GV H7 UC-NRLF $c m a32 CD o LjJ POLITE AND SOCIAL DANCES A COLLECTION OF HISTORIC DANCES, SPANISH, ITALIAN, FRENCH, ENGLISH, GERMAN, AMERICAN With Historical Sketches, Descriptions of the Dances and Instructions for Their Performance COMPILED AND EDITED BY MARI RUEF HOFER Price $1.25 CHICAGO CLAYTON F. SUMMY CO., 429 SO. WABASH AVE, Copyright 1917 by Clayton F. Summy Co. .• : '.• • ^' '^ >Af^ Mue COHANS 11^0 ^|^pot^ON pcwoD .EIR CENr Polite and Social Dances ^7 EARLY POLITE AND SOCIAL DANCES Page March des Rois Lully 3 Pavane Ancient Song Form. . .Arbeau's Orchesographie 5 Pavane French 6 Pavane Favorite de Louis XIV Brisson 7 Pavane Italienne XVI Cent Old Italian '.) Pavane The Earl of Salisbury Wm. Byrde 10 Allemande Joh. Matthesoii 1 1 AUemande Arr. Couperin 13 Pazzamezzo XVI Cent Old Italian 14 Sarabande Handel 15 Tambourine Martini 16 Passepieds liidn' Campra 17 Sicilian Reinecke 1 8 Page Chelsea Reach Old English 20 Le Grande Pere Old German 2 1 Menuet d'Exaudet Exaudet 23 Menuet de la Cour Coote 25 Menuet du Dauphinc 27 Menuet Boccherini 29 Minuet Don Juan Mozart 31 Gavotte de Vestris de Vestris Gavotte Lully Gavotte Favorite de Marie Antoinette Xettstedt Gavotte and Musette ' Bach Bourree Bach Polonaise Bach Princess Polonaise Lcutner 10 LATER FIGURE DANCES Sir Roger de Coverly Colonial Airs 13 Cavalier and Lady White Cockade British Grenadiers Washington Quickstep Country Dance The Rout The Girl I Left Behind Me We Won't Go Home Till Morning Moran's Cotillion. V. .;.;.'.:.'. ,' arr. by M. Charmande 18 ,; , ; . , , ; 1 ■ . " : Evalina '. Louise <<'<<."; .^ . '.■ Maigarct Juliet Lavinia Claire Lancers Quadrille Dodworth 54 Introduction Les Lignes Les Moulinets Les Visites Les Landers American Quadrille Popular Songs 60 A Life on the Ocean Wave Little Brown Jug Le Tempete Originale Country Dance 61- La Boulanger 61 Nancy Lee The Minstrel Boy Dixie La Carillon de Dunkerque Ancient Branle 65 Garcon Volange French Country Dance 66 AMERICAN DANCES Spanish Dance Progressive Dance 67 The Tempest Line Dance 68 Devil's Dream Barn Dance 68 Cicillian Circle 60 Arkansas Traveler Reel 69 Money Musk Barn Dance Old Dan Tucker Barn Dance Pop Goes the Weasel Song Dance Patronella Country Dance Captain Jinks Song Dance POLITE AND SOCIAL DANCES INTRODUCTION It is not the province of this book to write a liistory of the dance. To assist somewhat in clearing up the mystery and vagueness surrounding tlie old dances and make them a little more available to the modern student, is the extent of its mission. The prepara • tion of the pageants for the Hudson-Pulton Celebra- tion in 1908, necessitated collecting music for the various periods of history to be represented. To illustrate seventeenth and eighteenth century scenes with modern music, seemed an absurdity. More defi- nite knowledge concerning interpretation of the old dance directions, scattered here and there in the libraries, was also required. These and many other needs started the research which has produced this volume. In the preparation of this work, the editor wishes to acknowledge the assistance of such author- ities as Zorn, Bohme, Desrat, Vullier, and later writers on the dance; also the examples of many living experts of this art, and the inspiration derived from many volumes dealing with art, history and literature, with which to corroborate the casual rec- ords available. Since their initial use, the dances and music have been tested in many pageants : July 4th, University of Virginia, 1908-9-10; Appalachian Exposition, Knoxville, Tenn., 1910; History of Cali- fornia, University of California, Berkeley, 191 1 ; Canadian History, Toronto, 1913; History of Okla- homa, S. S. Normal, Edmund, 1914; Peace Pageant, Chicago, 1915; Woman in the Building of Nations, Panama Exposition, 1915; and on many other occasions. Comment In our day dancing is a factor to be reckoned with. Its revival uncontrolled by knowledge of its history or standards of good taste, has resulted in a mixture of good and bad features, resulting in a temporary indulgence of the sensuous at the expense of the intel- lectual and aesthetic qualities of the dance. The close connection between present-day social reform and good form is leading us to search into the recreational interests of the people, only to find therein most vital analogies to the moral life. The history of the dance is a history of social expression of all times and of all classes of men, and as such should hold some place in education. The Playground Movement is helping to establish a normal social attitude toward the subject; but even here w^e lack balance and standardization. A merely technical basis for teaching this most human of arts is entirely false. Invariably a dance is per- formed by the folk long before it is written down. A native dancer can jig and reel for you perfectly, but can seldom tell you how he does it. If you have the wit to catch his step it is yours for the having. The new use of the dance should combine the genius and invention of the people with the polish and per- fection of its art values. A study of the old forms with their careful balance of sentiment, their re- straint and good manners, refined and beautified by wholesome musical accompaniment, will aid us in finding the higher meaning of this revived art. It is the hope of the editor that this meager sketch may emphasize a sense of the social implications and amenities of the dance, thereby encouraging and furthering happy intercourse among young people. 