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Pennsic War XLVI and KWDMS XII edition The Pennsic Pile Edited by Aaron Drummond Jadwiga Krzyzanowska Contact: [email protected]

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Page 1: The Pennsic Pile

Pennsic War XLVI and KWDMS XII edition

The Pennsic Pile

Edited by Aaron Drummond

Jadwiga Krzyzanowska

Contact: [email protected]

Page 2: The Pennsic Pile
Page 3: The Pennsic Pile

Pennsic Pile 46 i

Copyright Notice

The editors have made every effort 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/Albrecht of Catsprey): [email protected] Elkiss (Aaron Drummond): [email protected] Hendricks (Samuel Piper): [email protected] Kronenfeld (Daniele da Padola): [email protected] Pereyra (Phaedria d’Aurillac): [email protected] Rio (Jadwiga Krzyzanowska): [email protected] Lankford (Dafydd Arth): [email protected] Schweitzer (Martin Bildner): [email protected] Sherman (Robyyan Torr d’Elandris): [email protected] Smith (Alaric McConnell): [email protected] Ter Louw (Octavio de Flores): [email protected] Van Stone (Elsbeth Anne Roth): [email protected] Yardley (Geoffrey of Exeter): [email protected]

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ii Pennsic Pile 46

Note from the Editors

Greetings to all those inspired to play music for dancing! We hope you continue to find the Pennsic Pile auseful resource. We have made every effort to include as many dances as possible that are being taught ordanced this summer at Known World Dance 12 and at Pennsic 46.

Changes for this year’s edition include tunes for many new dances: additional Gresley dances, Beggar Boy,Florido Giglio, The Health, Ingrata, and Spanish Pavane. A few dances have returned from earlier editions:All in a Garden Green, Broome, Il Conto dell’Orco, and Figlia Guielmina.

We also replaced many arrangements with new Creative Commons-licensed arrangements: Belfiore, BellaGioiosa, Black Alman, Contrapasso, Danse de Cleves, Fiamma d’Amore, Jenny Pluck Pears, MontardeBransle, Rostiboli Gioioso, and Lo Spagnoletto. Thanks especially to our arrangers Al Cofrin (Avatar /Albrecht of Catsprey), Dave Lankford (Dafydd Arth), and Monique Rio (Jadwiga Krzyzanowska) for thesearrangements.

We transposed many of the Gresley tunes to avoid drones on C or F and prefer drones on D and G, sincemany string players find that significantly more convenient.

We removed a few tunes for dances not being taught or danced at Pennsic or Known World Dance this yearas well as some rarely-used tunes for improvised dances: Saltarello I, several courantes, Confesse, Earl ofSalisbury, Fine Companion, Greenwood, and Millison’s Jig. We also removed the full arrangement of WarBransle, since we rarely dance that particular bransle outside of a bransle suite.

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 fordesired 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].

Happy Playing, and yay, Dancing!

The Pennsic Pile Editors31st of May, A.S. LII

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Pennsic Pile 46 iii

Table of Contents

Basse Dance

Alenchon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2La Allemande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Amours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4Danse de Cleves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Cupido . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6La Spagna (for Casuelle Novelle) . . . . . . . . . . . . . . . . . . 7Lauro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8Le Petit Rouen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

15th Century Italian Dances

Amoroso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Anello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Belfiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Belreguardo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Chirintana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18Colonesse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19Figlia Guielmina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20Gelosia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Gratiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Ingrata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Jupiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Leoncello Vecchio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Marchesana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Mercantia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Petit Riens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30Petite Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31Pizocara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32Prexonera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Rostiboli Gioioso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Spero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36Tesara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Vercepe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40Vita di Cholino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Voltate in ca Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Dances from the Gresley Manuscript

Grene Gynger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Ly Bens Distonys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45Aras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46Armyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Bugill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Damesyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Eglamour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47Mowbray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49New Yer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Newcastell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Northumberland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Oringe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51Petagay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Prenes a Gard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Prenes in Gre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52Princitore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Rawty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Roye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Sofferance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Talbott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Tamrett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Temperans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Whatsoever Ye Wyll . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Dances from the Inns of Court

