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.'

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 th