e._, sung],' and
distinguishes between these aforesaid and 'those kinds which they make
_without_ ditties.' [Passamesos are Passing-measures--or
Passamezzo--Pavans, see _Twelfth Nt._ V, i, 200.]
Hence it appears that in Elizabeth's reign some dances were sung, and
others were simply played.
Morley goes on to instance two particular dances which were commonly
associated together--viz., _Pavans_ and _Galliards_. [_Tw._ V, i, 200,
I, iii, 127, etc., _H. 5._ I, ii, 252], the first of which he says is
for 'grave' dancing, having three 'strains,' each containing 8, 12, or
16 semibreves (two beats in a bar), which are each repeated; and that
this _Pavan_ is usually followed by a _Galliard_, 'a kind of music
made out of the other' [see Bull's Pavan and Galliard, 'St Thomas
Wake,' in _Parthenia_] in _triple_ time, 'a lighter and more stirring
dance than the _Pavan_, and consisting of the same number of
straines.'
The next passage from Morley is very interesting when compared with
the stage direction in _Timon_ I, ii, 131, where a _masque_ of
_Ladies_ as _Amazons_ enter the banquetting hall at Timon's house,
with _lutes_ in their hands, _dancing and playing_. This stage
direction corresponds closely with Morley's account, 'the Italians
make their _galliards_ (which they tearm _salta relly_) plain'
[_i.e._, alone; not as an appendage to the Pavan, as in England], 'and
frame ditties to them, which in their _mascaradoes_ they sing and
dance, and manie times without any instruments at all, but instead of
instruments they have _Curtisans disguised_ in men's apparell, who
sing _and daunce_ to their own songes.
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