636622 \ HISTORIC SKETCH "Dancing is silent poetry. "— Simonides Dances of the Ancients Egyptian. — The fragmentary remains of the an- cient dances all point to their being religious and ceremonial, performed as acts of worship. The Astronomic dances of Egypt were expressed in mys- tical, circular measure or in cubic form — from east to west and west to east, sunwise rhythmic advances and retrogressions — corresponding to the celestial motions of the planets. These sacred rounds, danced on the mother soil of Egypt, under "bright sidereal stars," established our first dance forms. Later pic- torial records show a tendency towards the expres- sion of human passions in popular life. From its first function in accompanying serious religious rites or representing the fury of warfare, Egyptian dancing passed on to depicting the gaiety of pastoral sports, the dignity and graces of society, the splen- dors of the festival, the languors of love, or the sor- rows of the funeral train. Hebkew. — The Hebrews inherited their Hieratic dances from Egypt and we find traces of ceremonial and processional dances thruout the Old Testament — e.g., Miriam at the Red Sea, Jephthah's Daughter, David before the Ark, which are examples of tri- umphal and laudatory dancing. They also danced, in honor of spring and harvest, and important social ceremonies, often borrowing motives from Oriental and other unregenerate environment. In the later Jehovah or One God worship of the Hebrews, the sidereal strophe and antistrophe became the antipho- nals of the Psalms, in which the "hills skipped like rams, and the mountains clapped their hands, and danced together." The Hebrews have few Folk Dances because their art expression was all of a highly intellectual order and devoted to the service of religion. Greek. — Dancing came to its full flower in the civ- ilization of the Greeks. Their development of the subject included all the types practiced before the Grecian era, while the magic of Hellenic skies, com- bined with great resource of mythical lore, led their joyous spirits to expand into myriad expressive motor forms. A few prominent classes of Greek dances are cited. The Hyporchema retained all the Egyptian char- acteristics and was preeminently religious. Aided by choral accompaniment, this primitive song in action depicted in measured and symbolic gesture the images of heroic verse. These dignified and elevated performances rehearsed the deeds of the Gods and were solemnized around altar or statue. Hymns were sung in three parts — strophe, turning from east to west; antistrophe, from west to east; epode or end of song, in front of the altar — a Pin- daric Ode in action. The Emmeleia set forth grace, majesty and strength, and, according to Plato, "showed the grav- ity and nobility of sentiment which a mortal should hold when he invokes the Gods. ' ' These dances were performed without the support of music and pro- duced a deep impression on spectators. The Gymnopoedia was danced by young men in the Festival of Apollo, and displayed the vigorous bodily movements, agility, suppleness and strength typify- ing the actions of victorious youth. Our gymnastic dancing is probably drawn from this group, as the name signifies. These dances usually preceded the Pyrrhic dances, which were warlike portrayals of attack or feintings with spear and shield. Pyrrhic and Memphitic dances were military pan- tomimes, sometimes performed at funerals, and pic- turing the valiant deeds of the deceased. Pyrrhus thus danced at the funeral of his father Achilles, describing his valor. The Amazons of Argos, Arca- dia and Sparta indulged in this dance with ardor. According to Plato, this dance consisted of such bodily movements as avoided blows and missiles by springing to one side, leaping backward, stooping, movements illustrative of shooting arrows or of throwing spears. The Geranofi is variously interpreted, sometimes as an archaic religious dance; sometimes as a pas- toral dance celebrating the return of the crane in the springtime, showing its flight gnd other movements. The Geranos was also supposed to figure the endless windings and turnings