with objectivity in a process that required both delineation of
movement and the skillful abstraction of ideas-essential goals
for potential choreographers. After covering the background
of each dance form, he encouraged individual solutions to
the formal problems of composition through the creation of
a personal movement vocabulary. He effectively used the wide
variety of tempos and qualities within the specific forms. This
required an intellectual and physical understanding of the
"Gilfond, H . , "Louis Horst." Dance Observer 111 (2), February, 1936, p. 4.

FOREWORD
musical elements of pulse, meter, phrasing, rhythmic, and

dynamic change.
Horst's seconcl course, i2lodet.i~D u w r F o r m , placed the work
of' the modern choreographer within the context of the other
arts in the 20th century. Louis Horst once commented on his
teaching of Pre-Classic D m c u Forms: "I just took a simple idea."
This simple "idea" has introduced generations of choreog-
raphers to dance composition. T h e "pianistic saint of dance,"
as the newspapers of the 30s called him, Horst taught the
fornlal craft of making dances from his position at the
keyboard. His teaching methods are now at the foundation
of serious choreographic study throughout the world.
Janet Mansfield Soares
Foreword .
Introduction
Pavane . .
Galliard .
Allemande .
Courante .
Sarabande .
Gigue . .
Minuet . .
Gavotte . . . . . . . . . . . . . .
Bourr6e . . . . . . . . . . . . . .
Rigaudon . . . . . . . .. . . . . .
Passepied . . . . . . . .. . . . . .
Chaconne and Passacaglia . .. . . . . .
Some Lesser Forms . . . . .. . . . . .
Addenda One (Authentic Forms) . . . . . .
Addenda Two (Suggested Music) . . . . . .
Index . . . . . . . . . . . . . . .
ILLUSTRATIONS
Branlc . . . . . . . . . . . . . . . .
Pavane at the Court of Louis XI11 . . . . . .
Angna Enters in Pavann . . . . . . . . . .
Galliard . . . . . . . . . . . . . . .
Queen Elizabeth dancing Lavolta . . .
AlIemandc . . . . . . . . . . . . . .
Courante . . . . . . . . . . . . . . .
Berta Ochsncr in Courante . . . . . . . . .
Sarabande . . . . . . . . . . . . . .
Martha Graham in Sarabande . . . . . . . .
Tract of a Sarabande . . . . . . . . . . .
Irish Jig . . . . . . . . . . . . . . .
Agnes de Mille in Bach Gigue . . . . . . . .
Minuet . . . . . . . . . . . . . . .
Doris Humphrey and Charles Weidman in Minuet .
Gavotte . . . . . . . . . . . . . . .
La BourrCe . . . . . . . . . . . . . .
La Bourree Auvergnat . . . . . . . . . .
Arthur Mahoney in Bourrke . . . . . . . .
Rigaudon . . . . . . . . . . . . . . .
Passepied . . . . . . . . . . . . . . .
Tract of a Chaconne . . . . . . . . . . .
Chaconne . . . . . . . . . . . . . . .
Introduction
T HE secularization of the arts at the time of the Re-

naissance brought about important changes in music
and the dance. Art must serve an ideal, either religion or
some consciously held esthetic idea, and during the middle
ages the service of western art was for the church. To the
Renaissance we owe the transferring of this allegiance from
the principles of religion to those of architecture.
In music this change was noticeable both in its tonal and
rhythmic aspects. The tonal character of mediaeval music
was colored by the exclusive use of the Greek Modes, vividly
exemplified in the Gregorian chant. This modal style, coupled
with its irregular rhythm, induced the pale and austere mood
of monasticism, with which the secular ideals of the opulent
Renaissance came into conflict. Secular composers discarded
all the modes excepting the Ionian (our major scale) and
the Aeolian (from which our minor scale was formed). The
Ionian and Aeolian modes had been avoided by the ecclesias-
tical composers, on account of "their wordly association and
irreligious characters," one writer, Glareanus, stating that
"these two modes are particularly adapted to dances"; an-
other mentions the sweetness of the Ionian compared with the
more archaic modes; still another illustrates the depravity of
his age with the declaration that "marriageable young women
delight in learning Ionian dances."
The rhythmic change was equally important. Although the
Gregorian chant adopted the Greek Modes, via the bridge of
PI
Byzantine art, it did not retain the strong rhythmic quality

of Greek music. We are very ignorant of Greek music, but
we know its purpose was to serve the uses of poetry; hence we
are able to presuppose its primarily metric structure. On the
contrary, the Gregorian chant applied these modes to the ir-
regular rhythms of Latin prose. And with this subtle irregular-
ity of rhythm the architecturally-minded Renaissance also
came into conflict. There developed a definite trend to monody
(i.e., a single melodic line with a definite rhythmic accom-
paniment) ; a perpendicular, or harmonic concept of music,
instead of the linear or horizontal style of the mediaevalists.
For this new harmonic style it was inevitable that the com-
posers should select the Ionian mode; for, "it is harmonic in
feeling, and mdissolubly bound up with the harmonic series"
(of over-tones), "whereas the other oid modes are wholly
melodic in feeling, and hostile to harmony." (Cecil Gray)
A consideration of these two important changes in music
must prove that the development of a period of great dance
music was inevitable, or rather, when, in the fifteenth and
sixteenth centuries, a great dance movement swept over cul-
tural Europe, music was prepared to serve it. It has been for
this reason that these aspects of musical change have been
dwelt upon.
It may be true that a great period in architecture always
goes hand in hand with a like period in the dance, but the
dance of the Italian Renaissance proved at first anything but
great and had to wait until transported to France for its
full and formalized development into a great art. It was the
union of the lighter, though patrician art of the south with
the more vigorous, though sometimes plebeian art of the north,
that brought forth this new social rite, known as the court
dance. It was a blend of the rich brilliance of Italian life,

the sombre, religious emotion of Spanish life, the rude intel-
lectual vitality of the Netherlands, and the pastoral serenity
of English ideals. T o this must be added the influence of the
popular art of the Troubadours and their Courts of Love in
France, and the dancc-tune hymns of Martin Luther's Re-
formation in (krmany.
Other cxternal but important influences must be mentioned ;
the invention of printing, together with great improvements
in the calligraphy of music and the birth of dance script. Their
dissemination among the laity encouraged the recording
and preserving of the contemporary art forms. Hitherto the
sole repositories for learning had been the monasteries, and
the monks could hardly be expected to keep records of such
profane arts as the dance and its accompanying music.
Strangely enough, however, the first, and still probably the
finest history of the dances of his time, was written in 1588
by a monk named Jehan Tabourot. I t is called Orcheso-
graphie, and was written under the pseudonym of Thoinot
Arbeau. No study of these dance forms can even be attempted
without a perusal of this work.
Another external event of importance was the transplanting
of Catherine de Medici and her luxury-loving court from
Italy to France. These facts, and more could be cited, only go
to prove that if we owe the renaissance of dancing to Italy,
we owe its development to France. Up to this time dances had
only general classifications. The Aranle was susceptible to a
variety of forms--some in 4/4 time, others in 3/4 or
2/4. There were the Branle de Poitou, Branle des Brandons,
Brnnle mimes, etc. There was the basse danse in which the
feet did not leave the floor, also the haute danse in which there
INTRODUCTION
were skips and jumps, but still no prescribed forms. During

the sixteenth century we see great results in clarification, and
rules were formulated for the proper steps for each dance,
and the proper strict form for the music thereto. Here we have
the greatest benefit this period bestowed. O n the side of the
dance, we see evolving from it a new ballet with form, rules
and a vocabulary of steps. Musically, the different dance
forms through the need for contrast soon were grouped into
a certain order by the composers, giving birth to the Suite.
Couperin called his Suites Ordres. And it was this same Suite
which served as a cradle from which was reared the most im-
portant form of the entire classic period, the Sonata form.
I t is not necessary for one to agree with the artistic taste
displayed to realize that this was indeed an important period
for the dance. I t was a time when almost all the great music
was dance music. Modern composers, in their return to
architectural principles after the bathos of romanticism,
again are writing Pavanes, Sarabandes, Passepieds, Gavottes,
etc. These include such names as Satie, Faur6, Debussy,
Ravel, Prokofieff, Honegger and Schoenberg. True, they are
of modern harmonic texture, and of larger dimension, no
longer the rather trite two-part form of the originals, but
considering the evolution of music and thought since the
sixteenth century, they could not be otherwise.
Of the dance wc must admit that it truthfully reflected
the life of that period, even though it may seem baroque,
and later decidedly rococo, to us. But of the two, music has
fared better than the dance, primarily because we do not
demand of music that it always reflect our age, whereas its
contemporaneousness with the tempo of our time is the gauge
by which we measure the dance.
[>I
Pavan e
Who doth not see the measures of the Moone,

Which thirteene times she daunceth every year?
And ends her Pauine thirteene times as soone
As doth her brother.
(Sir John Davies,-Orchestra, 1596) .
T HE ceremonious dignity, splendor and grave pride in-

herent in the steps and rnusic of the Pavane are sug-
gested by its name, which is derived from the Latin --Puvo-
peacock. The dance brings to one's mind all the metaphors
suggestive of that stately and pompous fowl. Its origin can be
traced to the formal and austere court life of inquisitional
Spain, and therefore we must inevitably add to its charac-
teristics that of a sombre religious mood. This close relation-
ship to the church gave the music much of its chant-like
quality.
Dancing always had been an integral part of the ceremony
in the churches of Spain on notable occasions. The well known
Pavane for a Defunct Infanta by Ravel (1875-) was un-
doubtedly suggested by this fact. The Pavane Saint T h o m a s
Wake, by John Bull ( 1563-1628), likewise suggests a religious
conception. Our great authority Arbeau (b. 1519), in his
Orchesographie ( 1 588 ) , informs us that "our musicians play
it when a damsel of good family is taken to Holy Church to
be married, or when musicians head a religious procession
of the chaplains, masters, and brethren of some notable
guild."
Some authorities hold that the Spanish Pavane was a vari-

ation of the original dance, which had an Italian origin, and
view Pavana as reduced from Padovana (Paduan). But the
Oxford Dictionary claims the phonetic difficulties in identify-
ing the two words are serious, and that they are probably
distinct terms, which may afterwards have been confused by
those who knew the history of one of them only. Also, ac-
cording to the Dictionary of the Spanish Academy, Pavana
(found in the Diccionario Pisado, 1552) is a derivative of
"Pauo-peacock." The old German name was Pfauentanz-
peacock dance. The weight of testimony certainly seems to
favor a Spanish origin.
The Pavane sustained its popularity from about 1530 to
1676. One of the earliest allusions to the Pavane in English
literature was written in 1530 by Elyot: "We have nowe
base daunsis, pavions, turgions, and roundes." This is affirmed
by Lyndesay, another writer of the sixteenth ceniury, who
in 1535 wrote:
"We sall leir now to dance

Ane new Pavin of France."
At the Spanish and French courts the Pavane was de-

veloped into a processional pageant of great dignity and an
imposing spectacIe. It was one of the oldest Basse Danses,
(literally, low dance, or a dance in which the feet of the per-
formers did not leave the floor.) Dances which required jump-
ing were called Haute Danses. The Dictionnaire de Treuoux
( 1721 ) describes the Pavane as a "grave kind of dance, bor-
rowed from the Spaniards, wherein the performers make a
kind of a wheel or tail before each other, like that of a
peacock, whence the name." It achieved the title of Le Grand
PAVANE
Bal, and usually constituted the opening of all ceremonious

balls, generally being followed by the livelier Galliard. "It is
used by kings, princes and great lords, to display themselves
on some day of solemn festival with their fine mantles and
robes of ceremony; and then the queens and princesses and
the great ladies accompany them with the long trains of their
dresses let down and trailing behind them. These Pavanes are
also used in masquerades (or ballets) when there is a proces-
sion of triumphal chariots of gods and godesses, emperors or
kings resplendent with majesty" (Arbeau) . The spirit of such
a scene is caught in the following verse:
Splendour dorCe et rose et bleue
D'un innombrable diamant
Le paon miraculeusement
Developpers son ample queue ;
En la largeur de ses deplis
Tout un eta1 d'orfh-e tremble,
Et la Pavane h i ressemble
Mais aver des pied plus jolis!
It was a grand, a solemn, and a majestic dance, often ac-

companied by a song, with hautboys, while drums accented
the rhythm. This drum rhythm is clearly illustrated in the
Pavane Belle Qui Tiens Ma Vie from Arbeau's Orcheso-
graphie. Additional evidence of the high estcem in which it
was held can be gathered from an old engraving showing the
Cardinals of Narbonne and Saint Severin dancing a Pavane
before Louis XII, at Milan, in 1499. Chambonnieres (1620-
1670) composed a Pavane with the high-sounding title of
L'Entretietz des Dieux.
That the Pavane never became much more than a simple
walking, with slight variations, is self-evident; the chief
BELLE QUI TIENS M A VIE
rrAvrne)
Tiric dc I'Orchoogrsphic dc JEANTABOURET (I 589)
CHANT
PIANO
T 1 - 1 1 '
. . - rlr .
I -
m'aa 1% . me rn vt e D'un uou 81.. c l eux,
(.elle pdbane ol u n mod& d o danw. c l t ~ n l k s a ut e m p ,It 1.1 I(en.iassa~~~c. I..cr~lepour le\ quatrc \ola du quatuor m i l l c . On la
p u t ~ o u l e f o chrntrr
~r 2 volr sculc, le, .tulrer parrlo servant J accornpaKncmen1 ~nrtrumentdl.
C'c51 Ih unedrnse noble. unc dansede cour don1 on ne s r u r w lrop nlarquer les cCrCmonlcuscs cadcncn 0 1 1 nc do11point ndfiligr
la parue de wmbour (ou u m b o u r ~ nq u ~rythme ct p r h r e Ic par).
&ous dcvons ces trols monuments d'un archnisrne ,Icxprrzwl .i13 complaisance dclalrde de hl. llcnry Kapcrl. I'ornanisrlcur
bvrrls (.e,~rrrrtr hi\toriaucr d u wmedi h I ' o p f m - C o n l ~ q u rd3
. ils run! elre CIIJ~I~S.
dictum required that "the students of this dance must en-

shroud their very souls with majestic dignity." It was danced
in a slow tempo, by one couple or many couples. Before begin-
ning the dance the performers walked gravely around the
room and saluted the King and Queen, or the great dignitaries
who gave the ball. The steps were simple and were called
advancing and retreating. In retreating, the gentlemen walked
behind their ladies, leading them by the hand; a few gliding
steps and a great many curtseys followed, and everyone re-
gained his place. Next, one of the gentlemen advanced alone,
and, describing a slight curve in the middle of the ballroom,
went en se pavanant (strutting like a peacock) to salute the
lady opposite him. Finally, taking some backward steps, he
regained his place, bowing to his own lady. The above des-
cription of the figures illustrates the simplicity of the Pavane.
About 1857, during his travels in Spain, Baron Davillier
(1823-1883) found the following colloquial uses of the
word Pauane still in vogue. "To this day in Spain, they speak
of son entrados de Pavana-the Pavane-likeentry of a
man who comes mysteriously and with ponderous gravity
to say something ridiculously unimportant." And also, "son
pasos de Pavana is said of a personage whose walk is af-
fectedly slow." He quoted a Spanish author as saying: "The
Pavana mimics the charming attitudes of the regal peacock,
who sways about as if he were on wheels."
Shakespeare refers to the Pavane in a rather cryptic fashion
in Twelfth Night:
"Then he's a rogue, and a passy measures pavyn;
I hate a drunken rogue."
This obscure passage has caused much questioning by
Shakespearian annotators. It seems best answered by one who
PAVANE
discovered a manuscript of a passinge measure Pavyon* con-

taining the following directions for dancing it:
Two singles and a double forward, and two singles syde.
Reprynce (repeat?) back.
The form of the music, like the steps, is simple; a very slow
4/4 or 2/2 rhythm, beginning solidly on one, and contain-
ing no florid or running passages. A Pavane consisted of two
or three strains of eight, twelve or sixteen bars each. We can
gain no better understanding of the music than by conning
the pages of the musicologists of the period. Butler, in Prin-
ciples of Music ( 1636), speaking of the Doric mode, has the
following: "Of this sort are Pavins, invented for a slow and
soft kind of dancing, altogether in duple (2/2) proportion."
Thomas Morley, in A Plaine and Easie Introduction to Prac-
tical Musicke ( 1597). says, "The next in gravity and goodness
is called a Pavane, a kind of steide musicke, ordained for
grave dauncing. In this you must cast you musicke by foures
(4/4). After every Pavane we usually set a Galliard." With
this coupling of the Pavane and the Galliard ( a slow 4/4
or 2/2 followed by a quick 3/4) the all-important Suite was
born, or, at least, its forerunner.
According to Parry, the eminent contemporary English
musicologist, the English composers appear to have illustrated
the manner of transition from the individual dance forms to
Suites much more clearly than the composers of other coun-
tries. The Pavane appears so frequently at the beginning of a
Suite that it is scarcely to be doubted that composers actual-
ly regarded it as the most eligible preliminary movement,
* Pussy Measures is a corruption of Passamezzo-an Italian variant of