Quadran Pavane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56Turkelone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Earl of Essex Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Tinternell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Old Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60Queen’s Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Madam Sosilia Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Black Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63Lorayne Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64New Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

16th Century Italian Dances

Allegrezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Alta Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Bella Gioiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70Bizzarria d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71La Caccia d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72Candida Luna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73La Castellana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74Chiara Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75Chiaranzana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Il Conto dell’Orco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78Contrapasso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Fedelta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79Contentezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

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Fiamma d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Ballo del Fiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83Florido Giglio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Fulgente Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85Furioso All’Italiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86Giunto m’ha Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87Gloria d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88Gracca Amorosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Lucretia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90Maraviglia d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91Ombrosa Valle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93Passo e Mezzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94Rose e Viole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96Spagnoletta (Caroso) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98Lo Spagnoletto (Negri) . . . . . . . . . . . . . . . . . . . . . . . . . . 99Villanella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Dances from Arbeau’s Orchesographie

Pavane “Belle Qui Tiens Ma Vie” . . . . . . . . . . . . . . 102Les Bouffons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Jouyssance Vous Donneray . . . . . . . . . . . . . . . . . . . . . 104Bransle Suites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Bransle de Chevaulx (Horses’) . . . . . . . . . . . . . . . . . . 110Bransle de la Haye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111Bransle Montarde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Bransle Official . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113Bransle de Pois (Pease) . . . . . . . . . . . . . . . . . . . . . . . . .114Bransle de Lavandieres (Washerwomen’s) . . . . . . . 115Pavane de Spaigne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

Improvised Dances

Cantiga 119 (Piva) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118Saltarello II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119Saltarello la Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120Canaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121Galliard “A Lieta Vita” . . . . . . . . . . . . . . . . . . . . . . . . 123Pavane and Galliard “La Dona” . . . . . . . . . . . . . . . . 124Pavane and Galliard “Mille Ducas” . . . . . . . . . . . . . 126Galliard “New Yeere’s Gift” . . . . . . . . . . . . . . . . . . . . 128Galliard “Can She Excuse” . . . . . . . . . . . . . . . . . . . . . 130Galliard “Le Tout” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131La Volta (Byrd) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132Volte CCX (Praetorius) . . . . . . . . . . . . . . . . . . . . . . . . 134

English Country Dances

Adson’s Sarabande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136All In a Garden Green . . . . . . . . . . . . . . . . . . . . . . . . . .137Argeers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138The Beggar Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Black Nag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140Boatman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141Broome: The bonny bonny Broome . . . . . . . . . . . . .142Chestnut, or Dove’s Figary . . . . . . . . . . . . . . . . . . . . . 143Cuckolds All A Row . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144Dargason, or Sedany . . . . . . . . . . . . . . . . . . . . . . . . . . . .145Dull Sir John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Faine I Would if I Could . . . . . . . . . . . . . . . . . . . . . . . .147Gathering Peascods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148Glory of the West . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149Goddesses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150Grimstock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151Halfe Hannikin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152The Health . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153Hearts’ Ease . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154Hit and Miss (to the tune of Daphne) . . . . . . . . . . .155Hyde Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156If All the World Were Paper . . . . . . . . . . . . . . . . . . . . 157Jack-a-Lent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158Jack Pudding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159Jenny Pluck Pears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160Lord of Carnarvan’s Jigg . . . . . . . . . . . . . . . . . . . . . . . 161Lull Me Beyond Thee . . . . . . . . . . . . . . . . . . . . . . . . . . 162Mage on a Cree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164Maiden Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163Merry Merry Milkmaids . . . . . . . . . . . . . . . . . . . . . . . . 165My Lady Cullen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166The New Bo Peep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167Newcastle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Nonesuch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169Old Mole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170Parson’s Farewell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171Picking of Sticks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Row Well Ye Mariners . . . . . . . . . . . . . . . . . . . . . . . . . . 173Rufty Tufty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174Saint Martins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175Scotch Cap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176Sellinger’s Round . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177Step Stately . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178Stingo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179Trenchmore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180Upon a Summer’s Day . . . . . . . . . . . . . . . . . . . . . . . . . 181Whirligig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Page 7: The Pennsic Pile

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.

