pensic pile 44 is available for download

Pennsic War XLIV The Pennsic Pile

Edited by Margaret Raynsford Aaron Drummond

Contact: [email protected]

Pennsic Pile 44 i

Copyright Notice

The editors have made every e↵ort to ensure that the contents of this book may be freely duplicated andperformed within the Society for Creative Anachronism. Most of the music contained in this publication issubject to copyright protection, noted on each piece. If a copyright is not noted, the piece is believed to be inthe public domain. Thanks to all the arrangers who have given permission for their settings to be publishedfor use within the SCA.

Several arrangers have given permission for their works to be used under a Creative Commons license. Thelicences are briefly outlined below; see creativecommons.org for more information.

CC BY: You may duplicate, modify, perform, and record the work, including for commercial purposes, solong as the original author is attributed.

CC BY-NC: You may duplicate, modify, perform, and record the work, but you must attribute the originalauthor and the work may not be used commercially.

CC BY-NC-SA: You may duplicate, modify, perform, and record the work, but you must attribute theoriginal author and the work may not be used commercially; additionally, all derivative works must be sharedunder the same terms as the original.

For works not under a Creative Commons license, please contact the arranger if you wish to republish thework, make a recording, or use it outside the Society for Creative Anachronism.

Contact information for the arrangers is provided below:

Russell Almond (Mustapha al-Muhaddith): [email protected] Badowski (Margaret Raynsford): [email protected] Butler (Arden of Icombe): [email protected] Casazza (Giuseppe Casazza): [email protected] Cellio (She’erah bat Shlomo): [email protected] Cofrin (Avatar of Catsprey): [email protected] Elkiss (Aaron Drummond): [email protected] Hendricks (Samuel Piper): [email protected] Hunt (Mathilde Adycote): [email protected] Rio (Jadwiga Krzyzanowska): [email protected] Lankford (Dafydd Arth): [email protected] Pavao (John Chandler): [email protected] Schweitzer (Martin Bildner): [email protected] Sherman (Robyyan Torr d’Elandris): [email protected] Smith (Alaric McConnell): [email protected] Stockton (Robin the Just): [email protected] Svoboda (Arslan ibn Da’ud): [email protected] Ter Louw (Octavio de Flores): [email protected] Van Stone (Elsbeth Anne Roth): [email protected] Yardley (Geo↵rey of Exeter): [email protected]

ii Pennsic Pile 44

Note from the Editors

Welcome to Pennsic 44! There are many opportunities to play for dancers at War. First, all musicians arewelcome to drop in during any open dance time! This includes Tuesday, July 28 through Saturday, August 1starting around 9:00 PM, and after the o�cially scheduled ball ends on all other nights. Musicians are alsoneeded and welcome to play for the following scheduled balls:

Saturday, August 1, 9am–11am: Children’s BallSunday August 2, 8 pm: Beginners’ Ball in the Great HallMonday, August 3, 9 pm: Southern EleganceTuesday, August 4, 9PM: Northern RevelryWednesday, August 5, 9 pm: Fete of FortuneThursday, August 6, 12 pm: English Ball

Additionally, many dance teachers encourage musicians to play for their classes. Stop by the dance tent andsee what’s going on!

Changes for this year’s edition include music for more basses dances, new music for Petite Rose, more musicfor improvised dances, several period arrangements of bransles, and corrections for a variety of errors.

Most tunes are marked with a suggested roadmap or number of repeats. However, and we cannot stressthis enough: Reconstructions and preferences vary. Always consult with the dance master for

desired tempo, roadmap, and number of repeats.

Suggested guitar chords have been added and/or reviewed by the editors on most of the 16th and 17th centurytunes. Where for example “Dsus4” is marked, first play a chord (“suspension”) with the notes D/G/A, thenresolve to a D major chord D/F]/A. Where for example “D5” is marked, this indicates an open D chord -just D and A.

For the 15th century dances, a chordal accompaniment is generally not well-suited to the character of themusic. Instead, most tunes have suggested drones marked.

Please let the editors know if you find any mistakes in the music, repeat structure, roadmap or chords. If youare interested in providing arrangements for the Pile or with helping with the task of editing the Pile, pleasecontact us at [email protected].