the Pavane. See Lesser Forms.
just as the courts had regarded it for their balls. It was gen-
erally written in a very solid style, and with such contra-
puntal devices as completely obscured its dance origin. Thus it
became a massive preiude from which developed the introduc-
tory measures to the overtures of the classic period, known to
musicians as the "French Overture." Later (about 1620) the
Allemande supplanted the Pavane as the initial movement of
instrumental Suites. This will be discussed fully in the chapter
dealing with the Allemande.
Among the best known of these forerunners of the Suite, we
must mention John Dowland's Lachrymae, or Seven Teares,
figured i n Seven Passionate Pavans ( 1605). Two of the oldest
and finest Pavanes recorded are those quoted by Arbeau; the
lovely song Belle Q u i T i e m M a Vie, and a Pavane d'Espagne.
Others famous in their time are T h e Earle Of Salisbury
Pavan, by William Byrde ( l538-1623), and Nopee de Vil-
lage, by Lully (1633-1687).
Although greatly indebted to the form, the composers of the
classic and romantic periods wrote no openly avowed
Pavanes, until Gabriel Faure ( 1845-1924 ) produced, in 1901,
the Pavane for Chorus and Orchestra, O p u s 50. Since then
many other modern musicians have often turned to these
earlier forms for inspiration. The old dance forms have had
a rebirth; and of modern Pavanes we have many excellent
examples. Among the outstanding ones are those of Bainton,
Messager, Merigot, Albeniz, Poulenc, and the two well-known
ones by Ravel, the aforementioned Pavane pour une Infante
Defunte, and the P ~ u a n ede L a Belle au Rois Dormant, the
first number of his Mother Goose Suite.
These old forms can serve the dancer as well as the musician.
The puke and form of the Pavane combine to make an ideal
ANGNA ENTERS
in Pavana, Spain, 16th Century.
accompaniment for any dance, subjective or objective, in

which the mood desired is one of power, slow-moving
strength, or extreme formality. The slow tempo of the music
and the extreme gravity of the steps have also rendered this
dance useful as a means of ridiculing eccentricities. Of the
more objective examples among modern dancers we must
mention Angna Enters' splendid Pavana, Spain, 16th century,
in which she has brought out all the ominous Borgia-like spirit
of Spain of that period. An excellent abstract example is the
highly formalized group dance, Masque, the second move-
ment of Martha Graham's Suite Chronicle, to which WalIing-
ford Riegger has composed the music. On a recent tour the
Jooss Ballet presented a stylized, though more obviously
theatrical group dance, entitled Pauane for a Dead Infanta,
to Ravel's music.
Galliard
Capriol-Well, here I am, holding a
damsel by the hand; my
reverence is made, my bonnet
replaced, and my features
composed. In what manner
shall I begin?
(Arbeau: Orchesographie 1588).
F9" any information regarding the Galliard ( Fr : gail-

arde; I t : gagliarda) we can go to no more complete
source than did Caprio!, when he desired to learn the steps of
this dance. For Arbeau has written at greater length ol the
Galliard than has any other author, and also more of the
Galliard than he has of any other dance. In his unique
Orchesographie (Beaumont translation) there are fully forty
pages devoted to it; the steps of at least twenty Galliards are
given, as well as the melodic phrases of many popular Gal-
liard tunes of that day.
Arbeau says, "The GalIiard is so called because one must
be blithe and lively to dance it." Another definition, directly
from the dictionary, has galliard-a gay or dashing person
(from the old French: galach-lively). "Come, Madam, let's
be frolick, galliard, and extraordinary brisk." (Shadwell,
1671. ) These fully explain the outstanding characteristic of
the dance: that of gaiety. But it is a vigorous, a strong gaiety.
In the Oxford Dictionary we find an obsolete use of the ad-
GALLIARD
jective galliard. There it is defined as hardy, valiant, sturdy.

In 1533 Elyot writes, "Vehement exercise is compounde of
violent exercise and swifte when they ar joyned togither at one
tyme, as dansyng of galyardes."
The origin of the Galliard is attributed to Italy, where it
was also known as the Romanesca, and according to some
Italian authorities its name was derived from gigolane, name-
ly kicking. It enjoyed its greatest period of popularity from
the last quarter of the sixteenth century to the middle of the
seventeenth century. Shakespeare refers to it often, especially
in T w e l f t h Night:
"Why dost thou not go to church in a galliard and come home
in a coranto?"
"J did think, by the excellent constitution of thy leg, it was
formed under the star of a galliard."
and in K i n g Henry the Fifth :
"-the prince our master
Says that you savour too much of your youth
And bids you be advised
There's nought in France
That can be with a nimble galliard won."
Indeed, the fact has come down to us from the pen of Par-
nakh in his Histoire de la Danse that Elizabeth of England
exercised each morning by doing six or seven Galliards.
Arbeau tells us that "it is usual for the Pavane to be suc-
ceeded by the Gaillarde." When it became customary to fol-
low the slow stately Pavane in 4/4 time with the quicker and
gay Galliard in 3/4 time, for sake of contrast, the Suite was
born. That was really an important event, especially when
we follow further the development of this dance Suite into the
Sonata form of the classic music era. I n many cases the Gal-
Queen Elizabeth dancing lavolta with the Earl
of Leicester .
GALLIARD
liard was constructed from the same melodic theme as the

Pavane which preceded it. And Thomas Morley (1597) in-
sist. upon the following rhythmic unity: "How manie foures
of semibreves you put in the straine of your pavan, so many
times sixe minimes must you put in the straine of your gal-
liard." The Pavane and Galliard by Phalese ( 1571 ) and the
Paduan and Galliard by Peuerl (1575-1625), both in
Geschichte der Musik in Beispielen, (published in 1931 by
Breitkopf and Hartel) are excellent examples of this emL
bryonic Suite in only two parts.
However, the oldest form of the Galliard was called the
Tourdion, and was, as Arbeau says, "danced more quietly
and with less violent actions." There were really three varieties
of the Galliard. The Tourdion, for the more stately dancers,
was danced with gliding steps, the feet not leaving the floor.
The Galliard itself, for the less stately, was danced with many
kicks, hops, and jumps. Barnabe Riche ( 1581) has left us his
impressions of this variety: "Our small galliardes are so
curious, thei are not for my daunsying, for thei are so full of
trickes and tournes, that he which hath no more but the plain
sinque pace is not better accoumpted of than a verie bongler."
One authority tells us that in the Tourdion the lady was
always led by the hand, whereas in the Galliard everyone
danced alone. The Tourdion was an opportunity for the more
skillful dancers, first the lady dancing alone, then the gentle-
man. Arbeau counsels Caf~riolto be "modest"-"that is to
say, to dance close to the ground, to make the five steps quiet-
ly, and further, to make a circle round the room, holding
your damsel the while. Then, taking your conge' when you are
so inclined, you will let her dance alone, and beginning to
dance your five steps higher from the ground until you return
in front of her. Then in lively spirits, you will make such

passages as please you. For, if you spring too gaily at the
beginning, it would seem as if you wish to perform impos-
sibilities."
The third variety is known as the Voltk, popular with the
young and agile dancers because of the turning and lifting
of the girls by their partners. Arbeau suggests the vigor of the
Volt6 and its departure from the usual refinement and grace.
"After having turned for as many cadences as it pleases you,
restore the damsel to her place, when she will feel, whatever
p o d face she puts upon it, her brain confused, her head
full of giddy whirlings, and you cannot feel in much better
case. 1 leave you to consider if it be a proper thing for a
young girl to make such large steps and separations of the
legs; and whether both honour and health are not concerned
and threatened." In spite of his moral concern, Arbeau on
the very next page gives Capriol the following sound and
lusty directions: "If you wish to dance the Volt(, you should
place your right hand on the damsel's back and the left below
her bust, and, pushing her with your right thigh beneath her
rump, turn her." This lack of refinement may have been the
reason for Praetorious' jb. 1571 ) declaiming against the Gal-
liard; calling it "an invention of the devil, full of shameful
and obscene gestures and immodest movements." After the
foregoing descriptions it is not surprising that the ladies of the
period ornamented their garters with their most precious laces
of gold arid silver. What is surprising is that Desrat (in Traite
de la Danse) states that "it was unknown to the common
people, as the gaillarde was always reserved for the gentle-
women and the gentlemen." During the reign of the chaste
Louis XIII, the Volt6 disappeared completely. The Galliard
[221
GAGLI.4RDA
Hans Leo Hassler. ( 1564-1612)
followed soon after as we do not find it under Louis XIV.

All three varieties of the Galliard were based on its out-
standing rhythmic characteristic, that which gave it its other
name of Cinque Pus (Fiue S t e p s ) , or, as we find it in old
English plays, Cincopace. As Arbeau explains it, "the Galliard
ought to consist of six steps, seeing that it contains six crot-
chets (quarter-notes) played in two bars of triple (3/4) time.
A11 the same there are only five steps, because the fifth and
penultimate note is lost in the air." On the count of five the
dancers always executed either a little or a big jump, landing
in a cadent posture on the count of six. I n the Tourdion the
jump was little, in the GalIiard the jump was big, and in the
Volt6 the man lifted his partner on this count of five. In
England, during that time, the jump or leap on the count
of five was known as the caper. To quote again from T w e l f t h
N i g h t : when Sir Toby asks, "What is thy excelIence in a
Galliard, knight?", Sir Andrew answers, "I can cut a caper."
In the early musical settings we very often find no note on
the count of five. G o d Save the King (undoubtedly an old
Galliard tune) is a fine example, if not one of the gayest.
Exceptionally fine Galliards were written by Hassler,
Frescobaldi, Peuerl, Byrde and Dowland. The writer has dis-
covered no modern examples, although Respighi ( 1879-
1936) transcribed one by Galilei ( 1550), which is rather full,
but not very modern in texture. The modern dancers have
likewise neglected this form. Students, however, should still
find it an excellent pulse for a dance of sturdy, strong, and
gay movement. And a good kinesthetic hint for a subjective
or abstract approach is to be found in Funk and Wagnall's
Dictionary which defines gay as derived from the old French,
gahi, meaning quick and sudden.
Allemande
HE earliest English reference to the Allemande is

T found in a Scotch chronicle of 1549: "Thai dancit
a1 cristyn mennis dance, the alman haye." However, as
indicated by its name, the Allemande (in Old English,
alman, alrnain or almayne) has an allemanic or German
ancestry, and it is the only form contributed to this galaxy of
courtly dances by the Germans. It was a very old mediaeval
dance, and, in its priinitive form, was undoubtedly performed
with no great grace. For example, Peele, in 1584, refers to
"Knights in armour, treading a warlike almain." In 1597
Thomas Morley described it as "a more heavy daunce, fitlie
representing the nature of the people whose name it carrieth,
so that no extraordinary motions are used in the dauncing of
it." Arbeau also does not accord it much style, and calls it
a "plain dance of a certain gravity, . . . with little variety of
movement."
After being introduced at the court of France it rapidly
took on the extremely graceful and sentimental characteristics
that procured for it great popularity and the rather paradox-
ical name of allemande lrancaise. Half a century after Mor-
ley's description we have another English musician defining
allmaines as "lessons, very ayrey and lively" (Thomas Mace,
Murick's Monument. 1650). This resembles the spirit given
us by Arbeau in his account of the dance: "In dancing the
ALLEMANDE
(12 Figures)
( S . Guillaume. Positions et attitudes de Z'dllemande.)
Allemande, a young man may sometimes steal a damsel, tak-

ing her from her partner; and the one who is thus robbed
endeavours to capture another's. But I do not approve at all
of this manner of dancing it, since it may lead to quarrels and
discontent."
But the bulk of testimony, and the music that has come
down to us, do not give evidence of any accent upon airy
liveliness. On the contrary, the beauty of the Allemande lay
in its rather slow and flowing grace, especially of the arms, and
in its outstanding peculiarity that required the partners' hands
remaining joined throughout all the "turns and evolutions of
the dance." Praetorious (in Syntagma musicum, 1619)
writes: c'Allemande means this much, as a little German
song or dance, because Alenzagna means Germania and un
Alemand, a German. But this dance is not so dexterous and
agile as the Galliard, but on the contrary somewhat melan-
choly and slower." In giving up its earlier heritage of Ger-
man heaviness, it had acquired the more appealing charac-
teristics of sentiment and tenderness.
As the outstanding trait of the German people is sentiment,
it was logical that the Allemande should have become the
most sentimental of all court dances. And, as Delsarte claims,
if the most sentimental part of the body is the inside of the
arm, it is again logical that the Allemande should be the
only court dance in which the dancer held both of his or her
partner's hands. Long after the Allemande had ceased to
exist as a dance, it was remembered as a step. To Allemande
meant to turn one's partner with arms interlaced.
In Desrat's Dictionnaire de la Danse there is a rather full-
blown eulogy of the Allemande by Dorat, a poet of the period.
A literal translation follows:
ALLEMANDE
"Happy Germany is simple in its dance.

She has given to us one, which, in our fetes,
To our young beauties, renders many conquests.
Learn all of these steps, all these enchainings,
These natural gestures so full of sentiment;
This amorous labyrinth; this mobile bower,
Where arms cling in crossing and circling;
And this snare so sweet, where the tender enchaining
Permits a theft which is so often forbidden."
This, (despite the hyperbolical images, ) together with the
accompanying eighteenth century print, leaves little more to
be said of the dance.
As to the musical form, we find that it consists of the usual
two sections (very often of an uneven number of measures)
in four-quarter time, usually beginning with a short eighth
or sixteenth note up-beat. The tempo is rather slow and dig-
nified, but gives a sense of flowing movement through the
use of many sixteenth notes in its melodic structure. It is
simple and straightforward. Mattheson ( T h e Conzplete Con-
ductor, 1739) defines it as "a broken,* serious, and well-
elaborated composition, which bears the image of a contented
or happy mind that delights in good order and repose. As
a truly German invention, it precedes the Courante, just as
this precedes the Sarabande and Gigue; which sequence of
melodies one calls by the name of Suite."
The Allemande's chief claim to distinction might be said
to rest upon its supplanting the Pavane as the opening move-
ment of the great Suites of the classic period. Moser (Musik
Lexikon) places the date of this change about 1620. Yet
* Broken refers to the broken-chord element, used to bring about
rhythmic flow.
Alle mande
ALLEMANDE
G . F. Handel. ( 1685-17 5 9 )
ALLEMANDE
fifty years later we find "To play first a grave pavin or

almain" (Shadwell, 1676. ) The English evidently did not
accept this change as readily as the Germans.
But the change was inevitable, and was due to at least two
causes. The primary one, obviously, was the ascendency of
the German composers in the world of music at that time. It
is easy to understand why these composers, with nationalistic
fervor, should wish to commence their Suites with the Al-
lemande. The second and more legitimate reason, was prob-
ably due to the outstanding, and diametrically opposed,
qualities of the two forms. Though both in a slow 4/4 pulse,
the hard and inflexible quality of the Pavane did not prove
nearly as structurally pliant a medium for musical manipula-
tion as the softer and more plastic melodic line of the Al-
lemande. In attaining this stature as an important instru-
mental piece, it probably underwent a greater change than
any of the other dance forms. Ernst Mohr has traced this
long development in an excellent analytical work entitled Die
Allemande; eine Untersuchung ihrer Entizicklung v o n den
Anfangen bis zu Bach und Handel. (Hug & Co. Leipzig,
1932. j An English musicologist, Dr. Frederick Necks, has
also written two splendid articles on T h e Allemande i n the
Suite. They appear in the London Monthly Musical Record
(Vol. 40, Nos. 472-473, 1910.)
Musical history records many fine Allemandes. We find the
oldest that have come down to us in the book by Ernst Mohr.
He quotes the first lntinized one encountered; a short eight-
measure Almande by Peter Phalese, published at Lyons in
1546. Then, in order, he gives us seven Allemaignes by Tiel-
man Susato, Antwerp, 155 1 ; four Allemandes by Claude Ger-
vaise, from Troisieme livres de danceries, Paris, 1556, and
nine more Almandes by Phalese, published in 1571 at Ant-

werp. One cannot help but notice the close resemblance of
these Allemandes to the Pavane; no up-beat, no flowing
passages of sixteenth notes, and even very few eighth notes.
Outstanding Allemandes of the later period are those by
Purcell, Blow, Bach, Handel, and Francois Couperin.
Couperin always titled the Allemandes of his Suites, which he
called Ordres. Some of these are La Superbe, La Regente,
La Misterieuse, L a Castelane, L'audaceuse, and even L a
Couperin. The finest of them, however, is the dramatic La
Tenebreuse ( T h e Dark O n e . )
Modern composers have not turned to the Allemande as
they have to the other pre-classic forms, probably because of
its essential character of sentimentality; a mood that has been
approached with great caution by the composer as well as
the dancer of today. The very nature of its flowing phrases
is in direct opposition to the shorter, sharper and more eco-
mica1 phrase-construction of our time. This has not been true
of the Pavane or Sarabande, as their simple construction
and depth of emotion, rather than sweet sentiment, have ap-
pealed directly to the modern composer. The only Allemandes
written by contemporary composers, and known to the writer,
are those of Niemann and Prokofieff. Dance students should
however still find this forrn useful for experiments with arm
movements, and the projection of sentiment sans senti-
mentality.
(Lambranzi. N e w School o f Theatrical Dancing)
COURANTE
Couran te
"The volt&, courantes, and vyolent daunses

proceed from furie."
(Sir E. Hoby, 1586.)
T HE Courante was a great favorite for two centuries