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Page 19: The Pennsic Pile

Chapter 2

15th Century Italian Dances

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/).

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Page 20: The Pennsic Pile

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

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

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Page 22: The Pennsic Pile

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BelreguardoDomenico da Piacenza, c. 1425-1450 (PnD) transcr. Monica Cellio, arr. Dave LankfordAA B CC D, once or twiceNote: this music can be used for a 16-bar A section or a 12-bar version, since various reconstructions of the dance may callfor either. If a 12-bar version is desired, play A, take the first ending, then immediately play the second ending instead ofrepeating.

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Page 28: The Pennsic Pile

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Page 29: The Pennsic Pile

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Page 30: The Pennsic Pile

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Page 32: The Pennsic Pile

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Page 33: The Pennsic Pile

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Page 34: The Pennsic Pile

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Page 35: The Pennsic Pile

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Page 36: The Pennsic Pile

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Page 39: The Pennsic Pile

Prexonera

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Page 40: The Pennsic Pile

Rostiboli GioiosoGuglielmo Ebreo da Pesaro, 1463 (PnG) arr. Al CofrinOne dance: AA BB CC DD. Play: two dances.

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Page 42: The Pennsic Pile

SperoGuglielmo Ebreo da Pesaro, 1463 (PnG) arr. Monica CellioAABBCDEF X2Drone: F/C

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Page 44: The Pennsic Pile

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Page 46: The Pennsic Pile

Verçepe

Domenico da Piacenza, c. 1425-1450 (PnD) arr. Monica CellioPlay once throughDrone: D/A

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40 Pennsic Pile 46

Page 47: The Pennsic Pile

Vita di Cholinofor 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 46 41

Page 48: The Pennsic Pile

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

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42 Pennsic Pile 46

Page 49: The Pennsic Pile

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, with 8 of those having both music andthe dance steps. We have re-used other music from the manuscript for some of the dances missing music andhave included newly-composed music by Master Martin Bildner for the remainder. Reconstructions very, soalways check the music with the dance master!

The dances are primarily transcribed in a lively 6/8 time; a tempo of dotted quarter = 115-120 should workwell.

43

Page 50: The Pennsic Pile

Greene Gyngerarr. Dennis R. Sherman Richard SchweitzerOne dance: AABCCDDE

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Page 51: The Pennsic Pile

Ly Bens Distonysarr. Kathy Van Stone Gresley Manuscript, c. 1500ABBC or ABC

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Page 52: The Pennsic Pile

Arasfor two

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Page 53: The Pennsic Pile

Damesynfor three

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Page 54: The Pennsic Pile

Esperansfor three

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Page 55: The Pennsic Pile

Newcastellfor two

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Page 56: The Pennsic Pile

Petagayfor three

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c© Richard Schweitzer, SCA Martin BildnerPermission granted for non-commercial use with attribution. (CC BY-NC-SA 3.0)

Page 57: The Pennsic Pile

Princitorefor two

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Page 58: The Pennsic Pile

Sofferancefor two

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Page 59: The Pennsic Pile

Temperansfor three

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Page 60: The Pennsic Pile

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54 Pennsic Pile 46

c© Richard Schweitzer, SCA Martin BildnerPermission granted for non-commercial use with attribution. (CC BY-NC-SA 3.0)

Page 61: The Pennsic Pile

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.