Yours in service,

Aaron Drummond and Margaret Raynsford20th of June, A.S. L

Pennsic Pile 44 iii

Table of Contents

Basse Dance

Alenchon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2La Allemande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Danse de Cleves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Amours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6Cupido . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Lauro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8Le Petit Rouen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10La Spagna (for Casuelle Novelle) . . . . . . . . . . . . . . . . .12

15th Century Italian Dances

Amoroso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Anello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Belfiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Chirintana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17Figlia di Guielmina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Colonesse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20Gelosia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Gratiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Leoncello Vecchio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Marchesana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Mercantia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Petit Riens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Petit Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Pizocara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Rostiboli Gioioso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30Spero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32Tesara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Vercepe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Vita di Cholino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Voltate in ca Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Dances from the Gresley Manuscript

Armyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40Grene Gynger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Ly Bens Distonys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42New Yer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Oringe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44Rawty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45Roye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Dances from the Inns of Court

Quadran Pavane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Turkelone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Earl of Essex Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Tinternell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Old Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Queen’s Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Lorayne Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Madam Sosilia Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Black Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56New Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58


Alegrezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60Alta Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Bella Gioiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Bizzarria d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63La Caccia d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Candida Luna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65La Castellana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66Chiara Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Chiaranzana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Contrapasso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Contentezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70Fedelta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72Fiamma d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Ballo del Fiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74Fulgente Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75Furioso All’Italiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Gracca Amorosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Maraviglia d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78Ombrosa Valle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79Passo e Mezzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Rose e Viole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Rustica Amorosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Spagnoletta (Caroso) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86Lo Spagnoletto (Negri) . . . . . . . . . . . . . . . . . . . . . . . . . . 87Villanella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Dances from Arbeau’s Orchesographie

Jouyssance Vous Donneray . . . . . . . . . . . . . . . . . . . . . . 90Bransle Suites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Bransle de Chevaulx (Horses’) . . . . . . . . . . . . . . . . . . . 96

iv Pennsic Pile 44

Bransle de la Haye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97Bransle Montarde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98Bransle O�cial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99Bransle de Pois (Pease) . . . . . . . . . . . . . . . . . . . . . . . . .100Bransle de la Guerre . . . . . . . . . . . . . . . . . . . . . . . . . . . 101Bransle de Lavandieres (Washerwomen’s) . . . . . . . 102

Improvised Dances

Cantiga 119 (Piva) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105Piva alla Venetiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Saltarello I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108Saltarello II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Saltarello la Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110Canaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111Courante CLXXXIII . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Courante CXVII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114Courante CXLII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115Galliard “A Lieta Vita” . . . . . . . . . . . . . . . . . . . . . . . . 116Pavane “Belle Qui Tiens Ma Vie” . . . . . . . . . . . . . . 117Pavane and Galliard “La Dona” . . . . . . . . . . . . . . . . 118Pavane and Galliard “Earl of Salisbury” . . . . . . . . 120The Frog Galliard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123Pavane and Galliard “Mille Ducas” . . . . . . . . . . . . . 124Monsieur’s Almain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122Galliard “New Yeere’s Gift” . . . . . . . . . . . . . . . . . . . . 126Galliard “Can She Excuse” . . . . . . . . . . . . . . . . . . . . . 128Galliard “Le Tout” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129La Volta (Byrd) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130Volte CCX (Praetorius) . . . . . . . . . . . . . . . . . . . . . . . . 132