(about 1550 to 1750), and passed through three dis-
tinct developments during its long existence. No other
court dance sustained its popularity for such a long period,
with the possible exception of the Minuet. Indeed, for some
time the rivalry between the teachers of these two dances
was extremely bitter.
Concerning its origin, we find a great difference of opinion.
Some authorities attribute it to Italy, while others say it orig-
inated in the French province of Poitou. Both claims, how-
ever, are probably correct, the Courante really stemming from
two separate sources.
The first form of the Courante, called the Corrente (from
the Latin: curro--to run ) , undoubtedly came from Italy.
It answered truly to its etymological meaning, the music con-
sisting chiefly of running passages of eighth notes in a rapid
3/4 time. I t was one of the dances brought over from Italy to
France by Catherine de Medici. The period of this type of
Courante is set by the above quotation from Sir Hoby, ( 1586)
and by the following lines from Sir John Davies' Orchestra,
COURANTE
(1596), probably the finest of the early works on dancing

written in English.
"What shall I name those current travases,

That on a triple dactyl foot do run
Close to the ground with sliding passages,
Wherein that dancer greatest praise hath won,
W-hich with best order can all order shun:
For everywhere he wantonly must range,
And turn and wind with unexpected change."
A year later, in 1597, Thomas Morley describes "the Volt6
rising and leaping, the Courante travising and running." ( A
Plaine and Easie Introduction to Practical Musicke.) I n Ger-
many it was known as Spring T a w . Fonta informs us that "it
is danced with short passages of coming and going, and has a
very pliant movement of the knees, which recalls that of a fish
when it plunges lightly through the water and returns sud-
denly to the surface." (Introduction t o the French edition of
A r b e a u ) . Among the Courantes of this classification we find
many excellent ones by Lully, Zipoli, Blow, Kirnberger and
Loeillet.
The second form, which undoubtedly had its origin in
France, is the true court dance form, to which the Courante
owed its long and great popularity. Known as the Branle of
Poitou, it is one of the oldest figure dances that has been
handed down to us. Originally it seems to have been a pan-
tomime dance in double rhythm. The following is Arbeau's
description of such a Courante:
"In my young days there was a kind of game and ballet
arranged to the Courante. For three young men would choose
three girls, and having placed themselves in a row, the first
dancer would lead his damsel to the end of the room, when
ALLEGRO
CORRENTE
J. P. Kirnberger. ( 172 1-1 783)
MODERATO.
COURANTE. (6/4-3/2 Varietv)

J. C. de Chambonnieres. (1620-1670)
he would return alone to his companions. The second would

do the same, then the third, so that the three girls were left
by themselves at one end of the room and three young men
at the other. And when the third had returned, the first, gam-
bolling and making all manner of amorous glances, pulling his
hose tight and setting his shirt straight, went to claim his dam-
sel, who refused his arm and turned her back upon him; then,
seeing the young man had returned to his place, she pretended
to be in despair. The two others did the same. At last all three
went together to claim their respective damsels, and kneeling
on the ground, begged this boon with clasped hands, when the
damsels fell into their arms and all danced the Courante pell-
mell." ( Orchesographie, 1588.)
With this description Arbeau quotes four bars of music for

a Courante, in 2,/2 time. This duple rhythm must have been
transformed into 3/4 (or 3,'2) time long before the Courante
had won its success at court, as we find none by the great
composers other than in triple rhythm. In contrast to the early
Courantes which Thomas Macy (1650) describes as "full of
sprightliness and vigour," this type is not in rapid tempo and
there are fewer lively passages of eighth notes. In fact, the
tempo is moderately grave and more often in 3/2 time than
in 3/4. This form of the Courante was even considered by
dYAlembertas a slow Sarabande, while the famous dancing
master, Picour, taught it not unlike the Minuet. Charbonnel
(in La Llanse) adds that it was above all a dance of attitudes,
and, at one time, owing to its gravity, was called L a Danse de
Docteurs. However, despite all its air of nobility, by which the
lords showed off their grand manners and their gallantry with
all frankness, it still contained some running and gliding, and
steps done with a slight jump; these steps often describing a
zigzag pattern across the floor.
This is the type of Courante which caused Johann Matthe-
son ( D e r Vollkommene Capellmeister, 1739) quite a senti-
mental brain-storm. The usually logical German composer and
musicologist says: "If the Courante is to be danced, we find
this unalterable rule, of which the composer must take par-
ticular care, whether he has conceived it as from the orchestra,
from the Low German, etc. No time-measure other than the
3/2 is permitted therein."
"It attains its name through a continuous running; it is
wholly justified in doing so; yet it must occur charmingly and
tenderly."
"The masterpiece of the lutenists, especially in France, is
generally the Courante, upon which one can employ his ef-
forts and skill to good purpose. The passion or emotion that
should be brought out in a Courante is that of sweet hope.
For we find in this melody something courageous, something
desirous, and also something delightful: all of them parts of
which hope is composed."
He then goes on to defend his sentimental interpretation:
"As no person may yet have said this, or seriously have thought
on, so many will believe I sought in these matters that which
was not to be found, but had its birth in my own brain. But I
can lay before every one's eyes the palpable evidence of these
above-mentioned three conditions from which follows the
existing emotion, which is to be found, and must be, in every
good Courante. I am absolutely certain, if the lovers of the
lute will examine their Courantes, they will discover this to
be equally true."
BERTA OCHSKER
in The King Points Out thc Fine Points of the Courante
COURANTE
Courante, was evolved from the former two by the musicians

of the period. They made one measure of 614 time out of
two measures of 3/4, and, using the number six as the least
common multiple, produced effective changes of rhythm by
writing some measures in 6/4 time ( 2 times 3 with the pulse
on 1 and 4 ) ) and some in 1112 time ( 3 times 2 with the pulse
on 1, 3 and 5 ) . There was no rule as to when these changes
should occur. In fact, each of these Courantes seems to have
a diBercnt rhythmic scheme. We find, however, that the last
measure is always in 6/4 time, and the penultimate measure
almost always in 3j2 time. No description of the steps of the
Courante ever gives any hint as to the necessity for this change
of rhythm, so that we infer it was probably a device originated
by the composers. Francois Couperin was the most prolific
composer of the Courantes in this classification, although Bach,
Chambonnieres and Rameau have also contributed some fine
examples. Berta Ochsner has used these changes of rhythm
very effectiveIy in a dance entitled T h e King Points Out the
Fine Points of the Courante, to Chambonnieres' music.
The accompanying illustration shows a few opening meas-
ures of the three different types. The first, by Loeillet, is a
good example of the Italian running Corrente; the second,
by Purcell, is the stately court Couralite in a moderate tempo;
the third, by Couperin, is the instrumental Courante. Altho
the time signature in the last is 3, 2, it will be noticed that the
very first measure is in 6, 4 and the second in 3,'2 time. All
three, however, begin with an eighth note up-beat, as all
Courantes should properly begin.
As the Galliard followed the Pavane, so the Courante, in
Germany, was the Abtanz (Proporz) after the IInupt-taw
(Allemande). It thus achieved the position of second move-
t411
As the Galliard followed the Pavans, so the Couranta, in
German);, was the A htcrnz (Propun) after the Haupt-Tunz (Alle-
mand~).It thus achieved the position of the second move-
ment in the four-part classic Suite (formed about 1620) ; the
basic pillars of which were the Allemande, Courante, Sara-
bande and Gigue. As such, (when the Suite evolved into the
four-part Sonata) its form and characteristics became the
germ for the Scherzo, or second movement of that important
form. The Scherzo from Beethoven's Fifth Symphony (espe-
cially the Trio) is a good example in question.
The structural form of the Courante is made up of two
parts, usually of 16 or 32 bars each. Modern composers have
neglected the Courante; Walter Niemann and Cyril Scott
being among the few who have written any. Bela Bartok ( T r e
Correnti) has transcribed three by Michelangelo Rossi ( 1630-
1660)) giving them a fuller and more modern texture.
Running plays an important role in the vocabulary of the
modern dance, especially in group compositions, such as Mar-
tha Graham's Course and Doris Humphrey's New Dance.
The Courante should prove a very useful medium for student
investigation in such movement as leads to an interesting, for-
mal and aesthetic employment of running motives in dance
composition.
Sarabande
So you but with a touch of the hand

Turn all to Saraband.
(Lovelace, 1659.)
OLDING the same position among 3/4 rhythms as the

H Pavane does among the 4/4 variety, the Sarabande
likewise exhibits the same characteristics of gravity, pride,
solemnity, and (true to its Spanish ancestry) religious and
processional austerity. That it was adopted by the courts of
Europe at a later period than the P a v a ~ eis evidenced by the
fact that Arbeau (our great authol-ity) does not mention it in
his Orchesographie, written in 1 588. Despite this, however, it
seems to have been, in its original form, a much older dance,
being traced to the 12th century. I t also seems to have
had a very dissolute youth, and we find many stories gathered
about its name. Its origin and derivation have given rise to
various surmises, but the majority of authorities claim for it
an Arabic-Moorish origin, explaining the etymology of its
name, in some instances, as from the Persian, serbend-song,
or again from the Persian, sarband-n fillet for a lady's head-
dress; also from tht: Moorish, zarabanda-noise. But we gain
the truest sense of its early life from a chapter "On the danc-
ing and singing llamado Zarabanda" by Pedro Mariana
( 1536-1623). He writes, "Amongst other inventions there has
appeared during late years a dance and song so lascivious in
its words, so ugly in its movements, that it is enough to inflame
even very modest people." He says it received its name at

Seville from a fiend in a woman's form, and that its invention
was one of the disgraces of the nation, causing more mischief
than the plague. It became notorious as a dance of the court-
dans, and during the reign of Philip I1 was for a time sup-
pressed. It was, however, revived in a purer form, playing an
important part in religious dramas. Fonta (Introduction to
French edition of Arbeau, 1888) reproduces two hymns of the
Mozarabian masses which were served by the chapters of the
Cathedrals of Toledo and Seville, and the melody of a Sara-
bande by Boyer, ( 1630). Their characteristics are identical.
As Fonta says, "the hymns are of a choric rhythm and al-
ways on a ternary measure, and they give the ear the impres-
sion of the languorous rhythm of the Sarabande. The Seises
in Seville of our period are nothing but a continuation of the
tradition of these masses and of the dances which accom-
panied the religious fetes."
It was introduced at the French court about 1588, and
came into fashion when the melancholy Louis XI11 ( 1601-
1643) ascended the throne, and Spanish influence made it-
self known in France. The Chevalier de Grammont states that
the music of this dance either delighted or annoyed people;
the guitarists twanging it on their instruments till it was almost
unbearable. "How they are tickl'd with a light ayre! The
bawdy Saraband!" (Ben Jonson.)
However, at court it soon became a noble and solemn
measure in spite of its being often danced with castanets. This
is clearly shown in the accompanying print from Lambranzi's
New School of Thealrical Dancing, ( 17 16 ) . History also re-
lates of Cardinal Richelieu that, to gain the favor of Anne of
ADAGIO.
from Lamhranzi'r New Schvol o/ Thrurrrrrrl Donring

(Hnrnmonized hy Louis Horir.)
Austria, he danced a Sarabande before her, with bells on his

feet, and castanets in his hands.
Roger Dukas, the modern French composer, has written a
symphonic poem, Sarabande, for chorus and orchestra, based
on the story of the noble de Yveteaux, who, when dying at the
age of 80, called for a Sarabande so that his soul ~ i g h pass
t
away more easily. This work was performed recently in New
York by Toscanini and the Philharmonic orchestra.
In the Sarabandes that have come down to us, we are hard
put to discover (according to our notions) any traces of their
Arabic origin, yet among the memoirs of an old English beau
we find the following illuminating passage: "I remember that
when Hamet ben Hadji, the Morocco ambassador, was in
England, my mother danced a Sarabande before him with a
pair of castanets in each hand, and that his Excellency was
so delighted with her. performance that, as soon as she had
done, he ran to her, took her in his arms, and kissed her,
protesting that she had half persuaded him that he was in his
own country." (Badminton Book of Dancing.) Hawkins
(History of Music, 1 7 7 6 ) also writes "within the memory of
persons now living, a Saraband danced by a Moor was con-
stantly part of the entertainment at a puppet-shew."
The form of its music structure is simple, a slow air in 3/4
time, beginning, like the Pavane, definitely on one; and
divided into two parts, of which the first is generally eight
measures, and the second twelve measures in length. It usual-
ly ends on the second beat of the last measure. The manner
of playing this music is quaintly described in Mattheson's
T h e Perfect Conductor ( 1'139j : "We arrive at the Sarabanda
with its characteristics of singing, of playing and of dancing.
The same has no other passion to express than ambition; yet
MARTHA GRAHAM
in Sarabande
therein are higher sorts to be discerned, so that the dance-

sarabanda finds itself in a more selected, and yet thereby a
much more pompous state than the others; because it permits
of no running notes, since the grandezza abhors such, and its
severity is maintained."
It was adopted as the third movement of the Suite-and
quite naturally assumed the position of the slow movement
when the Suite evolved into the Sonata form. Many of the
andantes in the Sonatas of Haydn, Mozart and other classic
composers are distinctly derived from the Sarabande form.
One of the oldest Sarabandes we have is one in canon form
by Louis Couperin (1630-1660). Fuertes, in his Historia de
lu Musica Espanola, quotes a Sarabande for guitar, but sup-
plies no date. After Gluck ( 17 14-1787 ) we find no composers
of Sarabandes until Satie, in 1887, wrote a set of three;
strange, mystical pieces, suggestive of intense, religious
austerity. Since then there have been many beautiful re-
creations of this important form by modern composers.
Especially to be mentioned are those by Debussy, Honegger,
Vidal, Tansman, Reutter, and, among Americans, Henry
Brant, Beryl Rubinstein, Lehman Engel, and Henry Cowell.
Of the dance itself, we are informed by the Dictionnaire de
Treuoux, 1721, that it was really hardly more than a very
grave Minuet, slow and serious and processional. Ylayford
( T h e Dancing Master, 1703) cites the steps of a Sarabande,
in which there is much advancing and retiring; four steps
forward, four backward; couples walking between lines form-
ed by the other dancers; and other simple evolutions. But no
mention is made of castanets.
Like the modern composers, the modern dancers have been
much attracted to this form. Martha Graham's Sarabande
SARABANDE
(music by Lehman Engel) is one of her masterpieces, and

her latest dance, the stirring Immediate Tragedy, employs
Henry Cowell's beautiful Sarabande for musical accompani-
ment. At the 1937 session of the Bennington School of the
Dance, Jose Limon produced two group dances, Sarabande
jor the Dead and Sarabande for the Living, to Henry Clark's
music. Hanya Holm has done a Sarabande to music by Har-
vey Pollins, and Berta Ochsner used Couperin's Sarabande
La Lugubre for her S t u d y for a Borgia. All students of dance
composition should likewise find this form a grateful vehicle
for choreographic ideas of serious, and also of social import.
The contemporary tragedy in Spain should supply much
deeply felt subject matter. The Sarabandes of Martha
Graham and Jose Limon are quite definitely concerned with
this tragic scene.
TRACT Or" A SARABANDE
from Feuillet
Gigue
Sum luvis, new cum to tom,
With jeigis to mak thame joly ;
Sum luvis to dance up and doun,
To meiss thair malancoly.
(Alexander Scott. Ballut nzuid to
the Derision and Scorne of Wantoun Wernen. 1560.)
"H OT and hasty like a Scotch Jigge" wrote Shakes-

peare, and, in one concise statement, the great bard
disclosed the two outstanding characteristics of the Gigue.
For it is certainly the quickest and most hasty of all the old
dance forms; and if hot means exciting, it truly possesses the
most exciting rhythmic urges of all music. This excitement is
due, not only to its speed, but much more to its melodic basis,
which we find to be in almost all cases, made up of rapidly
moving groups of three notes. This produces the rhythm or
pulse of the galop. Gigues are therefore mostly written in 3/8,
6,'8, 9/8 or 12/8 time. Composers have often used this
melodic and rhythmic formula when wishing to produce a
quality of excitement; notably, Schubert in his famous song,
T h e Erl-King, the pulse of which is exactly like that of a
Gigue.
The Gigue is a very old dance, and probably belongs to
many nationalities. Shakespeare might just as correctly have
written "like an Italian, a Spanish, a French, or an English
giga, gigue, or jig." But the earliest known ones have come
GIG U E
to us from Italy, where it dcrivcd its name from giga--the

name of a small stringed instrument. Giga also meant a leg, or
limb. However the three greatest authorities on the Gigue,
Werner Danckert, ( Geschichte der Gigue, l924), Jeffrey
Pulver, (The Origin of Jig, 1917 ) and Charles Read Basker-
vill ( T h e Elizabethan Jzg, 1929), all claim an English origin
for the dance, insisting. that all earlier Italian uses of the word
gign refer to the instrument only. Pulver traces this use 01
the word back as far as 1225, to the Vocabulary of John de
Garlandia; "Giga est instrumenturn musicurn"; and also tc
the Divine Comedy of Dante ( 1265-1321 ) :
"Et come giga et arpa intempra tesa,
Dimolte corde fa dolce tintinno."
These authorities claim that the use of the word in relation
to dancing took place in England earlier than on the Con-
tinent. It also seems to have had its own etymology.
In Germany the common term for a violin is Geige,
analogous to our term of fiddle; so it does not surprise us to
find the fiddle the one instrument almost always associated
with the Jigs of our own day. "As fidlers still, though they be
paid to be gone, yet needs will thrust one more iig upon you."
(Donne, 1593.)
It does not seem to have ever been a court dance, al-
though all the famous court composers have written Gigues.
Also Riche ( 1581 ) states that the Jig was established among
the social dances of the nobility ; and in 1591 we find one of
the earliest examples of the sophisticated form of the music;
Byrde's A Galliards Gygge, from Lady Neuille's Virginal
Book. English composers of the 16th century often called their
Jigs a Toy. Also, these old English Jigs were not always in a
three, six, nine or twelve-eighth rhythm. As often as not
GIGUE
J. P. Kirnberger. ( 172 1-1783)
GIGUE
they were written, in just a lively 4/4 or 2/4 time. English