of Theseus in iiis efforts to free himself from the Labyrinth. From, this in turn probably emanated the Labyrinthian dance, usually performed by peasants on returning from the vine- yards with their mules laden with panniers of grapes. Leaving their harvest by the wayside, they joined hands and followed a leader, who by waving a hand- kerchief initiated all manner of intricate figures. Later these involutions were transcribed into the ancient mosaic floors, thus permanently fixing the patterns of the maze, and producing the first Chore- ography, or dance-writing, known to the world. As in sculpture, the Greeks divined and perfected all the possibilities of its sister art of the dance. We show our good sense and taste when we consult its criterions, and follow its laws. Roman. — It is said that the "austerity of the an- cient Eomans arose much more from poverty of imagination than from conviction." This was exem- plified in the early deterioration of the classical arts among them. Less fortunately situated than the Greeks, geographically more in the arena of attack, they rapidly became a people of war and conquest, representing to the world of their times something of the commercial and practical aspect of our own. Much of their art was copied from the Greeks, but in later days the people of the great empire of might lost interest in things artistic and preferred to sit in the amphitheaters, watching the games of the circus, or the spectacle of fighting gladiators, or men struggling with beasts in the arena. The dance was relegated mostly to professionals, who thus entertained their patrons ' hours of ease and pleasure. With the Romans, the dance played no part in the severer training of youth, as it did with the Greeks. Stern and primitive I^me possessed but one war dance, the heroic Belli^pa. However, the art of Pantomime is attributable especially to them, and the perfection of their mimes is much commented on. Noble subjects such as the "Labors of Hercules" and other classic tales were inimitably rendered by means of this art. But even these exhibitions degenerated into buffoonery and license. With the fall of the Roman Empire, the influx of new races from the North and of the new religion from the South, all the old arts and customs were swept away, and for many centuries no distinct art of the dance was known either to Italy or Greece. Religious Dancing of the Middle Ages Thru the early Christian Centuries, dancing showed itself in various fanatical and morbid out- bursts, representing the disturbed, transitional state of civilization. The early Christian Mysteries were celebrated in dignified hymns and pantomimic dances, portraying the joys of Heaven and the ter- rors of Hell. In these performances the actors were dressed as devils and angels, God rendering judg- ment, and the wicked being realistically thrust into the fiery pit. These dramas were often performed in churchyards in honor of the martyred dead. Such morbid conceptions as the "Dance of Death," a painted skeleton in pursuit of a human victim, and "The Devil's Dance," showing his Satanic Majesty similarly employed, are numerous in the old prints. Dances were often performed in the course of re- ligious processionals, such as the "Els C osiers" in Spain, in which the clergy took part. In later days the "Corpus Christi Pageants" were often inter- rupted by bands of strolling ballet dancers, who would entertain onlookers during the pauses. For a time the religious dramatic element predominated in Bible plays and pageantry, in which carols and hymns were danced as well as sung. Later a dancing mania or frenzy prevailed thruout Europe, ending in a disease termed St. Vitus Dance. Folk Dancing Thruout all the centuries of Europe during the Middle Ages the dance was much cultivated by the peasants and among the trades-people. The latter in their Guilds developed the motives of their trades into spectacular exhibitions of shoemaking, tailoring, coopering, weaving, washing, and other industrial themes in endless variety. Apprentice songs and dances with accompanying action of the particular trades they represented, were composed and enacted at the yearly Guild festivals. All homely occupa- tions of the field, the hearthstone or the workbench were thus recorded and again claim our attention in the fragmentary forms of the present revived Folk Dances. These dances represent the vigorous and forceful rhythms which would accompany the move- ments of labor, and make a very important contribu- tion to the art of song and the dance. The imposing spectacle of the Guild festivals and pageants with their characteristic ceremonies are a distinct con- tribution to the art of pageantry. This is well re- corded in Wagner's "Die Meistersinger. " The Renaissance of the Dance The Crusades and the Age of Chivalry