English Country Dances

Adson’s Sarabande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134Argeers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135Black Nag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Boatman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Chestnut, or Dove’s Figary . . . . . . . . . . . . . . . . . . . . . 138Confesse (his Tune) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Cuckolds All A Row . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140Dargason, or Sedany . . . . . . . . . . . . . . . . . . . . . . . . . . . .141Dull Sir John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142Faine I Would if I Could . . . . . . . . . . . . . . . . . . . . . . . .143Fine Companion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144Gathering Peascods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145Glory of the West . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Goddesses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147Grimstock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148Halfe Hannikin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149Hearts’ Ease . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150Hit and Miss (to the tune of Daphne) . . . . . . . . . . .151Hyde Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152If All the World Were Paper . . . . . . . . . . . . . . . . . . . . 153Jack-a-Lent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154Jenny Pluck Pears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155Lord of Carnarvan’s Jigg . . . . . . . . . . . . . . . . . . . . . . . 156Lull Me Beyond Thee . . . . . . . . . . . . . . . . . . . . . . . . . . 157Mage on a Cree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159Maiden Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158Merry Merry Milkmaids . . . . . . . . . . . . . . . . . . . . . . . . 160Millison’s Jigg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161My Lady Cullen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162New Bo Peep, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163Newcastle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164Nonesuch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165Old Mole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166Parson’s Farewell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167Picking of Sticks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Rufty Tufty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169Saint Martins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170Scotch Cap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171Sellinger’s Round . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Stingo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173Trenchmore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174Upon a Summer’s Day . . . . . . . . . . . . . . . . . . . . . . . . . 175Whirligig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Chapter 1

Basse Danse

Basse danse (or bassadanza in Italian) was popular across Europe in the 15th and early 16th centuries. Oneof the most important sources for basse danse is Ms 9085 in the Bibliotheque Royale, Brussels (c. 1445) Thismanuscript gives only a slow-moving tenor, or cantus firmus, as the melody for most of the dances. Musiciansnormally would have improvised multipart polyphony above the tenor line.

In the Pennsic Pile, the tenor / cantus firmus is marked for each dance. Be sure that this is the most prominentline as the dancers are dancing to it rather than the improvised melody. The exception is Danse de Cleves: inthis dance the given melody appears in the source, so emphasize this line as well as the slower-moving tenorline.

We have notated the basse danses in 6/4 time, and an appropriate tempo would be approximately dottedhalf note = 40-45.

1

Alenchon

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2 Pennsic Pile 44

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12 Pennsic Pile 44

Chapter 2


The primary sources for 15th Century Italian dance are manuscripts from the mid- to late 15th centurycontaining dances by (among others) the dancing masters Domenico da Piacenza (c. 1400-1470) and hisstudent Guglielmo Ebreo (c. 1420-1848) (also known as Giovanni Ambrosio after his conversion from Judaismto Catholocism).

15th century Italian dance is somewhat unusual in that dances often change between “tempi”. These aremarked in each dance. Additionally, the melody is not always the top line. Each piece has marked which lineis the melody, and in bassadanza sections the tenor or cantus firmus is marked as the “melody”. Be sure toemphasize these lines when playing the dances.

The various tempi are transcribed as:

• Bassadanza: 6/4

• Quadernaria: 4/4

• Saltarello: 6/8 or occassionally 3/4

• Piva: 2/4 or 6/8

As a rough guide for tempo, keeping a constant tempo of approximately quarter note = 120 (or dotted quarter= 120 for 6/8 piva sections) regardless of the various tempi should work for many of the dances.

(See Joy and Jealousy by Vivian Stephens and Monica Cellio for additional information; it is available onlineat http://sca.uwaterloo.ca/

~

praetzel/Joy-J-book/).

13

Amoroso

Guglielmo Ebreo da Pesaro, c. 1475 (PnA) arr. Monica CellioOne dance: AAA BB CC DD. Play: Two dances.Drone: D/A

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Anello

Domenico da Piacenza, c. 1425-1450 (PnD) arr. Monica CellioOne dance: once through. Play: two dances.Drone: F/C

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Pennsic Pile 44 15

Belfiore

for three

Domenico da Piacenza, c. 1425-1450 (PnD) arr. Monica CellioOne dance: AAA BBB CCC DDD EEE F. Play: 3 dances.Drone: G/D

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Pennsic Pile 44 33

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Verçepe

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36 Pennsic Pile 44

Vita di Cholino

for a lord between 2 ladies

arr. Monica CellioOne dance: 5 times through. Play: two dances. modified by V. Stephens from "La Vida de Culin"

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Pennsic Pile 44 37

Voltate in Ça Rosina

Guglielmo Ebreo da Pesaro, c. 1475 (PnA) arr. Monica CellioOne dance: AAA BB or AAA BBBB. Play: two dancesDrone: A/E

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38 Pennsic Pile 44

Chapter 3

Dances from the Gresley Manuscript

The Gresley manuscript dates to the late 15th or early 16th century and was re-discovered in Derbyshire,England. It contains choreography for 26 dances and music for 13. Of the few dances included here, Ly BensDistonys and Talbott have both choreography and music in the manuscript, while Grene Gynger and NewYer appear here with music composed by Master Martin Bildner.