literature of the 16th and 17th centuries fairly teems with
references to the Jig, Ieig, Iyg, Iigge, Iygge, Iig, Ijyge, Gig-
ge, Gig, Gygge, Jegg, etc. Playford, (in his Dancing Master,
1703) speaks of the sweet and airy activity of the gentlemen
of the Inns of Court, who so greatly enjoyed the dancing of
Jigs. But earlier, in 1674, this same Playford complains that
"our late solemn musick is now jostled out of esteem by the
new Corantos and Jigs of Foreigners." Nevertheless the Jig
attained its greatest popularity in England, Scotland and
Ireland; a popularity that has extended right down to our
own time; especially in Ireland. Sir Henry Sidney, in a letter
to Queen Elizabeth, in 1559, waxes enthusiastic over the
dancing of Irish Jigs by the Anglo-Irish ladies of Galway,
whom he describes as "very beautiful, magnificently dressed,
and first-class dancers." (Flood. History of Irish Music.
1906.)
Kemp's Jigg as described by Playford, quaintly illustrates
one of the most famous of the old English Jigs:
One man lead in two women forward and back:
Honour to one, honour to the other, then turn the third:
Lead your own with the left hand, and the woman you
turned, and as much:
Then as much with the other second woman, turning your
own :
The next man as much: Then the third as much:
First man lead the woman as before: turn half round holding
both hands, and his own as much to the other, turn the
third woman-
Do thus to all, the rest following and doing the like.
First man take the woman as before by the contrary hands
behind, then lead them forwards and back, pull one half
AGNES DE MILLE
in Bach Gigue
GIGUE
about and kiss her, as much with the other, then the third.
Do thus to all, the rest following and doing the like.
The accompanying engraving, by Mirightson, of an Irish
Jig, not only shows us a goodly amount of excitement, but
the necessary fiddler as well.
In the early English theatre it was customary to terminate
a play with a Jig, accompanied by dancing and playing. "The
lyg at the end of an Enterlude, wherein some pretie knaverie
is acted." In those days a Jig meant not only a dance, but a
set of wanton verses as well. The word came to be synonymous
with any light irreverent rhythm. I n 1650 Thomas Mace wrote
"Jiggs are light squibbish things only fit for fantastical light-
headed people; and are of any sort of time." Halliwell says
that the literary Jig was "a ludicrous metrical composition,
often in rhyme, which was sung by the clown who occasional-
ly danced, accompanied b j the tabor and pipe."
In musical literature the Gigue holds an important place as
the final movement of the Suite. From this position it evolved
naturally into the closing movement of the Sonata form ;
many of the final movements of the Sonatas of Beethoven
and other composers, being directly traceable to the Gigue,
both in rhythm and tempo. The last movement of
Beethoven's Violin Concerto is a notable example.
Mattheson draws his characteristic word-pictures in his
endeavor to impart the texture of the music; "'The common
or English Gigues have as their distinguishing marks, an
ardent and flying passion; a fury that quickly passes. 'The
Italian Gigas, which are not made to be danced, but to be
fiddled, drive themselves almost to the utmost speed or care-
lessness ; yet, in the main, in a flowing and not violent man-
ner; somewhat like a smooth shooting forth of the arrow-like
torrent of a brook. T o the ordinary gigue-tunes I can now

apply four chief emotions; fury, or passion, pride, simple
eagerness, and a careless temperaineilt." ( D e r Vollkon~mene
Capellmeiste~,17 39.)
I n form the Gigue usually consisted of two sections, rather
longer than those of the other dance forms, and was orten
written in a fugal style. Besides the great Gigues of Handel
and Bach, there are splendid ones by Mattheson, Kirnberger,
Lully, Loeillet, Graun, Zipoli and Rameau. There are a few
by modern composers; hriemann has written one; but in-
finitely better is the Giga by Casella (from Pieces Enfantlnes)
a raucous and ribald composition in the most ultra-modern
idiom. The first of Debussy's three Images for orchestra is
entitled Gigues. Richard Donovan's Jig from his Suite for
Piano is a finc modern example by an American composer.
The Canary (supposedly from the Canary Islands) was a
slower species of the Gigue; and the Loure (known some-
times as the Spanish Gigue) was a still slower variety. The
frenetic Italian Tarantella possesses the same rhythmic and
melodic structure as the Gigue, although much more peasant
in character.
Among the contemporary dancers who have used this
form, we must mention Agnes de Milk, whose excellent G'igue
( t o Bach's Gigue from the Fifth French Suite) is an out-
standing work. I t is quite obvious that this form should be
suggested to all students for dance-studies of frenzy and
tense excitement.
(Tornlinson. Art of Dancing)
MINUET
Minuet
Life is like a Minuet-
a few turns arc made in ordcr to curtscy
in the same spot from which we started.
(Serznc de Meilhan)
A LTHOUGH to many of us the Minuet is probably

the least interesting of all the old dance forms (due to
its highly artificial and rococo character), nevertheless it at-
tained the greatest popularity and degree of importance over
all the other dance forms. Mari Ruef Hofer says, "An attempt
to write all that the hfinuet implies would necessitate com-
piling the social history of Fr a.nce during severa1 centuries ;
the manners, customs, costumes, art, music, and ceremonies
of the period of the Grand Manner, as well as the manifold
steps and forms invented in its behalf. Arriving as a climax
in the art of the dance, in a period of luxurious national life,
its very name suggests the refined magnificence of the courts
of the kings in whose century it flourished. Millions were spent
in its production ; musicians, poets, decorators, artists and
costumers exercised their combined powers to set forth its
perfections. Its despotic ceremonial governed kings and
queens, and its etiquette decided the fate of statesmen more
often than their ability in statecraft. The dancing teachers of
that day were autocrats to whom all bowed and deferred."
Another reason for its importance lay in the fact that it was
the only da.nce form regularly admitted into the modern
MINUET
Sonata form when this great form was evolved from the
dance Suite; and this choice seems the more strange when we
discover that the Minuet was not a charter member of the
early Suite. We have seen that the basic members of the
Suite were the Allemande, Courante, Sarabande and Gigue.
A little later the composers began writing five- and six-part
Suites, interpolating between the Sarabande and Gigue either
one or two of the other forms. The Minuet was most often
selected as the fifth member, but we find Gavottes, Bourrkes,
Rigaudons and Passepieds often introduced into the Suite.
Because they were so inserted, these numbers were called
Intermezzi. Mozart composed many symphonies in each of
which appears a menuetto, with one exception; and this one is
spoken of as the Symphony without a Minuet.
The great popularity of the Minuet is easily understood. It
expressed more completely than any other dance the artificial
behaviorism of the 18th century; and its short, mincing and
dainty steps graphicly, and choreographicly, register for us the
decline of the great French court, until it was engulfed by the
French Revolution.
But the Minuet was not allowed to pass with the court.
Just as Soviet Russia clings to the Ballet today so that new
social order clung to the Minuet, and its existence was pro-
longed through most of the 19th century, until it was finally
walked as a quadrille. This was especially the case among
the pseudo-aristocracy of our Southern states. However, its
terpsichorean sway was eventually usurped by the Waltz, and
music fell heir to the duty of perpetuating the form.
Count Moroni states that in the Minuet is to be found
the expression of that Olympian calm and universal languor
which characterized el-erything of that period. Dancing was
W31
MINUET
not even called dancing, but was spoken of as tracer Ees cizif-
fres d ' d m o u r (tracing the figures of Love) ; and even violin
was too commonplace a name. Musical instruments were
called les ames des pieds (the souls of the feet).
Scott, in his work T h e Art of Dancing, writes that the rules
concerning the Minuet would fill a volume, but that there
were five requisites for making a good figure in this dance--a
languishing eye, a smiling mouth, an imposing carriage, in-
nocent hands and ambitious feet. Another famous dancing
master said that he knew nothing of the Minuet although he
had devoted his whole life to the study of it; on hearing
which, Hogarth exclaimed he was glad he was a painter. Ad-
ditional evidence of the popularity the Minuet attained in
England is gathered from Macaulay's History of England:
"Her authority was supreme in all matters of good breeding,
from a duel to a Minuet,'' and from Lord Chesterfield who
advised that one "should do everything in minuet time."
In ltaly the Minuet was mainly treated with satire. I n the
drama and opera it was used to give comic relief; to typify
all things that were ridiculously romantic or affectedly noble
and stately. 'This use of the Minuet throws an interesting side-
light which helps to show how popular and widespread a
form it had become.
Even in France everyone was desirous of affecting certain
airs that would guarantee attracting general attention. These
produced a so-called Minuet position-a kind of dancing-step,
an apparent melancholy, a somewhat dreaming-attitude, a
short, tripping manner, and a parade-like swing in conducting
a lady to table. All these affected and even ridiculous points
were then demanded as a matter of the greatest importance
and necessity.
1651
DORIS HUMPHREY and CHARLES WEIDMAN
in Minuet from -4lcina Suite
MINUET
The Minuet was originally a Branle of Poitou; it was quite

gay, and contained fast movements. However, it underwent
the usual changes after being introduced at the court of
France in 1650, and became a dance of only moderate gayety
and tempo. The Paris Dancing Academy became jealous of its
sudden popularity which threatened to eclipse the fame of the
Courante, greatly patronised by the Academy. In order to
placate the academicians the Minuet was early called the
daughter of the Courante. But for 150 years its universal title
was T h e Queen of Dances. The name Minuet came from the
French : menu; Latin : minutus,=small, neat, since it was
danced with such small, dainty steps and exaggerated precise-
ness.
The musical form of the Minuet is that of the usual two-
part dance form, cast in a moderate three-quarter time. We
often find Minuets with a third part, or trio. Although it
sometimes commences on the up-beat, in most cases it begins
on the down beat;i.e. on one. As a member of the Sonata
form, it was developed much more freely and its tempo was
often increased, thereby producing a sort of Scherzo.
There were four very famous Minuel: Le M ~ n u e td u
Dauphin, Le Menuet de la Reine, Le Menuet dJExaudet, and
Le Menuet de la Cour. The steps of these are fully described
in Mari Ruef Hofer's "Polite and Social Dances." Some of
the great ballet masters who played an important part in the
creation of these various Minuets were Gardel, (who created
the Menuet de la Reine for the nuptials of Louis XVI and
Marie Antoinette,) Picour, Exaudet, Rameau and Marcel.
It was Marcel, the most famous of all the teachers of the
Minuet who would often exclaim, "Que de choses dam un
menuet !" (What a lot of things in a Minuet!)
Fine musical settings are too numerous to mention. Just as

more has been written about the Minuet than any of the
other old forms, so, likewise, more Minuets have been com-
posed than any other musical form. There is no great com-
poser since 1650, who has not written one or more. Excellent
examples must actually run into the thousands. There is a very
"embarrassment of riches." To 1,ully goes the honor of
writing the first Minuet in 1653, a quaint little one in D
minor. The modern composers (especially Satie, Ravel, De-
bussy, Casella, Prokofieff and Schoenberg) have also presented
us with some fine settings.
Modern dancers h a ~ enot followed in the foot-steps of the
modern composers; but Doris Humphrey and Charles Weid-
man have given us an excellent choreographic presentation
of Handel's Alcina Suiie, in which they perform a very
piquant and amusing Minuet.
The best use to be made of this form by the student in
dance composition is for the development of a delicate satiric
vein, produced through the smallest possible movements.
Gavotte
Arbeau: "You will find no great trouble in the Branles de

Gavottes, in which the damsels need not be raised in
the air, but only kissed."
Capriol: "That is something which I could do easily and
willingly, and for that reason 1 wish to learn and know
them."
( Orchesographie, 1588)
T HE GAVOTTE was originally a peasants' dance, the

favorite of the natives of Gap, a district in the Upper
Alps in the ancient province of Dauphine, in south-eastern
France. I t receives its name from this district of Gap, the
natives of which were called Gavots. It was one oi the many
dances that were derived from the old brades (brawls),
especially the so-called Branles Doubles, and its character was
brisk, sparkling and lively.
Arbeau informs Capriol that "a Gavotte is a collection of
several Branles Doubles which musicians have chosen and ar-
ranged in a sequence. . . . T o this sequence they have given
this name of Gavottes. They are danced in duple (2/2) time
with little jumps in the manner of the Branle da Haut Barrois,
and consist of a double to the right and a double to the left
like the Branle Commun. But the dancers divide the doubles,
both to the right and to the left by passages taken at will from
the Gaillardes. When the dancers have danced a little, one of
them, with his damsel, goes a little way apart and makes
GAVOTTE
J. S. Bach. (1685-1 750)
several passages in the middle of the dance in the sight of all

the others; then he comes to kiss all the other damsels, and all
the young men kiss his damsel, and they return to their proper
order. Some accord the privilege of kissing to the leader of the
dance alone, and to the damsel who is his companion. And
at the end, the damsel having a chaplet or posy, presents it
to one of the dancers, who has to pay the musicians."
The Gavotte was htroduceci at the French Court in the
sixteenth century, when, to amuse the royal circles, dances
were done in the costumes of the provinces whence they came.
Originally a dance in which there was much kissing and
capering, the Gavotte took a frech direction in its new and
majestic surroundings. It Iost much of its ready roughness,
and in due course 3f time came to be characterized by a
formality and stateliness, and still later by a stiffness and
artificiality, that would have greatly astonished the Gavots.
The kisses were qadually replaced by bouquets, and the
general quality of the dance approached that of the rococo
Minuet. For a time attaining the title of In clanse clnsszque
it later became known as the gavotte tendre.
As Mari Ruef Hofer so aptly statcs (in Polite and Social
Dances), "the Gavotte appeared as a welcome reaction after
a long period of strenuous etiquette devoted to dances of un-
doubtedly tedious elegance. One can fancy a younger genera-
tion of royalty seizing with avidity upon this new terpsi-
chorean delight. It soon became the fashion to follow the
stately measure of the old dance of ceremony, with the lighter
and more vivacious graces of its rival. Who could divine that
this pleasant breaking away from the stern formalities of court
and caste might presage so dire and devastating a calamity
as the not far distant French Revolution?"
MUSETTE
J. S. Bach. ( 1685- 1750)
This devitalization of the dance to suit the more and more

romantic ideas and tastes of each succeeding generation con-
tinued right down to our own day, until the Gavotte became
synonymous with all that was overly sweet and sentimental.
This fate of the Gavotte, and also of the Minuet, was due to
their retention by the classic and romantic schools of music
and dancing of the 19th century, whereas all the other forms
were fortunately neglected and allowed to preserve inviolate
for us most of their original distinction and beauty.
The form of the music is the usual two-part dance form,
although in many cases we find a third part (or trio) the
character of which is always rustic, and which is built upon a
drone-bass in imitation of a bag-pipe. This part is called the
Musette from Cornemuse, the French name for bag-pipe. We
occasionally encounter a Musette among the Minuets and
Bourrtes but it does not occur in any of the other court forms.
The Gavotte was often placed between the Sarabande and
Gigue as the fifth or sixth member of the Suite.
It is written in a fast 2/2 or 4/4 time and has the outstand-
ing rhythmic characteristic of beginning on the third quarter,
which often results in a mild syncopation that is one of its
charms. This matter of the two quarter note up-beats on 3
and 4, becomes increasingly important when we examine two
other dance forms, the Bourrke and Rigaudon. They are both
similar to the Gavotte, and are also conceived in a fast 2/'2 or
4/4 time, but are each easily distinguishable by their opening
up-beats. The Bourrke should properly begin with one quarter
note up-beat on 4, the Rigaudon with an up-beat of two
eighth notes on 4. Mattheson (The Perfect Conductor, 1 7 3 9 )
has the following admonitions for the directors and composers
of his time concerning the Gavotte: "Its emotion is truly a
GAVOTTE
real exultant joy. Its time-measure is indeed of an even sort

but such a one as consists of two half beats; even though it,
at the same time, allows itsell to be divided into quarters; yes,
even into eighths. I would wish that this distinction were taken
heed of a little better, and that one would not be able to call
most of them a bad measure; as does happen. The hopping
character is a legitimate property of these Gavottes; by no
means the running. I seem to see these mountain folk jump-
ing about on the hills with their Gavottes."
But another peasalt folk (on the extreme north-west coast
of France) took to the Gavotte with great zeal. This was in
the province of Brittany, where the dance was known as the
Gauotte Bretonne. Charbonnel (in La Dunse) relates that it
flourished with the greatest enthusiasm during the season of
marriages which in this region are all held at the same time.
Then one can see in the squares and along the streets, inter-
minable processions of dancers giving themselves up to their
favorite dance with gusto. It even seems that they go at it
with such ardor that the department of streets and bridges is
obliged to repave the streets cut up by the vigorous feet of
the Breton dancers.
Of the court dance itself, there are many instructions left
us by famous ballet masters, notably those of Gardel, de
Vestris and Littre. Gardel created the famous Gavotte le
Ballet d u Roi. Littre says: "The Gavotte step differs only
from the natural walking step in that one springs upon the
foot which is on the ground, and at the same time points the
toe of the foot downward." De Vestris describes it as con-
sisting chiefly of "three steps and an assembli."
The oldest Gavotte may be found in the Orchesographie,
( 1588) but both the music and the figures are unsuitable to
the later forms and customs, as they deal with a period prior
to the introduction of the Gavotte at court. Arbeau records the
inadequacy of his own material when he says, "If this type of
dance had been in fashion when my legs were young I should
not have failed to makc notes about it."
Among the finest Gavottes by the old masters are those by
Bach, Telemann, Kirnberger, Foerster, Graupner, Ramea!l
and Handel. O u r great modernist, Prokofieff, has composed
three highly interesting models, one in the boisterous rustic
manner (op. 32 no. 3 ) , another in the classic style (from
Symphonic Classique, op. 25 j and one in the later hot-house
or salon genre (op. 12 no. 2 ) . Karganoff, Lopatnikoff and
Schoenberg have also produced compositions in this form.
Martha Graham used the Schoenberg Gnuotte and Musette
a few seasons ago for a dance entitled Phantasy.
From hence came all those monstrous stories
That to his lays wild beasts danc'd borees.
(Jonathan Swift, Ovidiana.)
T HOUGH possessed of an entirely original and indepen-

