On p. 29 ff, Arbeau gives the vocal Pavan for four voices, 'Belle qui tiens ma vie,' which is quoted in Grove. The proper drum accompaniment, continued throughout the 32 bars (2/2) is—
etc. He also gives seven more verses of words to it, and says if you do not wish to dance, you can play or sing it. Moreover, he adds, that the drum is not a necessity, but is good to keep the time equal; and that for dancing you may use violins, spinets, flutes, both traverse and 'à neuf trous' (nine-holed flute—i.e., a flageolet), hautboys, and, in fact, 'all sorts of instruments'; or you may sing instead.
Arbeau's account of the Passemeze, or Passy-measures-pavin of Shakespeare, is very simple. He says that the instrumentalists increase the speed of the pavan every time they play it through, and by the time it has reached the moderate speed of a basse-dance, it is no longer called Pavan, but Passemeze.
Besides the State Pavan, and the Passamezzo Pavan, there is the 'Pavane d'Espagne,' which has some similarity to the Canaries.
Arbeau says that some consider the name Canaries to be that of a dance in use in those islands. But he thinks it more likely to have originated in a Ballet in a Mascarade, where the dancers were clad as kings and queens 'de Mauritanie,' as savages, with various coloured feathers. He says it is danced by a gentleman and a lady, from opposite ends of the room, each advancing and then retiring in turn.
The steps and tune are as follows—
Canaries.
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