The dances are all transcribed in a lively 6/8 time; a tempo of dotted quarter = 115-120 should work well.Watch out for sections where the dance goes to more of a 3/4 feel – be sure to keep the measure the samelength.

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Richard Schweitzer, CC BY-NC-SA 3.0AA BBB CCC DDD E FFF G

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40 Pennsic Pile 44

Greene Gynger

arr. Dennis R. Sherman Richard SchweitzerOne dance: AABCCDDE

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Pennsic Pile 44 41

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42 Pennsic Pile 44

New Yer

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46 Pennsic Pile 44

Chapter 4

Dances from the Inns of Court

The dances in this section are from the Inns of Court: professional associations for English barristers datingto the 15th century. There are several known manuscripts dating from the mid-16th to mid-17th centuryinformally describing these dances, eight of which are believed to have been performed in a fixed order at thebeginning of revels at the Inns of Court. We have preserved that order (for Quadran Pavane through BlackAlman) to facilitate dancing the entire suite, also known as “The Old Measures”.

Tempos vary wildly, so check with the dancing master for their preference. Reconstructions vary as well, socheck for the desired roadmaps especially for the more unusual ones such as Turkelone and Tinternell. Wehave included suggested numbers of repeats when playing all 8 Old Measures as a suite, but you may wantto play more times through the dance if playing just one of the dances.

47

Quadran Pavane

Melody from R.C.M. Ms. 1119 arr. Kristina PereyraPlay once through.

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Pennsic Pile 44 49

The Earl of Essex Measure

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50 Pennsic Pile 44

Tinternell

Dallis Lute Book, c.1583 arr. Joseph CasazzaA BB C AAA BB C

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Pennsic Pile 44 51

Old Alman

Anthony Holborne, The Cittharn Schoole, 1597 arr. Paul ButlerAAB x2

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Queen's Alman

William Byrd (c. 1540 - 1623) arr. Robert SmithAABB x2

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54 Pennsic Pile 44

Madam Sosilia's Alman

Joseph CasazzaAABB x2

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Pennsic Pile 44 55

Black Alman

Melody from R.C.M Ms. 1119 arr. Robert Stockton

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56 Pennsic Pile 44

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Pennsic Pile 44 57

New Alman

Bernard Schmid (c. 1577) arr. Robert SmithABB

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58 Pennsic Pile 44

Chapter 5


The major sources for 16th century Italian dances are the published books of Fabritio Caroso (c. 1526-1605)and Cesare Negri (c. 1535-1605).

Many of the dances included in this collection are cascarda, a bouncy, triple time kind of dance unique toCaroso. We have used a 3/4 time signature for these but the dances should really be felt in 1, with a tempoof approximately dotted half = 110-120.

The other dances (mostly balletti) in common time such as Bizzarria and Lo Spagnoletto should work wellwith a tempo of half note = 100-110. Some of these dances shift to 3/4 time partway through; let dotted halfnote in the 3/4 section = half note in the common time section.

A few exceptions: Passo e Mezzo is written with doubled note values in cut time, so use a tempo of wholenote = 100-110. There are also a few dances we have transcribed in 3/4 that are not cascarda, such asContrapasso and Villanella. For these use a tempo approximately half that of the cascarda, about dottedhalf = 50-55. (However, just to be confusing, sometimes Villanella is played like a cascarda, so check withthe dance master!)