dent character, the Bourrke, nevertheless, forms one of
a family of three old dances, whose general musical design
was mentioned in the analysis of the Gavotte. Three dances,
(the Gavotte, the Bourrke, and the Rigaudon) are all in a
lively 2/2 or 4/4 time, but each one has its own distinctive
manner of beginning, that has much to do with establishing
its particular character.
The Gavotte, origi~allyof quite a hearty and vigorous
calibre, begins with two up-beats on the third and fourth
quarters; thereby losing a little of its strength through the
delayed entrance of its primary accent. The Bourrte properly
begins with one up-beat on the fourth quarter. This more
sudden approach to its primary accent contributes, no doubt,
to its having greater vigor and lustiness than the Gavotte
possesses. The Rigaudon also begins on the fourth quarter, but
this quarter should be broken into two eighth notes up-beats.
This presupposes a more general use of eighth notes through-
out the entire form, which would have much to do with
producing the generally light and superficial character that the
Rigaudon possesses.
T o say that the Bourrke is hearty and full of energy is not
BOURREE
enough. I t is the most vigorous and earthy among the old

dance forms. The origin of the word itself is uncertain. Ac-
cording to one authority, Bourrke is defined as a bundle of
small pieces of wood. This etymology is corroborated by
Lapaire (in his L n Bourrte, Pmis, 192 1 ) : "The Bourrte
dates, it would seem, from historic Gaul. It arose perhaps from
some Gallic festival, the Jour des Fagots, for example, when
our ancestors danced with flaming torches on the heights,
around huge fires."
Mattheson ( D e r Vollkommene Capellrneister, 1739) gives
us his customary qualified facts: "The word Bourrte in itself
really means something stuffed, filled out, sedate, strong,
weighty, and yet soft or delicate;--which is more adapted to
shoving, sliding, and gliding than to hopping and jumping.
This is in agreement with the qualities of the Bourrte, name-
ly: content, pleasant, untroubled, tranquil, listless, gentle,--
and yet agreeable. Since there is now a well-known dance
which in honor of a bride is called la mariee, it might well be
that the people of Biscay, where the Bourree is quite at home,
and where there are seldom any plump pretty figures, im-
ported this dance to please somewhat that sort of woman and
named it that. Truly it lends itself to no type of figure better
than to an undignified one. However, these are only con-
jectures which for the most part tend to perplexity."
It was originally a peasants' dance; a rustic clog-dance of
the natives of Auvergne and Berri, provinces in the mountain-
ous region of central France. Marius Versepuy, an Auvergnat
musician, who has given us many collections of Bourrtes,
writes: "The Bourr6e constitutes a veritable little scenario of
which love is the theme. It would be difficult to give an idea
of the Bourrge except to say that the dancers seek and flee
(Charbonnel. La Danse.)
LA BOURREE AUVERGNAT
BOURREE
from each other. However, the roles are different. The man,
bold and proud, dances with a determined air, stamping and
clapping and shouting. The woman, at once audacious and
timid, attracts her admirer and avoids him, using calculated
ruses and tender artifices. One appears earnest, the other
coquettish. The couples mix, cross, swinging the head and
body, raising the arm, snapping their fingers, and noisily ham-
mering out with their feet the beat given out by the bag-
pipes or the hurdy-gurdy. Rhythm is essential in the Bourrke
-to the point where it alone suffices. In the absence of the
bag-pipe, one may see one of the dancers perched on a table
singing the air while he vigorously pounds out the rhythm
with his foot. Finally his humming diminishes, he no longer
sings. His heel suffices to keep the couples going until dawn."
Longy, another authority, describes a more formal variety
of the peasant BourrPe : "The men-an indeterminate number
-place themselves in a line, the women in another, each
man opposite his partner. They move together, forward and
back, a certain number of times; the first man at the right
then goes across to the women's side and the lady on the op-
posite end joins the line of men; then they again go forward
and back, the first man on the right and the last lady on the
left make the same figure as the ones before. It continues thus
until each has had his turn; then the dance is finished and
each man kisses his partner. The dancers shout, beat with their
hands and feet, particularly when they cross over to change
sides."
It was also sung m d danced to the rhythmic labor of the
wine-makers when crushing the grapes by stamping (or danc-
ing) upon them with their bare feet. A Parisian writer of the
past century reports "how the clumsy Auvergnat, the tradi-
WI
ALLEGRO
BOURREE
tional Paris water-carrier and porter, bccomcs lively and

bright when he dances the Bourrte; how his heavy frame
moves in cadence, and how the clogs fall together with preci-
sion, while an occasional shout of 'yow-yow' is heard." A
typical verse from one of the many sung Bourrkes follows:
When you marry
Know what you are taking;
If you take her young
The coocoo will sing;
If you take her old,
He will already have sung.
The BourrEe was introduced at the Court of France, in
1565, during the reign of Catherine de Medici. There it was
danced with many crossing steps (tres croise) and cuts
(coupe). The dancers stood opposite one another and ex-
ecuted various steps, such as pas de bourre'e ouuert, pas de
bourrke emboitk, and pas de fleurets. These were all crossing
steps. The coupe' (or cut) was usually performed on the
quarter note up-beat. As Lapaire says, "It made Marquis and
Marquise lift a foot." It is also stated that it was a dance of
careless form, done with much skipping. This coincides with
the description of the Bourrie (as a music form) by the Ger-
man musicologist, Schubert, who states that "the character
of its melody has something of calmness, freedom from worry
and amiable carelessness in its essence.'' Gaston Vuillier writes
that the third beat of each measure was accentuated with
exaggerated vehemence by the stamping of the feet. Although
mentioned by Sevign6 and Chateaubriand, the BourrEe never
became a popular dance at court. I t is not difficult to under-
stand this lack of enthusiasm, especially when we remember
the rough rusticity of the measure. De Felice (in 1770) says
"it was little employed because its steps were not noble enough
for the theatre or opera." However, Lully, Destouches, Marais

and Rameau all included Bourrtes in many of their operas
and ballets. One of the most used steps in the ballet, is still
known as the pas de Bourrie.
That it was early danced in England can be learned from
Playford's Musick's Delight ( 1666), which contains three
pieces labeled Bore, Boree and A Running Boore. In his Danc-
ing Master (1703) he also gives the steps of an Irish Bo~ee.
It soon disappeared from the dancers' repertoire, and we
later find it only in the Suite where the guest's place (between
!he Sarabande and Gigue) was often open to receive it. The
composers frequently followed the first Bourrte with a second
one; and sometimes this second Bourrte is a la Musette.
There have been many fine Bourrtes written by the old
masters; especially by Bach, Fasch, Stolzel, Handel and Kuh-
nau. The greatest of them all is the famous Bourrie from the
Second Violin Sonata of Bach.
Despite its direct and vigorous appeal, not many modern
composers of note have been inspired by this form. The only
modern Bourrdes (and those only comparatively modern)
known to the writer, are by Lachaume, Chabrier and Edward
German. The one by Lachaume is the last movement of a
suite called Trianon, and, strangely enough, this movement
is designated as a Gavotte-Bourrie. But in reality it is a Bour-
ree, beginning with a good, healthy up-beat on the fourth
quarter. The one by Chabrier is called Bourre'e Fantasque,
and the Bourrie by German was written for a production of
Shakespeare's Much Ado About Nothing.
Arthur Mahoney is perhaps the only contemporary dancer
employing this form. A Bourrke, in the elaborate style of the
Ballet de Cour, is one of his most effective dances.
ARTHUR MAHONEY
in Bourrde
Rigaudon
Let us go to Bordeaux
My little Jcannettc,
Let us go to Bordeaux
While the weather is nice.
There we shall eat an omelette,
And there we shall dance a rigaudon.
(Old Provence Song)
J OHANN MATTHESON, (in his Der Vollkommene

Capellmeister, 1 7 3 9 ) supplies the most interesting, and
also the most debatable information concerning the Rigaudon.
He writes: "This melody, to my judgment, is one of the most
agreeable. Its individuality springs from a somewhat frivolous
pleasantry. 'I'he Rigaudon was often used by the Italians as a
closing chorus in dramatic works; by the French for the sing-
ing of particular odes and pleasing ariettas. Regarding its
form, it must be noted that the third part must almost
represent an insertion or Parenthesis, as if it did not belong
at all to the composition, but rather as if it had almost entered
by chance: therefore this third and shorter movement, must
also be lower in tonality and must have no definite ending, so
that the return to the beginning strikes the ear so much the
fresher.
"For the rest the Rigaudon is actually a hybrid, constructed
from the Gavotte and Bourr&, and could rightly be called
a four-part BourrCe. However, the details and the form, the
[871
divisions, the compass, the changes are constructed quite dif-

ferently.
"In the olden daj~sthis dance was called, in Italian, Rigo,
which means a river or stream, and I find it true that it is
traditional with seafaring people. There is a well-known
Sailor's-Rigaudon that commences with the words Dans nos
L'nisseaux etc. Richelet says the Rigaudon came from
Provence, and I believe it the more readily, because the
Mediterranean Sea provides the intercourse with Italy."
Mattheson is right about the "frivolous pleasantry" of the
Rigaudon, as it is assuredly the lightest and most shallow of
all the old dance forms. We haw seen that the Gavotte has
two quarter note up-beats on 3 and 4, and that the BourrCe
begins with a quarter note up-beat on 4. The Rigaudon (like-
wise in a lively 2/2 or 4/4 time) also begins on the fourth
quarter but this quarter note should properly (although there
are many exceptions) be divided into two eighth notes. A
composition beginning thusly with two eighth notes will
naturally contain a large proportion of notes of similar value
in the main body of the work; and this predominance of
shorter notes has much to do with creating the character of
lightness and brittleness inherent in the Rigaudon.
Mattheson may again be correct in believing that the
Rigaudon came from Italy via Provence, but most authorities
feel it to be truly French, and claim it was originally a gay
peasant dance of Provence and Languedoc, sung and danced
to the rhythmic accompaniment of the tambourine. Also,
these authorities hold that it owes its name to a famous ballet
master of Marseilles, named Rigaud who brought it to Paris,
during the reign of Louis XIII (1601-1643), where it met
with ,great favor.
RIGAUDON
The light and brilliant qualities of the Rigaudon appeaied

in particular to the skillful dancers at the French court and
tempted them towards the interpolation of many virtuoso
steps during the course of the dance. From this to its general
use as the vehicle for most of the brilliant solos of the operas
and ballets of the period was only a logical step. Long after its
popularity had waned as a court dance, it still was regarded
as the ideal accon~pailimentfor exhibition dancing. This was
also quite logical, for the predominant little groups of eighth
notes were most suitable for the many brilliant, light and
flickery steps that made up inost of the virtuoso ballet dancer's
vocabulary.
Of the dance itself, Campan and Isaac give us directions
that include much running, hopping and turning; also
balancb made with p i c k little steps. As Dcsrat says in his
Dictionnaire de la Dnnse, "the light music bears witness to
the similar character of the dance."
It also had a great vogue in England, where the name was
anglicized to Rigadoon. In Playford's Dancing Master,
( 1703) there is the description of a very short dance he calls:
T h e Last New French Rigadoon:
"The first man cast off and go half round-the second
couple do the same--then hack to hack with your partners
and turn-then back to backsides, and turn sides and
cast off."
Its popularity there supports Mattheson's statement that it
was really a sailor's dance. For, when we examine any English
Hornpipe, we find it is invariably built like a Rigaudon. The
St. Catherine Rigadoon by John Barrett (1674-1735) is a
true Hornpipe; and a modern English composer, Dalhousie
Young, has written a Rigaudon for Piano, sub-titled Sailor's
Hornpipe. That Oscar Wilde was cognizant of the extremely

light character of this dance was shown when he selected it
for dramatic contrast to sombre death in his Ballad of Read-
ing Gaol, where he limns the picture of a hanged criminal
dancing a Rigadoon of death with his heels upon the empty
air.
The music is in the usual two-part dance form, but there
are many examples of Rigaudons written in pairs, the second
one practically serving as a trio. When joined in this fashion,
we find that if one, for instance, is in E major, the other wilI
be in E minor. But we do not discover in these trios any of the
strange things that Mattheson would lead us to expect. He
also states that the Rigaudon is a hybrid, and then, contradic-
ting himself, finds its characteristics quite different from either
the Gavotte or Bourrte. The Rigaudon has its own true type,
and while it may be true that it resembles the Bourrte, it can
be just as fairly said that the Bourrte resembles the Rigaudon.
Composers did not observe enough the distinction between
these two forms. Even such a master as Bach wrote his
Bourr6es as often with two eighth note up-beats as he did with
a quarter note up-beat. And other composers have given us
many Rigaudons beginning ( a In Bourris) with a quarter
note up-beat. Rut the finest Rigaudons, such as the two by
Rameau, commence properly. The Rigaudon is only oc-
casionally found in the Suite.
Among modern composers who have written in this iorm
are Prokofieff, Percy Pitt, Dellanoy, Saint-Saens and Niemann.
Strangely enough, our American romanticist, Edward Mac
Dowell, has written one which is quite free in form and full
of New England woodsy and whimsy but nevertheless a
Rigaudon.
ALLEGRO.
RIGAUDON
J. P. Kirnberger. ( 172 1-1783)
Among modern dance compositions the only use made of

the Rigaudon form that comes to mind is an extremely
humorous and satiric group dance, Exhibition Piece; the
choreography by Marian Van Tuyl, the music a Rigaudon
by Jean Williams.
( A r t f e r n Holf )
PASSEPIED
Passepied
'I'he passe-pied of C'allac,
The passe-pied simple.
Whocvcr will do this
Must bc a man.
(Couplet de Passe-flied.)
N EXT to the Rigaudon, the Passepied is probably the

lightest of the old court forms. But, whereas the former
reflects a decided shallowness, the Passepied possesses a light-
ness of deeper import approaching the more solid gayety
inherent in the Galliard. There is no more apt description of
it than that given by Johann Mattheson, the great German
musicologist and composer, in his Der Vollkommene Capell-
rneister ( 1739). His instructions to the conductors of his day
as to the proper method of conducting this form are as fol-
lows: "There still belongs to the lively melodies L e Passepied.
Its character comes quite near to frivolousness, for the ardour,
the anger or the passion that one encounters in a flying Gigue
is surely not to be found in the restlessness and fickleness of
such a Passepied. However, it is yet such a kind of frivolous-
ness as contains nothing odious or displeasing, rather much
more something agreeable; just like some women, who, even
though somewhat inconstant, do not, however, lose their
charm thereby."
In the old days every French province had its Branle, and
the Passepied was the Branle of Brittatly, where it was also
PASSEPIED
called Trihoris. It is under the name of Trihory that we find

a short description of it in Arbeau's Orchesographie (1588),
but no mention of the word "passepied." It was an ancient
pantomimic dance, and real dramatic talent was required
for its performance.
Fonta says that "it was really a gay and charming dance;
the sameness of the movement of always keeping the right foot
in front and sliding and stretching it out along the ground, in
the manner of the paws of a young cat, rendered the dance
coquettishly pleasant." (Introduction to French edition of
Arbeau, 1888.) The feet crossed and recrossed each other in
the many gliding steps: hence its name. Trevoux's Dictzon-
naire (1721 ) describes the movement of the feet with the
words,pedum decussatus. Praetorius (Terpsichore, 1612 ) says
"the Passepied is so named because in such a dance one must
beat and place one foot over the other." Despereaux states,
"the light Passepied ought to fly close to the ground." One
of the commori expressiolis was to "run a Passepied."
The dance itself usually consisted of ten figures. It started
with the dancers facing each other with joined hands, then
setting to each other with a Pas de Basque, bringing the left
shoulder forward, then the right, and changing places with
a turning step. Another figure consists of the dancers making
pirouettes with eight pony steps pawing the ground; also this
was supposed to be done with their arms around each others
necks.
Originally danced by the Breton peasants it found great
favor in court circles during the reign of Louis XV, when
pastoral entertainments, (paysanneries) were given at every
opportunity. At these festivities the lords and ladies disguised
themselves as shepherds and shepherdesses. Madame de
SevignC was known for her excellence in the Passepied. In a

letter to her daughter (in 1671) she writes "I am sure that
you would be enraptured to see Lomaria dance the Passepied,
and the violins of the court would make your heart ache. I
wish you could see the manner in which M. de Lomaria lifts
and replaces his hat. What grace! What precision! The Passe-
pied could make me weep because it brought back to me such
sweet memories which it was impossible for me to resist." M.
de Lomaria became famous for his dancing of the Passepied,
and the grace displayed by him in the course of raising and
replacing his hat caused the Passepied to become a dance
with a hat. 'There is aiso a letter from the French king, Henry
IV, to M. du Plessio-Mornay, November 1597, to which he
adds the postscript: "I shall be at Blois the 16th of next
month without fail, fully resolved to learn the Passe-pied of
Brittany. Henry."
In England this dance was known as the Paspe, also as the
Papsy. Playford (in Dancing Master, 1703) gives us the fol-
lowing plan for a Paspe--
"First couple cross over to the second improper, then the
figure through the second couple to thz second proper, then
cross over to the third improper, then the first couple cast up
to the second improper, and cross over below the second
couple to the first improper, then the first and second women
change places, and the first and second man the like, then the
first and second couple all hands half around, and the first
couple cast off to the second improper, then the first woman
cross over below the third woman and come between the
third couple (the first man at the same time cross over and
go above second man and so between the second couple)
then the first woman in the middle of the third couple hands
VIVACE.
PASSEPIED
(froni L'Eurofie Galante.) AndrC Campra. ( 1660-1744)
all three abreast (the first man the same with the second
couple at the same time), then meet and set, then the first
man hand his own and turn to the second proper."
(Proper is when the men and women are on their own
sides. Improper is when the men are on the women's side, or
the women on the men's side.)
There is also a rare work entitled The Passepied Round 0,
(rondo?) A .New Dance Cornpos'd and written into Charac-
ters in the year 1715 by Kellom Tomlinson, dancing master.
The musical form of the Passepied consists of two or four
parts of 8 or 16 measures in a fairly rapid 3/8 time, begin-
ning with an eighth note up-beat. If in four parts, the first two
parts are mostly in major, and the last two in minor. In many
of them we find a characteristic use of syncopation (usually in
the cadences) where three definite rhythmic accents are
brought forth in two measures of three counts each, on 1, 3
and 2. (i.e. 1 2 3, 1 2 3.) As the tempo is quite lively this
- I n
syncopation proves an effective rhythmic device.