55

Page 62: The Pennsic Pile

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

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TurkeloneWilloughby Lute Book, c.1585 arr. Monique RioAA BB CC D x 4

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The Earl of Essex MeasureMelody from R.C.M. Ms. 1119 arr. Steven HendricksAAB x 2

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

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Old AlmanAnthony Holborne, The Cittharn Schoole, 1597 arr. Paul ButlerAAB x2

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Queen's AlmanWilliam Byrd (c. 1540 - 1623) arr. Robert SmithAABB x2

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Madam Sosilia's AlmanJoseph CasazzaAABB x2

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Lorayne AlmanPierre Phalese (1571)

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New AlmanBernard Schmid (c. 1577) arr. Robert SmithABB

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66 Pennsic Pile 46

Page 73: The Pennsic Pile

Chapter 5

16th Century Italian Dances

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 whole note= 100-110. There are also a few dances we have transcribed in 3/4 that are not cascarda such as Contrapassoand Villanella. For Contrapasso, use a tempo of dotted half = 50-55. For Villanella, always check withthe dance master: it is sometimes danced (at the same speed) to the music played slowly for 3 repeats andsometimes to the music played twice as fast for 6 repeats.

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Page 74: The Pennsic Pile

Allegrezza d'AmoreCascarda for three

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Alta ReginaCascarda

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Bella GioiosaCascarda for three

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Bizzarria d'AmoreBalletto for two couples in a diamond

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La Caccia d'AmoreQuesta dolce sirena

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Candida LunaCascarda

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La CastellanaCascarda

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Chiara StellaCascarda

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ChiaranzanaFabritio Caroso, Il Ballarino, 1581 arr. Emma Badowski

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ContrapassoBalletto

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Il Conto Dell'OrcoBalletto

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FedeltaCascarda

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Contentezza d'AmoreBalletto

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Passo e Mezzo

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Lo SpagnolettoBalletto for two couples in a diamond

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Page 106: The Pennsic Pile

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Page 107: The Pennsic Pile

Chapter 6

Dances from Arbeau’s Orchesographie

Published in 1589 in Langres, France, Orchesographie includes music and instructions for many differentkinds 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 83 – the dance is closelyrelated to the Italian Ballo del Fiore.

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

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Les BouffonsJean d'Estreés, Tiers Livre de Danseries, 1559

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Bransles CouppésMixed Bransles

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106 Pennsic Pile 46

Page 113: The Pennsic Pile

Bransles de Base et RégionauxBasic and Regional Bransles

Thoinot Arbeau, Orchésographie, 15896 Air du branle Double.

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108 Pennsic Pile 46

Page 115: The Pennsic Pile

Bransles MorguezMimed Bransles

Thoinot Arbeau, Orchésographie, 1589

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Page 116: The Pennsic Pile

Bransle des Chevaulx (Horse's Bransle)Thoinot Arbeau, Orchésographie, 1589 arr. Steven Hendricks

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Bransle de la HayeThoinot Arbeau, Orchésographie, 1589 arr. Steven Hendricks

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Bransle de la Montardefor sets of 4 (or more)

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Bransle OfficialThoinot Arbeau, Orchésographie, 1589 arr. Russell G. Almond

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Bransle des LavandieresWasherwoman's Bransle

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Pavane de Spaigne (XXX)For Pavaniglia (Caroso) and Spanish Pavane (Arbeau)

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Page 123: The Pennsic Pile

Chapter 7

Improvised Dances

Improvised dances such as the pavane and galliard were very popular in the 16th century all over Europe.Music and instructions for these dances appear in numerous sources. Settings are provided from such sourcesas Tylman Susato’s Danserye of 1551 and Praetorius’ Terpsichore of 1612. We have also included the tunestraditionally used at Pennsic for some early Italian improvised dances, the Piva and the Saltarello.

The Canarie is transcribed in 6/4. For the Canarie, use a tempo of approximately dotted half = 70.

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.

117

Page 124: The Pennsic Pile

Cantiga 119Alfonso X- 13th Century Spanish arr. Jay Ter Louw

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Saltarello II (Prendente in Gyro)Anonymous (14th C. Italian)ABC ABD ABD ABC B Coda

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La CanarieMichael Praetorius, Terpsichore, 1612

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GalliardA Lieta Vita

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GalliardCan she excuse

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La VoltaWilliam Byrd (c. 1540 - 1623) arr. Robert Smith

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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.