59

Allegrezza d'Amore

Cascarda for three

Fabritio Caroso, Il Ballarino, 1581 arr. Monique Rio

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60 Pennsic Pile 44

Alta Regina

Cascarda

Fabritio Caroso, Il Ballarino, 1581 arr. Aaron ElkissFor Alta Regina: AB x 6For Squilina: A x 21

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Pennsic Pile 44 61

Bella GioiosaCascarda for three

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Pennsic Pile 44 63

La Caccia d'Amore

Questa dolce sirena

Giovanni Giacomo Gastoldi, Balletti a cinque voci, 1591

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64 Pennsic Pile 44

Candida Luna

Cascarda

Fabritio Caroso, Il Ballarino, 1581 arr. Aaron ElkissAA BB CC x 3

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Pennsic Pile 44 65

La Castellana

Cascarda

Fabritio Caroso, Il Ballarino, 1581 arr. Aaron ElkissAABBCC x 3

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66 Pennsic Pile 44

Chiara Stella

Cascarda

Fabritio Caroso, Il Ballarino, 1581 arr. Dennis ShermanABB x 4

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Pennsic Pile 44 67

Chiaranzana

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68 Pennsic Pile 44

Contrapasso

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Fabritio Caroso, Nobiltà di Dame, 1600 arr. Kathy Van StoneAAA BBB AA BBB (for Contrapasso in Due)

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Pennsic Pile 44 71

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Fiamma d'Amore

Cascarda

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Pennsic Pile 44 73

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Fulgente Stella

Cascarda

Fabritio Caroso, Il Ballarino, 1581 arr. Aaron ElkissAABB x4

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Pennsic Pile 44 75

Furioso all'Italiana

Balletto for three couples

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Gracca Amorosa

Cascarda

Fabritio Caroso, Il Ballarino, 1581 arr. Steven HendricksABB x 5

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Pennsic Pile 44 77

Maraviglia d'Amore

Cascarda

Fabritio Caroso, Il Ballarino, 1581 arr. Aaron ElkissABBCC x 4

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Ombrosa Valle

Balletto

Fabritio Caroso, Il Ballarino, 1581 arr. Aaron ElkissAB x 7

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Pennsic Pile 44 79

Passo e Mezzo

Fabritio Caroso, Il Ballarino, 1581 arr. Dave Lankfordfor Passo e Mezzo: 11 times throughfor Dolce Amoroso Fuoco: 5 times throughfor Ardente Sola: 7 times through

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Lo Spagnoletto

Balletto for two couples in a diamond

Cesare Negri, Le Grazie d'Amore, 1602 arr. Katrina HuntAABBCC x 7

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Villanella

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Chapter 6

Dances from Arbeau’s Orchesographie

Published in 1589 in Langres, France, Orchesographie includes music and instructions for many di↵erentkinds of dances. Numerically speaking, the bulk of the dances in Arbeau are bransles. Most of the branslesare in duple time and should be played at about half note = 115. The triple time bransles are Bransle Gayand Bransle de Poictou; for these, a tempo of dotted half = 60-65 should work.

Many of the bransles are included as single melody lines with suggested drones to facilitate on-the-fly creationof bransle suites: just have the leader call out which number to play next! We have also included 4-part settingsfor some of the bransles which are likely to be done on their own, including a wonderful period setting ofWasherwoman’s Bransle. For Bransle de la Torche, see the Praetorius setting on page 74 – the dance isheavily related to the Italian Ballo del Fiore.

Arbeau also includes instructions for the pavane, galliard and courante, music for which appears in theImprovised Dances section.

89

Jouyssance vous donneray

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Bransles Couppés

Mixed BranslesThoinot Arbeau, Orchésographie, 1589

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92 Pennsic Pile 44

Bransles de Base et Régionaux

Basic and Regional BranslesThoinot Arbeau, Orchésographie, 1589

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Pennsic Pile 44 93

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94 Pennsic Pile 44

Bransles Morguez

Mimed BranslesThoinot Arbeau, Orchésographie, 1589

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Pennsic Pile 44 95

Bransle des Chevaulx (Horse's Bransle)

Thoinot Arbeau, Orchésographie, 1589 arr. Steven Hendricks

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Bransle de la Haye

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Bransle Official

Thoinot Arbeau, Orchésographie, 1589 arr. Russell G. Almond

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Pennsic Pile 44 99

Bransle sont des Pois

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Premier Bransle de la Guerre

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102 Pennsic Pile 44

Chapter 7

Improvised Dances

Improvised dances such as the Pavane, Galliard, Courante and Volta were very popular in the 16th centuryall over Europe. Music and instructions for these dances appear in numerous sources. Settings are providedfrom such sources as Praetorius’ Terpsichore of 1612, We have also included tunes for some early Italianimprovised dances, the Piva and the Saltarello.