Authorities often mention the Passepied in contrast to the
Minuet. In reality, it is musically more like a Waltz, seeming
to be its parent. Many of the Passepieds by German com-
posers, especially those by Telemann, Foerster and Starzer,
sound very much like a German Landler. Occasionally we
find Passepieds in the classic Suites; fine ones by Bach
appear in his Fifth English Suite and in his Fifth Partita.
Other interesting examples are those by Campra, Destouches,
Kirnberger, Griinewald, Handel, Couperin and Rameau.
Three Passepieds by modern composers (Debussy, Delibes and
Lachaume) possess all the characteristic lightness of this dance,
but, are written in 2/4 time. This is a return to the ancient
PASSEPIED
meter, as many of the original peasant Passepieds (such as the

T ?ihory d e Bretagne in Arbeau's Orchesographie) , were in
a binary rhythm. A Passepied by Percy Turnbull, 1925, is in
the classic 3/8 time.
TRACT OF A CHACONNE
from Feuillet.
Chaconne and Passacaglia
T HE reason for examining these two forms simultaneously

does not arise from any belief that they were not dif-
ferent dances. Actually they were different, but musically, they
developed along identical lines into four distinct and large
forms, three of which are among the most important in musical
composition. Musicologists are today still at variance when
attempting to distinguish the two forms, but we do know
that in the court days the Chaconne was the more important
of the two and its dance form was largely responsible for the
resultant musical forms ; whereas today the most significant
of these four musical forms is known as the Passacaglia form.
The Chaconne was undoubtedly of early Spanish origin;
a slow solemn dance in 3/4 time; a theatrical dance much like
a Sarabande. The accompanying print from Lambranzi's
New School of Theatrical Dancing ( 17 16) gives us a Cha-
conne with the following scenario beneath it: "A Gypsy is
dancing a Cicona alone, with castanets in her hands. . . . A
necromancer enters and touches her with his wand. She be-
comes transfixed while he dances alone; finally they both
dance together to the end." Also, in Don Quixote, Cervantes
writes that it was a mulatto dance done by negroes and
negresses imported by the French for that purpose.
It is difficult to admit the etymology of the name as the
definitions offered by the ancient authorities are so widely at
variance as to cause the student morc confusion than enlight-
enment. Mattheson (Der Vollkommene Capellmeister, 1739)

only adds more confusion: "The largest among these dance
forms is indeed the Ciacona, or Chaconne, with its brother,
or its sister, the Passagaglio, or Passacaille. I find that Cha-
conne is really a family name, and that the admiral of the
Spanish fleet in America, anno 1721, was named Mr. Chacon.
Such a derivation satisfies me more than that one, in a certain
dictionary, which derives from Persian chess. The Chaconne
is sung and danced, sometimes at the same time; and even if
such diversions are alternated, there yet is expressed con-
siderable pleasure; however at all times more satiation than
savour. One knows how easily satiation brings forth disgust
and aversion; and whoever would wish to produce these emo-
tion-movements, need only order a pair of Chaconnes thereto;
so would the matter be correct." This interpretation is de-
cidedly different from the majestic and solemn emotion usually
evoked upon hearing a Chaconne by one of the masters of
that period.
I t was adopted by the French and transformed by them
into a social dance. It became the concluding dance of a ball;
the dancers forming two lines, the gentlemen on one side, the
ladies on the other. First they all danced for eight bars then
a couple (or small group) performed different figures, usually
down and back between the two lines. Then the entire assem-
bly would again dance the first figure, after which a second
couple (or group) would perform another different figure,
followed again by the opening figure. The dance continued
in this alternate fashion until each couple had performed its
individual figures, and finally all the dancers met together for
a last repetition of the opening figure. Important musical de-
velopments arose from these rather simple evolutions.
PRE-CLAS SIC DANCE FORMS
Of necessity the first to arise was simply a more extended

composition. Instead of the usual two-part dance form (with
occasionally a third part, or trio) the early Chaconnes con-
sisted of 4, 5, 6 or more parts, often covering 4 or 5 printed
pages. Among Chaconnes of this relatively unimportant type
are those by Lully and Blow. Passacaglias of this class have
been written by Lalande, Gervais and Roncalli, the latter
transcribed into a modern setting by Respighi.
Another inevitable outgrowth was a rich exposition of the
rondo form ( A-B-A-C-A-D-A-E-A, etc. ) On the recurrences
of the A section the entire group danced, while the couples
performed their various individual figures on the B-C-D-E,
etc. In fact, the Chaconnes of this genre have these sections
designated as 1st couplet, 2nd couplet; one by Fran~oisCou-
perin contains eight couplets. Louis Couperin and d'Anglebert
have also written Chaconnes in this rondo form. Besides the
above mentioned Chaconnes there is also a fine Passacaille
e n rondenu by Francois Couperin.
A third development was the "theme and variation" type of
Chaconne or Passacaglia. This undoubtedly came from the
musicians themselves. Playing the same eight bars over and
over again, it was inevitable that they would gradually begin
to variate the melody, if only to relieve the tedium of mon-
otony. Among the examples of this class we have a Chaconne
by Pachelbel with 13 variations, and two by Handel (one
with 21, the other with 62 variations). Though not so entitled
Beethoven's "32 variations on a theme in C Minor" is a pure
Chaconne. Handel's famous Passacaglia also belongs in this
category.
The fourth and most important form developed logically
from the third as a series of variatioris on a ground bass; i.e.,
CHACONNE AND PASSACAGLIA
an ever-recurring phrase in the bass, usually eight bars in

length. Such a bass is also called Basso Osti12ato (obstinate
bass). Among musicians this is now known as the Passacaglia
form, and it has become one of the grandest devices of their
creative craft.
In this group we find the finest works of the masters ; nota-
bly the Chaconnes of Pachelbel, Purcell, Couperin, Fresco-
baldi and Bach. Also Passacaglias by the same composers. The
modern examples (all Passacaglias) include those of Scott,
Bax (Paean), Hindemith (from Dey D e m o n ) , Percy Grain-
ger (Green Bushes), Blanchet (Tocsin) and Aaron Copland.
The confusion regarding these two forms amoi:g early
musicologists has been admirably described by the annotator
in the program of a recent concert by the Philadelphia Sym-
phony Orchestra. He writes as follows:
"Schweitzer remarks that "it is very instructive to com-

pare Bach's Chaconnc with his Pa\sacaglia, which is also in
reality a Chaconnc"; and hc proceeds to distinguish as fol-
lows the two forms: "Thc Chaconne and Passacaglia are
derived from old d2ncc forms, and are characterized by the
fact that they are developed out of an ever-recurring theme
of eight bars in 3/q time. In the Chaconne, this theme may
appear in all the parts; in tlle Passacaglia, it is confined to
the bass.
"But now listen to the Icrlrncd author of the article
'Passacaglia' in Grove's D i c t i o ~ ~y :a ~ "The only materlal
difference between the two formc appears to bc that in the
Chaconnc the therrlc is kept invariably in the bass, while
in the Passacaglia it is uscd in any part'-a distinction, it
will be obscrvcd, precisely the opposite of that made by
Schweitzer.
"Certain of the older theorists, on the other hand, assert
that the two terrns arc virtually interchangeable. De Bros-
MODERATO.
CHACONNE. (1%it11 62 Variations)

G. F. Handel. (1685-1759)
MODERATO
PASSACAILLE. (Rondo)
Francois Couperin. ( 1668-1733)
sard, in his Dictionnaire de Musique ( 1703-1705) declares

that 'the Passacaglia is properly a Chaconne. The only
difference is that the pace is generally slower than that of
the Chaconne.' J. G. Walthcr, in his Musikalisches Lexikon
(1732) insists that 'the Passacaglia is inherently a Cha-
conne.' Mattheson (Kern Melodischer Wissenschaft, 1737)
says that the two forms are 'brother and sister.'
"The puzzled ~tudentmay therefore be excused for won-
dering whether Bach's Passacaglia is really a Chaconne (as-
it would seem to be, if we accept the definition of Schweitzer
and others), and his Chaconne really a Passacaglia (as it is
if we accept the definition of Grove's Dictionary) ; or whe-
ther both are Chaconnes, or both Passacaglias; or whether
it is scarcely worth while to attempt to find out."
Of the Chaconne we learn that when the court tired of it,
it found a place on the stage. I t appears in the operas of
Gluck as an extended finale. Desrat states that it was often
done by women; the accompanying illustration shows a tract
(by Feuillet, 1703) of a Chaconne for a woman. Desrat also
states that the Passacaglia was a dance of imposing majesty
often executed by a gentleman alone. Despereaux describes
Louis X I V to us:
"In the costume of a God, dancing solo at Versailles,
With grave, majestic steps, the solemn Passacaille."
The etymology of Passacaglia is best defined by Larrousse
as coming from the Spanish-passacalle (Passar-to pass, and
calle-street) -"an air on the guitar which serenaders played
in the streets as a means of seduction." Another interesting
derivation is that given by Schubert who states that the name
comes from Passagallo, meaning cock-tread or cock-trot.
Some Lesser Forms
CANARIES
A L T H O U G H often mentioned as a slower form of the

Gigue, the Canaries must have been quite a lively
dance in Shakespeare's day. In Loce's Labour Lost ( 1588)
we find:
"To Jigge off a tune at the tongues end, Canarie it with
the feet." and in "All's -Well that Ends Well" ( 1601 ) :
"A medic.ine that's able to breathe life into a stone and
make you dance Canari."
Mattheson ( 1739 j writes that the Canaries display great
eagerness and agility. Mabel Dolmetsch says the peculiarities
of the Canaries are the heel and toe step, the stamp and the
swishing slide.
I t was probably derived from a mascarade or ballet re-
presentation of savages from the Canary Islands. It is in
3 8 or 6/13 time. The first crotchet (eighth note) of each
triolet is dotted; giving the rhythm much more of a light lilt
than the driving Gigiie.
It is not found in the Suite, but often in the ballets of
Lully, Campra, Destouches and Rameau. Francois Couperin,
Chambonnieres and Purcell have also written Canaries.
t 1091
The Loure, known as the Spanish Gigue, is a slower species
of Gigue, but does not replace, but precedes it, when used in
the Suite. I t is written in a rather slow 6/4 time. Mattheson
says it is "proud and arrogant in manner, therefore it was
much liked by the Spaniards." Scott (in Dancing in all T i m e s )
speaks of a solemn Louvre. Telemann and Kirnberger have
written Loures; Rameau has a Loure in Castor et Pollux
and another in Platec; and Bach precedes the Gigue in his
Fifth French Suite with a Loure.
PASSAMEZZO
Grove's Dictionary states that the Passamezzo was, "an old

Italian dance which was probably a variety of the Pavane.
I n England, where it was popular in Queen Elizabeth's time,
it was sometimes known as Passing Measures Pauan. In a ms.
volume of airs and dances by Strogus, Dowland and Reade, in
the Cambridge University Library it is called Passmezures
Y a v u n . Hawkins says that the name is derived from passer,
to walk, and mezzo, middle or half, and that the dance was
a diminutive of the Galliard; but both these statements are
probably incorrect. Practonius says that n Galliard has five
steps, and is therefore called n cinqzcefins, so a Passamezzo has
scarcely half as many steps as the latter, and is therefore called
the ,mezzo passo. These derivations seem somewhat far-
fetched, and it is probable that the name passe-mezzo (in
which form it is found in the earliest authorities) is simply
m
3
SOME LESSER F O R M S
an abbreviation of Passo e mezzo; i.e. step and half, which

may have formed a distinctive feature of the old dance. Full
directions for dancing the passamezzo may be found in Carosa
da Sermoneta's curious works I1 Ballnrino (Venice 1581) and
Nobiltci di dame ( 1600).
In the Fitzwilliam Virginal Book there is a Passamezzo
I'avana by William Byrde and another by Phillips; both are
written in an elaborate style, and followed by a Galiarda-
Passamezzo.
Arbeau tells us that "the musicians sometimes play it (the
pavane) less gravely, and in this manner it partakes of the
moderate tempo of a Basse-dance, when it is called passa-
mezzo." But the most authentic explanation seems to be the
following one by Mabel Dolmetsch: "Passo e mezzo is ar-
ranged in the same plan as the Italian Pavans, but with half
the proportion of steps in proportion to the bars of music, so
that a step which would take one bar in the Pavan takes 2 in
the passo e mezzo, and the music is played faster."
In Shakespeare's Twelfth Night we have the expression
a passy-measure pauyn.
I t had an easy quiet character and was much favoured by
the Venetians.
ADDENDA ONE
Authentic Forms
T H E PAVANE OF HENRY I11
from Desrat's Dictionnaire de la Danse
The Pavane is danced to a slow measure in two beats, with

the foIIowing step, made to the front, back, side, and turning.
1st beat (the step described on the right foot). Bend both
knees, sliding the right foot.
2nd beat-extend the left leg in front of the right, toe very
pointed and the toe alone touching the floor.
( O n the left foot, the step is the opposite. T o turn, rise
to the toe of the right foot, bringing the left foot dose
in front.)
1st refrain-:! couples facing, gentleman at left of lady.

Large semi-circle to their right to change places: pavane
step to right.
Gentlemen hold their ladies' hands very high. After
changing places, couples bow.
2nd refrain-The two couples do 4 pavane steps advancing
to their right, stopping facing each other in the middle
of the room. Bow. Advance towards each other by 2
pavane steps and pirouette on toe, each gentleman doing
this with opposite lady. Gentleman turns back to face his
own partner, and with 4 pavane steps they return to
their places. I n returning, the gentleman leads the lady
with her right hand in his left. One beat taken on the
toes, then a slow bow.
3rd refrain-One gentleman alone makes a large semi-cir-
cle to the left with 4 pavane steps. Arriving in front of
the opposite lady, he performs a bow and curtsey with
her. Returns to place over the same semi-circle. Bow and
courtsey with his own lady. Second gentleman does the
same.
Coda--The two couples advance without holding hands by
4 pavane steps opening to the right and the left; bow;
gentleman turns to face partner, bows, returns her to
place from which he invited her.
Pavane often ended in a promenade with bows as a t begin-
ning.
GALLIARD
from Arbeau's 0rchesographie
1. Grue gauche. (Coup6 or Cut, left.)

2. Grue droite. (Coup6 or Cut, right.)
3. Grue gauche.
4. Grue droite.
5. Saut majeur. (Big jump)
6. Posture gauche.
1. Grue droite.
2. Grue gauche.
3. Grue droite.
4. Grue gauche.
5. Saut majeur.
6. Posture droite.
1. Pied croisi droit.