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Page 142: The Pennsic Pile

Adson's SarabandLongways for three couples

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Page 143: The Pennsic Pile

All in a Garden GreenLongways for Three Couples

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Argeersfor two couples facing

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138 Pennsic Pile 46

Page 145: The Pennsic Pile

The Beggar BoyLongways for three couples

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Page 146: The Pennsic Pile

Black NagLongways for three couples

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Boatman

Longways for three couplesJohn Playford, The English Dancing Master, 1651 arr. Steven HendricksAABB x 3

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Pennsic Pile 46 141

Page 148: The Pennsic Pile

Broome: The bonny bonny BroomeLongways for four couples

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142 Pennsic Pile 46

Page 149: The Pennsic Pile

Chestnut, or Dove's FigaryLongways for three couples

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Cuckolds all a Rowfor two couples facing

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Page 151: The Pennsic Pile

Dargason, or SedanyFor as many as will

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Dull Sir JohnSquare for four couples

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Faine I WouldSquare for four couples

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Pennsic Pile 46 147

Page 154: The Pennsic Pile

Gathering PeascodsRound for as many as will

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148 Pennsic Pile 46

Page 155: The Pennsic Pile

Glory of the Westfor two couples facing

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Page 156: The Pennsic Pile

GoddessesLongways for four couples

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150 Pennsic Pile 46

Page 157: The Pennsic Pile

GrimstockLongways for 3 couples

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Pennsic Pile 46 151

Page 158: The Pennsic Pile

Half HannikinLongways for as many as will

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152 Pennsic Pile 46

Page 159: The Pennsic Pile

The HealthJohn Playford, The English Dancing Master, 1651 arr. Dave Lankford(AA BB)x3, or AA BB AA BB AA BA, or Ax12