The Canarie and the Courantes are transcribed in 6/4. For the Canarie, use a tempo of approximately dottedhalf = 70; the courante should be played faster, around dotted half = 85.

Galliards can be transcribed in either 3/2 or 6/4. We have chosen to use 3/2 for clarity for some of the morerhythmically complex settings while halving the original note values and using 6/4 for the more straightforwardones. The tempo for galliards (for the 6/4 settings) can be anywhere from dotted half = 45 - 60, depending onthe whims of the dancing master. For transcriptions in 3/2 use dotted whole = 45 - 60 instead (two measuresof a 3/2 galliard equating to one measure of 6/4 galliard). The Volta is really just a variation on the galliardand can be played as such.

The pavanes are transcribed in cut time, and again, the tempo can range from half note = 45 to 60.

Preferences vary, so always check with the dancing master for desired tempo. Additionally, modern chore-ographies have been created for some of these tunes, so be sure to confirm the roadmap with the dancingmaster if these are being danced.

103

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104 Pennsic Pile 44

Cantiga 119

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Saltarello

for couples

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Saltarello II (Prendente in Gyro)

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110 Pennsic Pile 44

La Canarie

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116 Pennsic Pile 44

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Monsieur's Almain

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122 Pennsic Pile 44

The Frog Galliard

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Chapter 8

English Country Dances

While John Playford’s The English Dancing Master of 1651 was the first published book to give instructionsfor the dances, many dances such as Trenchmore, Heart’s Ease and Sellinger’s Round have published musicor are referenced by name in the late 16th or early 17th century.

The dances are generally transcribed in either cut time or in 6/4. For cut time use a tempo of approximatelyhalf note = 115 or for 6/4, dotted half = 115. Some dances such as Chestnut are often danced slower, so besure to check with the dancing master just in case.

133

Adson's Saraband

Longways for three couples

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Pennsic Pile 44 137

Chestnut, or Dove's Figary


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Confess (his tune)

Two Lords and Four Ladies

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Pennsic Pile 44 139

Cuckolds all a Row


John Playford, The English Dancing Master, 1651 arr. David YardleyABB x 3

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140 Pennsic Pile 44

Dargason, or Sedany

For as many as will

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142 Pennsic Pile 44

Faine I WouldSquare for four couples

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Pennsic Pile 44 143

The Fine Companion


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144 Pennsic Pile 44

Gathering Peascods

Round for as many as will

John Playford, The English Dancing Master, 1651 arr. Steven HendricksAA BB CC x 3

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Pennsic Pile 44 145

Glory of the West


John Playford, The English Dancing Master, 1651 arr. Jay Ter LouwAABB x 3 or AAB x 3

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146 Pennsic Pile 44

Goddesses

Longways for four couples

John Playford, The English Dancing Master, 1651 arr. Kathy Van StoneAA BB x 11

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Pennsic Pile 44 147

Grimstock

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John Playford, The English Dancing Master, 1651 arr. Monica CellioAA BB x 3

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Half Hannikin

Longways for as many as will

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150 Pennsic Pile 44

Hit or Miss (to the tune of Daphne)


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152 Pennsic Pile 44

If all the World were Paper


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Pennsic Pile 44 153

Jack a Lent



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154 Pennsic Pile 44

Jenny Pluck Pears

Round for three couples

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Pennsic Pile 44 155

Lord of Carnarvan's Jig


John Playford, The English Dancing Master, 1651 arr. Steven Hendricks8 times through

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156 Pennsic Pile 44

Lull Me Beyond Thee


John Playford, The English Dancing Master, 1651 arr. Steven HendricksA BB x 3

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Pennsic Pile 44 157

Maiden Lane


John Playford, The English Dancing Master, 1651 arr. Steven HendricksAABBCC x 3

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158 Pennsic Pile 44

Mage on a CreeRound for four couples

John Playford, The English Dancing Master, 1651 arr. Steven Hendricks14 or 12 times through