2. Pied crois6 droit.
3. Pied croisk gauche.
5. Saut majeur.
6. Posture droite.

2. Pied croise gauche.
3. Pied croisk droit.
4. Pied croist droit.
5. Saut majeur.
6. Posture gauche.
ALLEMANDE
from Ardern Holt's, Revived Ancient Dances
The Allemande is danced as follows, always remembering

the intense importance of the head and arm movements; the
hands are never loosed, except for a second in changing posi-
tions in the third figure:
'The lady stands in front of the gentleman; he holds her
left hand with his lelt and her right hand with his right.
For four bars they go forward and pose, and repeat this
four times, the last time they pass forward for two bars
only, and turn; this occupies eight bars of the music, and
is danced straight across from the left to the right of the
stage.
Circle four steps round and quick turn; the gentleman
turns the lady with arrns overhead, and the lady turns the
gentleman.
Allemande-step forward, change hands quickly, and turn,
then allemande-step back slowly, turn and pose.
The lady makes four pas de basques in front of the gentle-
man and turns, the gentleman ending on the right.
Four steps across the stage, turn and pose. Take two steps
back, turn and pose, and repeat. T h e Allemande can be
danced by one couple or any number of couples placing
themselves behind each other. The Allemande step is three
pas marchts and the front foot raised.
COURANTE
from Ardern Holt's, Reviued Ancient Dances
1. Start with a deep curtsey and a springing step forward,

and back to fourth position, both arms raised, each
dancer turning outwards. These movements occupy four
bars of music, and are repeated for another four bars,
making eight bars.
Eight bars of music are now occupied with a slow pas de
basque in a circle, each dancer advancing in an opposite
direction, then balancing and turn, making a deep curtsey,
and accompanying the steps with arm movements.
3. The dancers spring forward, and each takes one step in an
opposite direction to the other, a coup6 and half jett6,
and this is repeated with the other foot as the dancers turn
outwards. They dance the back stay step twice, returning
to position and turn, beginning the movement again by
repeating the first springing step, and back stay step, so
that the partners change places, and turn.
All these three figures are then repeated, commencing with
the opposite foot.
SARABANDE
from Playford's Danci~zgMaster
The dancers stand in two lines. All advance and retire

twice, then set to partners, making two steps and closing
both feet twicc. T h c first couple on each side join hands
and make four steps forward, lour back, meet again, and
repeat crossing hands, using first the right and then the
left hand and repeat, which occupies a phrase of the
music played once. The two top dancers on either side
join hands and take four steps forward and four back,
closing both feet. Then they go round to the right, falling
into each other's places; then set with two steps, closing
both feet, which occupies the phrase of the music played
twice over. This is repeated by all the dancers till none
are left.
2. Form into two lines, set to each other. Repeat. The first
couple then go down between the second couple. The four
then change their places, turn away from each other, and
come down to their places. The partners changing places
set to each other with two steps, then the feet close to-
gether, which occupies two phrases of the music. This is
repeated by all taking part.
3. Partners take arms, set with two steps, feet joined to-
gether, and turn, this occupying one strain of the music.
Repeat, then change places with the second couple on the
same side, take right hands across, and go a quarter round.
The first couple fall into the places of the second couple.
Set and turn, this occupying two phrases of the music.
Repeat till all the dancers have carried out the movement.
MILLER'S JIGG
from Playford's Dancing Master
First couple take hands and second couple take hands, then
one couple change into the second couple place, and second
couple into the first couple place, then back to back with your
own and come to your places: the rest do the same. (This to
the first part of the time once over.)
The first and second couples take right hands across and go
half round, and so go back to back into their own places, then
first couple cast off into the second couple place, then all four
take hands and go half round, then each man cross over with
his own woman and so into their own places again, the other
couple do the same. (This to the second strain of the time.)
MENUET DE LA COUR
from Playlord's Dancing Mnsfei.
The gentleman stands on the left of the lad) : each taking

a step sideways, so that they face each other: the gentle-
man, raising his hand, salutes the Iady, who curtsejrs low.
Both make a pas march6 forward, and facing each other,
bow; then turn into their places with another pas marsht,
and step back.
The gentleman, presenting his hand to the lady, leads her
forward; they balance to each other with coup6 to the
right, finishing at opposite corners.
Both advance to opposite corners with a pas grave and
pas de menuet, finish with right shoulders to each other.
Crossing at right angles with the pas march6 and minuet
step to the corners diagonal to each other, both advance,
with a sustained assembl6, ending shoulder to shoulder.
Then both back, and turn the contrary shoulder; this they
repeat four times, then bending slowly and rising twice.
Both raise the arm and join the right hands, making an
assemblt; moving round each other, they turn to the right,
and finish at opposite corners. 8. Repeat with left hands.
They give both hands, and, moving to the right, resume
their original places; they then balance, move backward
and forward, and finally end with a bow and curtsey.
The minuet step is a demi-coup6 with the right foot and
one with the left; a pas march6 of the right foot on the toes,
the legs extended at the end of the step; place the right heel
on the ground so that you can bend the knee, and raise the
left leg, which passes to the front, making a demi-coup6
e'chapt.
111211
GAVOTTE
to Lully's Le Ballet du Roi
The dancers start in a line or circle, one couple separa-

ting themselves from the rest. But one couple only can dance
it very effectively.
1. Four gavottes forward, four gavottes round, four back,
and four round again, the dancers hand in hand, the
figure always accompanied by graceful head movements,
the partners turning towards each other or apart.
2. Gavotte round the room, the ladies changing sides four
times, the dancers hand in hand, but each looking the
reverse way and making a step to the side, with the one a
curtsey, the other a bow, repeating the step and the
reverence.
3. Face partners, taking both hands, and alternate toe and
heel step; point toe in front, then behind, then up the room,
pivot, and same back, and pivot.
4. Repeat the same step to the right twice, and twice to the
left, with partner, four gavottes round.
5. Skate four times; change feet, two pawing steps, gavotte
round partner, repeat same step down (two pawing steps)
and gavotte round partner.
6. Gavotte forward three times, pirouette back, raise foot up
to heel, and advance four times.
Gavotte Step : three steps and an assemblt in 4/4 time. You
spring on the foot that is on the ground, and at the same time
point the toe of the other foot downwards.
For the half circle round, jump one foot to the side, bring-
ing first the right foot forward and then the left.
C 1221
BOURREE
STEPin 2/'4, on right foot.

1st beat-pliez left leg, extending right crossed to left at
same time; second beat-rise lightly on left leg keeping
right extended. (Opposite on left foot.)
BOURREE FROM AUVERGNE-men in one line, women in an-
other.
1st refrain-
8 meas.-2 men advance with two opposite women,
withdraw, advance again. Ladies and men put hands
on hips.
8 meas.-2 couples at other end do same.
8 meas.--2 first men advance holding right hands with
opposite women, retreat holding left.
8 meas.-two couples on other end do same.
2nd refrain-All couples together
Each man turns with every lady in succession, holding
right hands and letting them go under lifted right arm.
Same figure by women, who turn men under left arm.
Men and women, hands on hips, bourrte step again for-
ward and back, turn together to return to original
places.
RIGAUDON
from Ardern Holt's Revived Ancient Dances
Arranged by Isaac, the fashionable dancing master of

Queen Anne's court, on the queen's birthday.
Each figure occupies eight bars; both dancers start to-
gether without holding hands.
1. Slide and make four running steps, turn, and then pose;
repeat with the opposite foot.
2. Turn to left and right alternately four times, going back-
wards.
3. This figure is danced diagonally to the right with running
steps, turn and pose; repeat the same to the left.
4. Two hops and turn, repeat, then run diagonally LO the
right and turn, r u n diagonally to the left and turn, with
the arms out straight.
5. Half turn to left, haif turn to right, whole turn to left,
repeat.
6. Arms over head, three steps to left, turn to left, three steps
to right, turn to right, hop round and pose with right hand
down, the left hand above the head.
7. Balance four times on left foot, four times on right foot,
pose as in figure 6.
'The head and arm movenlcnts are all important in this
dance.
PASSEPIED
Figures-
1. The gentleman and lady cross one foot in front of the
other to execute walking steps forward. ( M a n left in front
of right, lady right in front of left.) Opposite couple do
same.
2. Each man pirouettes his lady.
3. Couples cross hands to glide to rear. Man describes arc to
right, lady to right also. Lady places herself at the man's
left to execute this step.
4. Moulinet by all. Ladies in center, sentlemen balance twice.
5. Bow.
6. Pas de basque forward.
7. Form a circle, balance forward and back.
8. 4 men form circle by stretching out arms, ladies circle
around own partner to right. Man takes lady's left hand
and leads her to her place.
ADDENDA TWO
Suggested Music
PAVANES
1. Luis Milan. ( 1499-156 1) Pavana 111. ( F major)

2. Pierre Phalese. ( 151 0-157 3) Pavane ferrarese. ( G minor)
3. Alonso de Mudarra. ( 15-- 15-) Pavana. (A minor)
4. William Byrde. ( 1540-1623) Pavana. T h e Earle of Salis-
bury. ( A minor)
5. John Bull. (1563-1628) Pavana. St. T h o m a s Wake. ( G
minor) (The one exception which begins on an up-beat.)
6. Jacques Champion de Chambonnieres. ( 1620-1670) Pa-
vane. L'Entretien des Dieux. ( G minor)
7 . Jean-Baptiste Lully. j 1633-1687 ) Pavane from nlopce de
L7illage. ( A minor )
8. Gabriel Faure. (1845-1924) Pavane. op. 50 (F# minor)
9. Maurice Ravel. ( 1875-) Pavane de la Belle au bois
dormant, from M u Mere l'Oye. ( A minor)
10. Maurice Ravel. (1875-) Pavane Pour une Infante
defunte. ( G major)
1 1. Walter Niemann. ( 1876)-) Pavane from Tajelmusik.
op. 125. ( G minor)
i 2. Francis Poulenc. ( 1899-) Pavane from Suite Francaise.
( F major)
GALLIARDS
1. Pierre PhaIese. ( 1510-1573 ) Galliarde ferrarese. ( G

minor )
2. William Byrde. ( 1540-1623) Galiardo. (A minor)
3. John Dowland. ( 1563-1626 ) Captaine Digorie Piper,
His Galiard. ( G minor )
[1281
4. John Dowland. ( 1S63-lti26;) The King of Denmark's
Galiard ( D minor)
5. Hans Leo Hassler. ( 1564- 16 12) Gagliarda. ( E minor)
6. Hans Leo Hassler. ( 1561-1612 ) Gagliarda. (C. major)
7. Girolamo Frescobaldi. ( 1583-1644) Gagliarda. ( G minor)
8. Girolamo Frescobaldi. ( 1583- 1644)Gagliarda. ( D major)
9. Paul Peuerl. ( fl. 1602-1625 ) Galliarde from Tanrbreuier.
( F major)
10. Bartholomaeus Praetorious. ( 6 6 ) Gagliarda. ( E
major-A minor) (This is really in A minor but begins
and ends with E major chords)
11. Ottorino Respighi. ( 1879-1935) Gagliarda. Transcribed
from Vincenzo Galilei. ( 1550-) ( D major )
ALLEMANDES
1. John Bull. ( 1563-1628) The Duke of Brunswick's Alman.

( A minor)
2. Jean-Baptiste Lully. ( 1633-1687 ) Allemande. ( E minor)
3. John Blow. (1648-1708) Almand I. ( A major)
4. John Blow. ( 164.8-1708) Almand 11. ( D major)
5. Henry Purcell. ( 1658-1695 ) Almand. ( G minor )
6. Francois Couperin. ( 1668-1733 ) Allemande. La 'I'ene-
breuse. ( C minor)
7. Johann Mattheson. ( 1681- 1764) Allemande. ( C minor)
8. Jean Philippe Rameau. ( 1683-1764) Allemande. ( E
minor)
9. Johann Sebastian Bach. ( 1685- 17 50) Allemande from
First French Suite.
10. Georg Friedrich Handel. ( 1685-1759) Allemande from
Suite X I V . ( G major)
1 1 . Georg Friedrich Handel. ( 1685-1759) Allemande from
Suite X I . ( D minor)
12. Walter Niemann. ( 1876-) Allemande from Tafelrnusik.
o p . 125. ( D minor)
SARABANDES
1. Louis Couperin. ( 1630-1665 ) Sarabande in Canon Form.

( D minor )
2. P'rancois Couperin. ( 1668-1 733 ) Sarabande La Lugubre.
( C minor)
3. Andrc Dcstouchcs. ( 1672-1749) Sarabande. ( G minor)
4. Jean-Baptiste Loeillet. ( 1680- 1730) Sarabande. ( G minor )
5. Jean Phillipe Rameau. ( 1683- 1764) Sarabande from
Zoroastre. ( E major)
6 . Georg Friedrich Handel. ( 1685-1759) Sarabande. ( D
minor)
'7. Claude Debussy. ( 1862- 1918) Sarabande. ( C# minor)
8. Paul Vidal. ( 1863-1931 j Sarabande from Zino <inn ( G
minor )
9. Erik Satie. ( 1866-1925) 3 Sarabandes.
10. Arthur Honegger. ( 1892-) Sarabande (Bb major)
1 1 . Hermann Reut ier. ( 1900 - ) Sarabanda, Christus in
Gethsemane.
12. Henry Brant. ( 19 13-) 2 Sarabandes.
COURANTES
1. Girolamo Frescobaldi. ( 1583-1644) Corrente. ( A minor)

2. Jean-Baptiste Lully. ( 165.3-1687) Courante. ( E minor)
3. John Blow. (1648-1708) Corant. ( C major)
4. Henry Purcell. ( 1658-1695) Courant. ( G major)
5. Domenico Zipoli. ( 1675-1726) Corrente. ( G minor)
ti. Jean-Baptiste Loeillet. ( 1680-1730) Courante. ( G minor)
7. Johann Mattheson. (1681-1764) Courante. ( C minor)
8. Georg Friedrich Handel. ( 1685-1759 ) Courante. ( G
major)
9. Johann Kirnberger. ( 1721- 1783) Corrente. ( G minor)
10. Walter Niemann ( 1876-) Courante from Taf elmusik.
op. 125. ( D minor)
11. Cyril Scott. ( 1879-) Courante. ( E minor)
12. Bela Bartok. ( 1881-) Tre Correnti, transcribed from
Michelangelo Rossi. ( 1630-1660)
COURANTES O F THE 6/4-3/2 VARIETY
13. J. C. dc Charnbonnieres. (1620-1670) Courante. ( A

minor)
D311
14. Francois Couperin. ( 1668-1733) Courante. ( G minor)
IS. Francois Couperin. ( 1668-1733) 2 Courantes. ( C minor)
16. Francois Couperin. ( 1668-1733) Courante. ( A minor)
17. Francois Couperin. ( 1668-1733) 2 Courantes. (D minor)
18. Johann Sebastian Bach. ( 1685-1750) Courante from
Fourth Partita. ( D major)
19. Johann Sebastian Bach. ( 1685-1750) Courante from
3rd French Suite. (B minor)
GIGUES
1. Jean-Baptiste Lully. ( 1633-1687) Gigue. ( E minor)
2. John Eccles. ( 1668-1735). Jigg. (Bb major)
3. Domenico Zipoli. (1675-1726) Giga. ( G minor)
4. Jean-Baptiste Loeillet. ( 1680-1730) Gigue. (G minor)
5. Jean Philippe Rameau. (1683-1764) 2 Gigues en Ron-
deau. ( E minor-E major)
6. Johann Sebastian Bach. ( 1685-1750) Gigue from 5 t h
French Suite. ( G major)
7. Georg Friedrich Handel. ( 1685-1759) Gigue. ( D minor)
8. Carl Heinrich Graun. ( 1701-1759) Gigue. (Bb minor)
9. Johann P. Kirnberger ( 1721-1783) Gigue. ( C minor)
10. Walter Niemann. ( 1876-) Gigue from Tafelmusik, op.
125. ((: major)
11. Alfredo Casella ( 1883-) Giga from Pieces enfontines.
12. Richard Donovan. ( 1891-) Jig from Suite for Piano.
MINUETS
1. Henry Purcell (1658-1695) Minuet. (G major)

2. G . F. Telemann. (1681-1767) Menuett. (A minor)
3. Johann Mattheson. ( 1681-1764) Menuett. ( C minor)
4. J. P. Rameau. (1683-1764) Menuet. (G minor)
5. Gottlied Muffatt. ( 1683-1770) Minuett. (Bb major)
6. Johann Sebastian Bach. ( 1685-1750) Menuet from 6 t h
French Suite. ( E major)
7. J. F. Fasch. ( 1688-1758) Menuet. (D minor)
8. Erik Satie. ( 1866-1925) Premier Menuet.
9. Maurice Ravel. ( 1875-) Menuet from Suite, Le Torn-
beau de Couperin.
10. Walter Niemann. ( 1876-) Minuet from Tafelmusik
o p . 125. ( G major)
11. Alfredo Casella ( 1883-) Minuetto from Pieces enfan-
tines.
12. Serge Prokofieff. ( 1891) -) Menuetto, op. 32. No. 2.
GAVOTTES
1. Jean-Baptiste Lully. ( 1633-1687 ) Gavotte from L'Amour

Malade. ( G minor)
2. Henry Purcell. ( 1658-16% ) Gavotte. (Trumpet Tune
called The Cebell.) ( C major)
3. Louis Marchand. ( 1669-1732) Gavotte. ( D minor)
4. G . P. Telemann. ( 168 1-1767) Gavotte from Overture in
A minor.
5. J. P. Rameau. ( 1683-1764) Gavottes from Temple de la
Gloire. ( D major)
6. Johann Sebastian Bach. ( 1685-1750) Gavotte from 5t h
French Suite. ( G major)
7. Johann Scbastian Bach. ( 1685-1750) Gavotte (with Mu-
sette) from 3rd English Suite. ( G minor)
8. Christoph Foerster. ( 1693-1745) Gavotte. ( A major)
9. Arnold Schoenberg. ( 1 874-) Gavotte and Musette from
Suite, op. 25.
10. Serge Prokofieff. ( 1891-) Gavotte, op. 12, No. 2. (G
minor )
1 1 . Serge Prokofieff. ( 189 1-) Gavotte from Symp honie
Classique, op. 25. ( D major)
12. Serge Prokofieff. ( 1891-) Gavotta, op. 32, No. 3. (F#
minor )
BOURREES
I. J.-B. Lully. (1633-1687) Bourrie from Phaeton. ( C

major)
2. Johann Kuhnau. ( 1677-1722) Bourrbe. ( D minor j
3. G. P. Telemann. ( 1681-1767 ) Bourrte. ( A minor)
4. Jean Joseph Mouret. (1682-1738) Bourrke from Les
Amours de Ragonde. ( E major)
3. Johann Sebastian Bach. (1685-1750) Bourrte from 2nd
Violin Sonata. (B minor)
6. G. F. Handel. (1685-1'759) Bourree. ( G minor)
7. J. F. Fasch. j 1688-1758 ) Bourrte. (Bb major)
8. Gottfried Heinrich Stolzel. ( 1690-1749) BourrCe. ( G
minor )
9. J. L. Krebs. ( 1713-1780) Bourrte 11. (A major)
10. J. P. Kirnberger. (1721-1783) B o u d e . ( D major)
11. Aime Lachaume. ( 187 I-) Gavotte-Bourrte from Tria-
non Suite. ( G minor)
RIGAUDONS
1. Henry Purcell. ( 1658-16% ) Riggadoon. ( C major)