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Pennsic Pile 46 153

Page 160: The Pennsic Pile

Heart's Easefor two couples facing

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154 Pennsic Pile 46

Page 161: The Pennsic Pile

Hit or Miss (to the tune of Daphne)for two couples facing

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Pennsic Pile 46 155

Page 162: The Pennsic Pile

Hyde ParkSquare for four couples

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156 Pennsic Pile 46

Page 163: The Pennsic Pile

If all the World were PaperSquare for four couples

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Pennsic Pile 46 157

Page 164: The Pennsic Pile

Jack a LentLongways for three couples

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158 Pennsic Pile 46

Page 165: The Pennsic Pile

Jack PuddingLongways for three couples

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Pennsic Pile 46 159

Page 166: The Pennsic Pile

Jenny Pluck PearsRound for three couples

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160 Pennsic Pile 46

Page 167: The Pennsic Pile

Lord of Carnarvan's JigLongways for four couples

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Pennsic Pile 46 161

Page 168: The Pennsic Pile

Lull Me Beyond TheeLongways for four couples

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162 Pennsic Pile 46

Page 169: The Pennsic Pile

Maiden LaneLongways for three couples

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Pennsic Pile 46 163

Page 170: The Pennsic Pile

Mage on a CreeRound for four couples

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164 Pennsic Pile 46

Page 171: The Pennsic Pile

Merry Merry MilkmaidsLongways for four couples

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Pennsic Pile 46 165

Page 172: The Pennsic Pile

My Lady CullenLongways for as many as will

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166 Pennsic Pile 46

Page 173: The Pennsic Pile

The New Bo PeepLongways for as many as will

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Pennsic Pile 46 167

Page 174: The Pennsic Pile

NewcastleSquare for four couples

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168 Pennsic Pile 46

Page 175: The Pennsic Pile

NonesuchLongways for four couples

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Pennsic Pile 46 169

Page 176: The Pennsic Pile

Old MoleLongways for three couples

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170 Pennsic Pile 46

Page 177: The Pennsic Pile

Parson's Farewellfor two couples facing

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Pennsic Pile 46 171

Page 178: The Pennsic Pile

Picking of SticksLongways for three couples

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172 Pennsic Pile 46

Page 179: The Pennsic Pile

Row Well Ye MarinersLongways for as many as will

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Pennsic Pile 46 173

Page 180: The Pennsic Pile

Rufty Tuftyfor two couples facing

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174 Pennsic Pile 46

Page 181: The Pennsic Pile

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Pennsic Pile 46 175

Page 182: The Pennsic Pile

Scotch CapLine of three couples

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Page 183: The Pennsic Pile

Sellinger's RoundRound for as many as will

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Pennsic Pile 46 177

Page 184: The Pennsic Pile

Step StatelyLongways for 3, 5, 7 or 9 couples

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178 Pennsic Pile 46

Page 185: The Pennsic Pile

StingoLongways for three couples

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Pennsic Pile 46 179

Page 186: The Pennsic Pile

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Page 187: The Pennsic Pile

Upon a Summer's DayLongways for three couples

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Pennsic Pile 46 181

Page 188: The Pennsic Pile

WoodycockLongways for three couples

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182 Pennsic Pile 46

Page 189: The Pennsic Pile

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Pennsic Pile 46 183

Page 190: The Pennsic Pile

184 Pennsic Pile 46

Index

A Lieta Vita (Galliard) . . . . . . . . . . . . . . . . . . . . . . . . . 123Adson’s Sarabande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Allegrezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Alenchon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2All in a Garden Green . . . . . . . . . . . . . . . . . . . . . . . . . . 137Allemande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Alta Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Amoroso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Amours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4Anello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Aras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46Ardente Sola – see Passo e Mezzo . . . . . . . . . . . . . . . . 94Argeers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138Armyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Ballo del Fiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83Beggar Boy, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Belfiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Bella Gioiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70Belle Qui Tiens Ma Vie (Pavane) . . . . . . . . . . . . . . . 102Belreguardo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Bizzarria d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71Black Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63Black Nag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140Boatman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141Bouffons, Les . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Bransle Montarde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Bransle Official . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113Bransle de Chevaulx (Horses’) . . . . . . . . . . . . . . . . . . 110Bransle de Lavandieres (Washerwomen’s) . . . . . . . 115Bransle de Pois (Pease) . . . . . . . . . . . . . . . . . . . . . . . . .114Bransle de la Haye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111Bransle de la Torche (Praetorius) . . . . . . . . . . . . . . . . 83Bransles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Broome: The bonny bonny Broome . . . . . . . . . . . . .142Bugill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Caccia d’Amore, La . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72Can She Excuse (Galliard) . . . . . . . . . . . . . . . . . . . . . 130Canaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121Candida Luna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Cantiga 119 (Piva) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118Castellana, La . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74Casuelle Novelle (La Spagna) . . . . . . . . . . . . . . . . . . . . . 7Chestnut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143Chiara Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75Chiaranzana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Chirintana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18Cleves, Danse de . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5Colonesse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19Contentezza d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Conto dell’Orco, Il . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78Contrapasso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Cuckolds All A Row . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144Cupido . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Damesyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Danse de Cleves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Daphne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155Dargason, or Sedany . . . . . . . . . . . . . . . . . . . . . . . . . . . .145Dolce Amoroso Fuoco – see Passo e Mezzo . . . . . . . 94Dona, La, Pavane and Galliard . . . . . . . . . . . . . . . . . 124Dove’s Figary, or Chestnut . . . . . . . . . . . . . . . . . . . . . 143Dull Sir John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Earl of Essex Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Eglamour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47Faine I Would if I Could . . . . . . . . . . . . . . . . . . . . . . . .147Fedelta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79Fiamma d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Figlia Guielmina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20Fiore, Ballo del . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83Florido Giglio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Fulgente Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85Furioso All’Italiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86Galliard “A Lieta Vita” . . . . . . . . . . . . . . . . . . . . . . . . 123Galliard “Can She Excuse” . . . . . . . . . . . . . . . . . . . . . 130Galliard “La Dona” . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Galliard “Le Tout” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131Galliard “Mille Ducas” . . . . . . . . . . . . . . . . . . . . . . . . . 127Galliard “New Yeere’s Gift” . . . . . . . . . . . . . . . . . . . . 128Gathering Peascods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148Gelosia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Giunto m’ha Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87Gloria d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88Glory of the West . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149Goddesses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150Gracca Amorosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Gratiosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Grene Gynger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Grimstock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151Halfe Hannikin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152Health, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153Hearts’ Ease . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154Hit and Miss (to Daphne) . . . . . . . . . . . . . . . . . . . . . . 155Horses Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Hyde Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156If All the World Were Paper . . . . . . . . . . . . . . . . . . . . 157Ingrata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Inns of Court . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56Jack Pudding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159Jack-a-Lent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