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Pennsic Pile 44 159

Merry Merry Milkmaids


John Playford, The English Dancing Master, 1651 arr. Jay Ter LouwAABB x 3

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160 Pennsic Pile 44

Millison's Jig


John Playford, The English Dancing Master, 1651 arr. Steven Hendricks

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Pennsic Pile 44 161

My Lady Cullen


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162 Pennsic Pile 44

The New Bo Peep


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164 Pennsic Pile 44

Nonesuch


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Pennsic Pile 44 165

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166 Pennsic Pile 44

Parson's Farewell


Bouree XXXII à 4

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Pennsic Pile 44 167

Picking of Sticks


John Playford, The English Dancing Master, 1651 arr. Steven HendricksNote Roadmap: Ax7 Bx3 Ax7

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168 Pennsic Pile 44

Rufty Tufty


John Playford, The English Dancing Master, 1651 arr. Steven HendricksAABCC x 3

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170 Pennsic Pile 44

Scotch Cap

Line of three couples

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Pennsic Pile 44 171

Sellinger's RoundRound for as many as will

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172 Pennsic Pile 44

Stingo


John Playford, The English Dancing Master, 1651 arr. Steven HendricksFor Stingo: AA BB x 3For Juice of Barley: AA BB until told to stop

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Pennsic Pile 44 173

Trenchmore

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174 Pennsic Pile 44

Upon a Summer's Day


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Pennsic Pile 44 175

Woodycock


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176 Pennsic Pile 44

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Pennsic Pile 44 177

178 Pennsic Pile 44

Index

Adson’s Sarabande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134Alegrezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60A Lieta Vita (Galliard) . . . . . . . . . . . . . . . . . . . . . . . . . 116Alenchon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Allemande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Alta Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Amoroso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Amours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6Anello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Ardente Sola – see Passo e Mezzo . . . . . . . . . . . . . . . . 80Argeers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135Armyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40Ballo del Fiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74Belfiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Bella Gioiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Belle Qui Tiens Ma Vie (Pavane) . . . . . . . . . . . . . . . 117Bizzarria d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63Black Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56Black Nag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Boatman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137Bransle de Chevaulx (Horses’) . . . . . . . . . . . . . . . . . . . 96Bransle de la Guerre (War) . . . . . . . . . . . . . . . . . . . . . 101Bransle de la Haye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97Bransle de la Torche (Praetorius) . . . . . . . . . . . . . . . . 74Bransle de Lavandieres (Washerwomen’s) . . . . . . . 102Bransle de Pois (Pease) . . . . . . . . . . . . . . . . . . . . . . . . .100Bransle Montarde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98Bransle O�cial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99Bransles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Caccia d’Amore, La . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Canaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111Candida Luna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Can She Excuse (Galliard) . . . . . . . . . . . . . . . . . . . . . 128Cantiga 119 (Piva) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105Castellana, La . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Casuelle Novelle (La Spagna) . . . . . . . . . . . . . . . . . . . . 12Chestnut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138Chiara Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Chiaranzana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Chirintana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17Cleves, Danse de . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4Colonesse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20Confesse (his Tune) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Contentezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70Contrapasso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Courante CLXXXIII (Entree Courante) . . . . . . . . 112Courante CXVII (Entree Courante part 2) . . . . . .114Courante CXLII (So ben mi ch’ha bon tempo) . .115Cuckolds All A Row . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Cupido . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Danse de Cleves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Daphne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151Dargason, or Sedany . . . . . . . . . . . . . . . . . . . . . . . . . . . .141Dolce Amoroso Fuoco – see Passo e Mezzo . . . . . . .80Dove’s Figary, or Chestnut . . . . . . . . . . . . . . . . . . . . . 138Dona, La, Pavane and Galliard . . . . . . . . . . . . . . . . . 118Dull Sir John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142Earl of Essex Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Earl of Salisbury Pavane and Galliard . . . . . . . . . . 120Entree Courante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112Faine I Would if I Could . . . . . . . . . . . . . . . . . . . . . . . .143Fedelta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72Fiamma d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Figlia di Guielmina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Fine Companion, The . . . . . . . . . . . . . . . . . . . . . . . . . . 144Fiore, Ballo del . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74Frog Galliard, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123Fulgente Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75Furioso All’Italiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Galliard “A Lieta Vita” . . . . . . . . . . . . . . . . . . . . . . . . 116Galliard “Can She Excuse” . . . . . . . . . . . . . . . . . . . . . 128Galliard “La Dona” . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119Galliard “Earl of Salisbury” . . . . . . . . . . . . . . . . . . . . 121Galliard “Frog” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123Galliard “Mille Ducas” . . . . . . . . . . . . . . . . . . . . . . . . . 125Galliard “New Yeere’s Gift” . . . . . . . . . . . . . . . . . . . . 126Galliard “Le Tout” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129Gathering Peascods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145Gelosia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Glory of the West . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Goddesses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147Gracca Amorosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Gratiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Grene Gynger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Grimstock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148Halfe Hannikin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149Hearts’ Ease . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150Hit and Miss (to Daphne) . . . . . . . . . . . . . . . . . . . . . . 151Horses Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96Hyde Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152If All the World Were Paper . . . . . . . . . . . . . . . . . . . . 153Inns of Court . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Jack-a-Lent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154Jenny Pluck Pears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155Jouyssance Vous Donneray . . . . . . . . . . . . . . . . . . . . . . 90Lauro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8Leoncello Vecchio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Lorayne Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Pennsic Pile 44 179