2. Francois Couperin. ( 1668-1733 ) Rigaudon. (D minor)
3. John Barrett. ( 1674-1735 ) Rigadoon. The St. Catherine.
(A major)
4. J. Y. Ramcau. (1683-1 764) Rigaudon. ( E minor)
5. J. P. Rameau. (1683-1764) Rigaudon from Dardanus.
( G major)
6. J. P. Kirnberger. ( 1721- 1783) Rigaudon. ( D major)
7. Edward MacDowell. ( 1861- 1908 ) Rigaudon. op. 49,
No. 2. (A major)
8. Dalhousie Young. ( 1866-1921) Rigaudon. Sailors' Horn-
Pipe. ( D minor)
9. Percy Pitt. (1870-1932) Rigodon. ( C major)
10. Walter Niemann. ( 1876-) Rigaudon from Tafelmusik,
op. 125. ( D major)
11. Walter Niemann. (1876-) Rigaudon. op. 5, No. 5.
( G major j
12. Serge Prokofieff. (1891-) Rigaudon. op. 12, No. 3.
( C major)
PASSEPIEDS
1. Andre Campra. ( 1660-1744) Passepieds from L'Europe

Galante. ( G major)
2. Fr. Couperin. ( 1668-1733 ) Passepied. ( D minor)
3. Andre Destouches. ( 1672- 1749 ) Passepieds en R o ndeau
from Zsse'. ( G minor)
4. Gottfried Griinewald. ( 1675-1739) Passepied. (G major)
5. G. P. Telemann. (1681-1767) Passepied. (A major)
6. J. P. Rameau. (1683-1764) Passepieds from Castor et
Pollux. ( E major)
7. Johann Sebastian Bach. ( 1685-1750) Passepied from
5t h English Suite. ( E minor)
8. Johann Sebastian Bach. ( 1685-1750) Passepied from
5th Partitn. ( G major)
9. G. F. Handel. (1685-1759) Passepied from Aylesford
Pieces. ( G major)
10. Chr. Focrsier. ( 1693-1745 ) Passepied. ( A major)
11. J. P. Kirnbcrger. ( 17 2 1- 1783 ) Passepied. ( E major)
12. Percy Turnbull. (pub. 1925) Passepied. (A major)
CHACONNES AND PASSACAGLIAS
1. J. H. d'Anglebert. ( 1628-1691) Chaconne. ( D major)

2. Louis Couperin. ( 1630- 1665 ) Chaconne. ( G minor )
3. Johann Pachelbel. (1653-1706) Ciaconna. ( D major)
4. Johann Pachelbel. ( 1653-1706) Ciaccona. ( F minor)
5. Johann Pachelbel. ( 1653-1706 ) Passacaglia. ( D minor)
6. Henry Purcell. ( 1658-1695 ) Chaconne. ( F major j
7. Francois Couperin. ( 1668- 1733) Chaconne-Rondeau.
( C minor)
8. Francois Couperin. ( 1668-17 33 j Passacaille. ( B minor)
9. G. F. Handel. ( 1685-1759) Chaconne with 9 Variations.
(G major)
10. G. F. Handel. ( 1685-1759) Chaconne with 62 Varia-
tions. (G major)
11. E. R. Blanchet. ( 1877-) Passacaglia. Tocsin.
12. Arnold Bax. ( 1883-) Passacaglia. Paean.
Index
A canon form, 50
i\llemande, 14, 25-32,43,63, 1 17, Caprzol, 18,2 1-22
142; earliest English reference, 25; Casella, Alfredo, 60,68
origins of, 25; music for, 130 castanets, 50, 101
All'c Well that Ends Well, 109 Catherine d e Medici, 4 , 3 4 , 8 3
Anne of Austria, 4 6 , 4 8 Cervantes, Miguel de, 10 1
Arbeau, Thoinot Uehan Tabourot), Chaconne, 101-1 08; origin of;
4 , 7 , 9 , 14, 18-19,21,22,24,25, 101-1 02; suggested music for,
28,35,38,45, 70,75-76,95,99, 140
116 Chambonnieres, Jacque Champion
Art of Dancing, The, 65 de, 9 , 4 1 , 109
assemble. 75 Chateaubriand, 8 3
Chevalier d e Grammont, 46
B Cicona, 101
Bach, Johann Sebastian, 32,6O, 76, cinquepas, 1 10
84,90,98, 105, 108, 1 10 Complete Conductor, The, 29
bag-pipe, 74 contemporaneousness, of dance vs.
Ballet, 6 3 , 8 4 music, 5
Ballet d u Roi, 122 Cornemuse, 74
Barrett, J o h n , 89-90, 138 Corrente, 34
Bartok, Bela, 43, 143 coupe, 83
Baskervill, Charles Read, 55 Couperin, Francois, 5,32,41,50,
hasse da nse, 4-5,8-9 98, 104, 105, 109
basse-dance, 1I 1 Couperzn, La, 32
Basso Ostinato, 105 Couperin, Louis, 104
Beethoven, Ludwig van, 43,59 Courante, 29,33, 34-43,63,67,
behaviorism, 6 3 118, 142; origins of, 34; three
Belle qui Tiens M a Vie, 9, 10-1 1, 14 types of, 34-35,38-39,4 1 ;
Bennington School of the Dance, 5 1 structural form of, 43; suggested
Blow, John, 32,35, 104 music for, 132; suggested music of
Bourrees, 63,74,78-84,87-88,90, the $,$ variety, 133
123; suggested music for, 137 court dance, 2-3,55; history of, 3 - 4
branles, 4-5,35-36,67,70,94-95 Cowell, Henry, 5 1
Brante, Henry, 50
broken, 29 D
Bull,John, 7 DanczngMacter, The, 50, 57, 84, 89,
Butler, Samuel, PI-znczplesof Music, 96,98, 119,120,121
13 Danckert, Werner, 55
Byrde, William, 14,24,55, 11 1 dance classque, la, 72
Danse de Docteurs, La, 38
C Danse, La, 75
Campra, Andre, 97,98, 109 daughter of the Courante, the, 67
Canary, 60,109-1 10 Davies, Sir John, 34-35
Dd\dher, Baron, 12 Gigues, 29,43, .?4-60,63, 74,84,94,
I)ebus51, (:]dude. li, 30, 6 0 , 68. 98 1 0 , 1 10
De k ellce. 83-84 (;luck. (:hristoph Willibald \.on, 5 0 .
de Garlandla, John. 5 5 1O X
Iklsarte, FI ancols, 28 Graham, Martha, 16, 43, 50-3 1 , 76
de Mllle, Agnes, 60 (;ramrnont. (:he\dier d e , 46
LIPS Vollkorr~rrmrCnprllnw~\tot,S'j, (;regorim chant, 1-2
60,79, 87-88,94, 102, 100 ground bass, 104
de Sermonetn, Caros,i, 1 1 1
Ilespereaux, 9 3, 108 H
Ilesrat, 22, 28-29, 89, 114 Handel, (;.F., 32,60, 68, 76,X4,98,
Destouches, Arid1 e , 84,98, 109, 13 1 104
LI~ctzotlnazrrde 10 D m t r ~28-29,
, 89, 114 ha utv d a t ~w, 4-5, 8-9
Dzctlonrluzre de Mu\que, 105, 108 Henry IV, 96
Dlctzonnuzre de Trrz~oux,8-9, 5 0 , 93 Hindemith, Paul, 10
Dolmetsch, Mabel, 109, 1 1 1 Hzctorla dr la M U T LE\p(lr~ol(l,
C~ 50
Donovan, Richard, 60 Hl\to~trdr IN D(lrzw, 19
Dowland, John, 14,24 Hofer, M a n Ruef, 62,67, 72
drone-bass, 74 Ilolm, Hdnya, 51
Dukas, Roger, 48 Holt, Arden, 1 17, 1 18, 124
Honegger, Arthur, 5,50
E Humphrey, Dor i5,43,68
Elizabeth of England, 19,57
Elyot, allusion to the Pavane, 8; of I-J-K
the Galliard, 19 ttr~lt)to$)rr(~errri),
96, 98
Engel, Lehman, 50-5 1 Jonson, Ben, 46
English Hornpipe, 89 Jooss Ballet, 16
Enters, Angna, 16 Jozo (lrc F7ugol\, 79
Erl-King, The, 54 Kemp'\Jtgg, 57,59
Exaudet. 67 K P71~iZ/Irlod~c c h W I O P ~ ~ \ C I1OLH( I ~ ,
K m g N ~ t ~the
r yFlfth, 19
F Ktrlg Polrttc Out thr Ftrw Potrlts of t h ~
F~tzudliun~Vi~gltutlH o o k , 1 1 1 Colcr(intr, The, 4 1
Foerster, Christoph, 76, 98 Kirnberger, John Philipp, 35, 60,
Fonta, 35,46,95 76, 98
French Revolution, 68, 72
L
G L,ichaume, Aime, H4,98
(d~gll(l?(hi, 2:3 Imhrvtruir, ot , S P ~ J PT~ P
I C L ~flgurrd
P\, tn
Gahurda-Pr~\\cirtirzzo, 1 1 1 Srzvtz Pcc\\zorule Pa-i~lrt\,14
( d l ~ u r d Gjggp,
c A , 55 1,cid~R'e-ilzlle'~Vlrg2tlnl Hook, S.5
CTalliarcl,9, 13, 17, 18-24, 70, 94, Lambr an/l, (;r ego1 io, 46, 10 1
1 16; definition of, 18-1 9; Lapaire, 79, 83
suggested music tor, 129 Last Nrzo Frrnth R1g(doon, Thr, 89
Gardel, Pierre, 67, 7.3 L'Europr ( ; ( d ( ~ r i 96
t~,
C h ~ o t t e5,
, 63, 70-76, 78, 87-88, 90, Lrc A r m drc Pml\ (the wuls of the
122 feet), 65
Lesser Forms, 109-1 11 0
Limon, Jose, 5 1 Ochsner, Berta, 4 1 , 51
Loeillet, Jean-Baptiste, 35,41,60 "On the Dancing and Singing
Louis XIII, 22,46,88 Llamado Zarabanda," 45-46
Louis XIV, 23-24,lO8 Orchesogruphie, 4, 7 , 9 , 14, 18-19,
Louis XV, 67,95 19-20,21,-22,24,25,28,35,38,
Loure, 60, 110 45,70,75-76,95,99,116
Lovelace, 45 Orchestra, 7,34-35
Love's Labour Lost, 109 Ordre~,5, 32
Lugubre, La, 5 1
Lully, Jean Baptiste, 14,35,60,68, P
84,104,109,122 Pachelbel, Johann, 104, 105
Paduan and Galliard, 2 1
M Paris Dancing Academy, 67
Mace, Thomas, 25,38,59 Parry, Sir Charles Hubert, 13-14
MacDowell, Edward, 90 Pas de Basque, 95
Mahoney, Arthur, 84 pas de Bourree, 84
Marais, Marin, 84 pas de bourl'ee emboite, 83
Mariana, Pedro, 45-46 pas de boure'e ouvrrt, 83
Marie Antoinette, 67 pas de Jleurets, 83
Mattheson, Johann, 29,39,48,50, Passacaglia, 10 1-1 08
59-60,74-75,79,87-88,89,90, Passacaille en roundeau, 104
94,102,108,109 Passamezzo, 100- 1 11
Masque, 16 Passepied Round 0,A New Durrr~
mediaeval music, 1 Compos'd and Written into Characters
Mezzo Passo, 110 i n the year 1715, The, 98
Minuet, 38,62,68-74 Passepieds, 5,63, 125, suggested
Miller's Jigg, 120 music for, 13; see Lesser Forms
Misterieuse, La, 32 Passing Measures Pavan, 1 10
mode, 1-2 Passy Measures, 13; see Lesser Forms
Mohr, Ernst, 3 1 Pavana, Spain, 16th centuq, 16
Morley, Thomas, 13,21 , 2 5 , 3 5 Pavanes, 5,7-16,142; modern
Mozarabian masses, hymns of, 46 composers and, 32; origins of
Mozart, Wolfgang Amadeus, 63 Spanish, 8; resemblance to the
Much Ado About Nothing, 84 Allemande, 32; resemblance to the
Musette, 74 Sarabande, 48; suggested music
Musik Lexikon, 29 for, 128; supplanting of, by the
Musick's Delight, 84 Allemande, 2 9 , 3 1
mu sick'^ Monument. 25 ~aysannieries,95
Pecour, Louis, 38,67
N Perf~ctConductor, The, 48, 74-75
New Dance, 43 Phalese, Pierre, 2 1 , 31-32
New School of Theatrical Dancing, 46, Philip I I , 46
101,103 Phillips, 11 1
Niecks, Dr. Frederick, 3 1 Pluine and Easie Introduction to
Niemann, Walter, 32,43,60,90 Practical Musicke, A , 13, 15,21,35
Nobilta di dame, 1 I 1 Playford, John, 50,55,57,59,84,
Shad~vell,18, 29-3 1
Sl~akespeat.c,it'illianr, 12-1 3, 10,
.34, 84, 109, I1 1
Sidtle).. Sir llerr r!,, 3'7
sonata form, 50, 59, 62-63, 6'7
Suite, 5, 62-63, '71. 84,C)O. 98. 109:
evolvitlg illto Sonata f)rtri, 50;
final tnove~nerito f the, 39;
f01-er-unnerof, 13; f0ur-part
classic, 43; of'the classic period, 29
Susato, Tielman, 3 1
Sivift, Jonathan, 78
R
Rarneau, Jeati Philippe, 41,60, 6 7 ,
'7 6, 84, 90, 98, I00
Kavel, Maurice, 5,7, 14, It?, 6 8 , I28
Renaissance, the, 1-3
Respighi, Ottorino, 24, 104, 129
Revived Ancient Dances, 1 17, 1 18,
124
Kiche, Barnabe, 2 1 , 5 5
Richelieu, Cardinal, 46
Rigaudons, 63,74,78,87-92,94,
124 v
Komanesca, 19. SYPGalliard Van T u ~ lILldr, tan, t)2
rondo form, 104, 144 Ver repu), Marius, 7 9 , 8 1
Rossi, Michelangelo, 43 V ~ d a lI'dul,
, 70
Rubenstein, Beryl, 5 0 Vutlliet , (Lim)ri, 8?1
S W
St. Cr~th~rine Rig~doon, 89-90 Walter,.].(;., 108
Saint-Saens, Camille, 90 U'altr, the, 63
Snint Thomas Wukp, 7 , 12 8 Weidman, ChirIes, (58
Sarabandes, 5 , 2 9 , ?18,43,45-5 1, Wilde, Oscar, 90
6 3 , 7 4 , 8 4 , l O 1,119; modern William\, Jean, 9 2
composers and, 32
Satie, Erik, 3, N , 6 8
Scherm, 43,67
Schoenberg, Arnold, 5, 68
Schubert, Franz, 54,83, 108
Schweitzer, Albert, 105
Scott, Alexander, 54
Scott, Cyril, 43, 105
Sevigne, Madanie d e , 95-96,83

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Pre-Classic

With a New Foreword by

A DANCE HORIZONS BOOK

Copyight, 1937, 1940, 1968 hl I hr, Dnnw 0bser7w

Neighborhood Playhouse, in the midst of his active career as

"Gilfond, H . , "Louis Horst." Dance Observer 111 (2), February, 1936, p. 4.

musical elements of pulse, meter, phrasing, rhythmic, and

T HE secularization of the arts at the time of the Re-

Byzantine art, it did not retain the strong rhythmic quality

dance. It was a blend of the rich brilliance of Italian life,

were skips and jumps, but still no prescribed forms. During

Who doth not see the measures of the Moone,

T HE ceremonious dignity, splendor and grave pride in-

Some authorities hold that the Spanish Pavane was a vari-

"We sall leir now to dance

At the Spanish and French courts the Pavane was de-

Bal, and usually constituted the opening of all ceremonious

It was a grand, a solemn, and a majestic dance, often ac-

Tiric dc I'Orchoogrsphic dc JEANTABOURET (I 589)

dictum required that "the students of this dance must en-

discovered a manuscript of a passinge measure Pavyon* con-

* Pussy Measures is a corruption of Passamezzo-an Italian variant of

accompaniment for any dance, subjective or objective, in

F9" any information regarding the Galliard ( Fr : gail-

jective galliard. There it is defined as hardy, valiant, sturdy.

liard was constructed from the same melodic theme as the

in front of her. Then in lively spirits, you will make such

followed soon after as we do not find it under Louis XIV.

HE earliest English reference to the Allemande is

Allemande, a young man may sometimes steal a damsel, tak-

"Happy Germany is simple in its dance.

fifty years later we find "To play first a grave pavin or

nine more Almandes by Phalese, published in 1571 at Ant-

"The volt&, courantes, and vyolent daunses

T HE Courante was a great favorite for two centuries

(1596), probably the finest of the early works on dancing

"What shall I name those current travases,

COURANTE. (6/4-3/2 Varietv)

he would return alone to his companions. The second would

With this description Arbeau quotes four bars of music for

Courante, was evolved from the former two by the musicians

So you but with a touch of the hand

OLDING the same position among 3/4 rhythms as the

even very modest people." He says it received its name at

from Lamhranzi'r New Schvol o/ Thrurrrrrrl Donring

Austria, he danced a Sarabande before her, with bells on his

therein are higher sorts to be discerned, so that the dance-

(music by Lehman Engel) is one of her masterpieces, and

"H OT and hasty like a Scotch Jigge" wrote Shakes-

to us from Italy, where it dcrivcd its name from giga--the

they were written, in just a lively 4/4 or 2/4 time. English

torrent of a brook. T o the ordinary gigue-tunes I can now

A LTHOUGH to many of us the Minuet is probably

The Minuet was originally a Branle of Poitou; it was quite

Fine musical settings are too numerous to mention. Just as