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Jenny Pluck Pears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160Jouyssance Vous Donneray . . . . . . . . . . . . . . . . . . . . . 104Jupiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Lauro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8Leoncello Vecchio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Lorayne Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Lord of Carnarvan’s Jigg . . . . . . . . . . . . . . . . . . . . . . . 161Lucretia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90Lull Me Beyond Thee . . . . . . . . . . . . . . . . . . . . . . . . . . 162Ly Bens Distonys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45Madam Sosilia Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Mage on a Cree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164Maiden Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163Maraviglia d’Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91Marchesana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Mercantia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Merry Merry Milkmaids . . . . . . . . . . . . . . . . . . . . . . . . 165Mille Ducas Pavane and Galliard . . . . . . . . . . . . . . . 126Montarde Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Mowbray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49My Lady Cullen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166New Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65New Bo Peep, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167New Yeere’s Gift (Galliard) . . . . . . . . . . . . . . . . . . . . .128New Yer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Newcastell (Gresley) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Newcastle (Playford) . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Nonesuch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169Northumberland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Official Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113Old Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60Old Measures Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56Old Mole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170Ombrosa Valle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93Oringe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51Parson’s Farewell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171Passo e Mezzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94Pavane “Belle Qui Tiens Ma Vie” . . . . . . . . . . . . . . 102Pavane and Galliard “La Dona” . . . . . . . . . . . . . . . . 124Pavane and Galliard “Mille Ducas” . . . . . . . . . . . . . 126Pavane de Spaigne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116Pavaniglia – see Pavane de Spaigne . . . . . . . . . . . . . 116Pease Bransle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114Petagay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Petit Riens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30Petit Rouen, Le . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Petite Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31Picking of Sticks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Piva (Cantiga 119) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118Pizocara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32Prenes a Gard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Prenes in Gre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52Prexonera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Princitore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Quadran Pavane (Inns of Court) . . . . . . . . . . . . . . . . . 56Quadran Pavane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56Queen’s Alman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Rawty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Rose e Viole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96Rostiboli Gioioso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Row Well Ye Mariners . . . . . . . . . . . . . . . . . . . . . . . . . . 173Roye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Rufty Tufty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174Saint Martins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175Saltarello II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119Saltarello la Regina . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120Scotch Cap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176Sedany, or Dargason . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145Sellinger’s Round . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177Sofferance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Spagna, La . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Spagnoletta (Caroso) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98Spagnoletto, Lo (Negri) . . . . . . . . . . . . . . . . . . . . . . . . . .99Spanish Pavane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116Spero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36Squilina – see Alta Regina . . . . . . . . . . . . . . . . . . . . . . . 69Step Stately . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178Stingo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179Talbott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Tamrett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Temperans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Tesara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Tinternell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Trenchmore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180Turkelone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Upon a Summer’s Day . . . . . . . . . . . . . . . . . . . . . . . . . 181Vercepe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40Villanella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100Vita di Cholino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Volta, La (Byrd) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132Voltate in ca Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Volte CCX (Praetorius) . . . . . . . . . . . . . . . . . . . . . . . . 134Washerwoman’s Bransle . . . . . . . . . . . . . . . . . . . . . . . . 115Whatsoever Ye Wyll . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55Whirligig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

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