Lord of Carnarvan’s Jigg . . . . . . . . . . . . . . . . . . . . . . . 156Lull Me Beyond Thee . . . . . . . . . . . . . . . . . . . . . . . . . . 157Ly Bens Distonys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Madam Sosilia Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Mage on a Cree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159Maiden Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158Maraviglia d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78Marchesana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Mercantia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Merry Merry Milkmaids . . . . . . . . . . . . . . . . . . . . . . . . 160Mille Ducas Pavane and Galliard . . . . . . . . . . . . . . . 124Millison’s Jigg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161Monsieur’s Almain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122Montarde Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98My Lady Cullen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162New Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58New Bo Peep, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163Newcastle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164New Yeere’s Gift (Galliard) . . . . . . . . . . . . . . . . . . . . .126New Yer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Nonesuch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165O�cial Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99Old Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Old Measures Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Old Mole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166Ombrosa Valle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79Oringe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44Parson’s Farewell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167Passo e Mezzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Pavane and Galliard “Earl of Salisbury” . . . . . . . . 120Pavane and Galliard “La Dona” . . . . . . . . . . . . . . . . 118Pavane and Galliard “Mille Ducas” . . . . . . . . . . . . . 124Pavane “Belle Qui Tiens Ma Vie” . . . . . . . . . . . . . . 117Pease Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100Petit Riens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Petit Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Petit Rouen, Le . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Picking of Sticks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Piva (Cantiga 119) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Piva alla Venetiana. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106Pizocara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Quadran Pavane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Quadran Pavane (Inns of Court) . . . . . . . . . . . . . . . . . 48Queen’s Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Rawty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45Rose e Viole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Rostiboli Gioioso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30Roye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Rufty Tufty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169Rustica Amorosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Saint Martins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170Saltarello I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108Saltarello II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Saltarello la Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110Scotch Cap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171Sedany, or Dargason . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141Sellinger’s Round . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Spagna, La . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Spagnoletta (Caroso) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86Spagnoletto, Lo (Negri) . . . . . . . . . . . . . . . . . . . . . . . . . .87Spero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32Squilina – see Alta Regina . . . . . . . . . . . . . . . . . . . . . . . 61Stingo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173Tesara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Tinternell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Trenchmore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174Turkelone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Upon a Summer’s Day . . . . . . . . . . . . . . . . . . . . . . . . . 175Vercepe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Villanella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88Vita di Cholino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Volta, La (Byrd) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130Voltate in ca Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Volte CCX (Praetorius) . . . . . . . . . . . . . . . . . . . . . . . . 132War Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101Washerwoman’s Bransle . . . . . . . . . . . . . . . . . . . . . . . . 102Whirligig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

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