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.'
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 Cæsar 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.' Immediately afterwards, however, Sympson seems to forget his own remarks, for he says the name is derived from Gallia, 'the country whence it came.'
On page 117 he speaks of Corants, Sarabands, Jiggs, Country Dances, etc., as 'things so common in each one's ears' that he 'need not enlarge his Discourse' to them.
There is a capital bit of patriotism on page 118, which deserves quoting, first, because at the time it was entirely justifiable; secondly, because it shews us that in 1667, instrumental music had at last decidedly parted company with vocal part-writing, and had an independent existence. 'You need not seek Outlandish Authors, especially for Instrumental Music; no Nation (in my opinion) being equal to the English in that way; as well for their excellent as their various and numerous Consorts, of 3, 4, 5, and 6 Parts, made properly [on purpose] for Instruments, of all which (as I said) Fancies are the chief.' For 'Consort,' see Two Gent. III, ii, 83; and for 'Fancies,' Hen. IV. B. III, ii, 323.