'
The 'French _bransle_,' he says, is like the Alman (Allemagne of Bach,
etc.)--_i.e._, it 'containeth the time of eight, and most commonly in
short notes.' This is the Brawl, see _L.L.L._ III, i, 9, and was one
of several tunes to which the Country Dance was danced, whether in a
ring, or 'at length,' like our 'Sir Roger.'
He says that the '_voltes_ and _courantes_' also are 'like unto this,'
but are 'danced after sundrie fashions' [he means, with different
steps, but occupying the same rhythmical time, so that the same tune
would do], 'the _volte_ rising and leaping, the _courant_ travising
and running, in which measure also our Countrey dance is made, though
it be danced after _another form_ than any of the former.'
'All these be made in _straines_, either two or three.' See _Tw._ I,
i, 4, 'that _strain_ again,' or _Julius Caesar_ IV, iii, 258, 'touch
thy instrument a _strain_ or two.'
Christopher Sympson, the royalist soldier (1667), confirms Morley's
statements as to the constitution and use of these dances. See his
'Compendium,' p. 116, where he expressly states that pure instrumental
music, 'made only to delight the ear,' is merely a development from
Dances.
He speaks of the association of Pavan and Galliard as being 'in
course.' He spells the latter _Giliard_, and says that it is
'according to its name' [see Skeat, Etym. Dict., Spanish, gallardo (ll
= ly), pleasant, gay, lively] 'of a loftly and frolick movement.
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