opened the way for a great commingling of people, races and traditions, which gradually bore fruit in a new period of culture and art. Crude conditions of society were reorganized on a higher level. The worship of ideals of womanhood and childhood, started by the new religion, lifted dull passion to a plane where fine 8 thoughts produced fine actions. A code of honor brought into existence a code of manners. Chivalry of man became counter-balanced by trustfulness in woman. This gave rise to amenities which could easily be incorporated into the language of the dance. Greetings, meetings, bows, precedence, surprise, pur- suit, disagreement, reconciliation — the thousand variations in the themes of friendship or love — now became dance motives. The Renaissance again set free the ancient culture of Greece which had slumbered for ten centuries, and gave new freedom to art in all directions. Hu- manity regained its emotional poise. Joy, art and religion threw off their mourning and joining hands walked jubilantly forward together. Dances of Spain The reconstruction of the dance art, during this period, started from the South. The formal and austere Court of Spain developed the processional dance into a dignified and imposing spectacle. The Pavane was a pageant of splendid costume and courtly grace. During the rivalries of Spain and England and the conquest of the Spanish Main, Spanish culture became influential throughout Eu- rope. The Pavane quickly became incorporated into the social life of the Courts, and embryonic folk and national dances were developed. During this period the now famous Morris dance, of Moorish origin, was bodily transported into England by her jolly sailors. From its semi-oriental setting in a Moorish interior it was carried into the rugged country life of every Shire in England. One can see its mincing entrance at the parlor door of a Queen's levee, and its exit thru the servants' hall out among the lads and lasses on the village green. Hence its incon- gruities, from tinkling ankle bells, ribbons and tissue veils to its yeoman top hat and boots. Other dances of Spanish origin also became known — the Galliarde, Tordion, Courante, Chaconne, Passacaille. These speedily became musical forms in the hands of the musicians of the period. The Branle The Branle, or more familiar Brawl, seems, upon good authority, to be considered the source of all French dancing, whether reading backward to the people or forward into the polished art of Court dancing. Just what a Branle is, these same authori- ties do not clearly state. However, from the many hints given we may find in the Branle the beginnings of form, such as small and large groups dancing to- gether, couples placed opposite each other, or figures danced in procession. New figures and steps also appear to have been tried out in prolific abundance by expert native dancers among the people, long before Royalty affected them. The Branle was the natural, indigenous expression of the French people, as the Country Dance was of the English people. Both are representative of national and tempera- mental qualities which led later to schools of dancing, extended on these fundamental lines. These dances flourished in all the provinces of France and like the ancient Carolles were named after their particular districts. Poitou, Champagne, Gascony, Burgundy, were all famous for their Branles. They were mostly accompanied by songs and appropriate rhymes of the "singing game" type. Indeed, many a French nursery rhyme yet extant cloaks an ancient Branle. The Carillon de Dunkirque, still danced by modern children, is quoted as one of the most popular of these. From its tappings and clappings, and lively spirit, we may infer the motifs of the original Branles to have been not unlike the so-called Folk dances we have been reviving. As in the case of the Folk dance, there was a Branle for every interest and occupation. There were Branles gay and sad; a sabot, blanchiessuse, torch and weaving Branle; a horse and a monk Branle, with accompanying imitations. There were Branles for young and old and for all timescand occasions; single and double Branles, some in simple squares and others which resolved themselves into grand Rondes, like a ball-room Polonaise. As time went on the earlier significance of the Branle was lost in the Folk dance, or, becoming polished by usage, became part of social ceremonial, insomuch that all the balls of Louis XIV opened with them and Kings and Princes disported themselves in these innocent peasant forms. So much for the vigorous begin- nings from which sprang some of the later delicate and poetic creations of French dancing. Dances of Other Countries In 1600 the "Great Century" of the Dance had begun. Its evolution is traced thus : — from Spain to Italy, from Italy to France, from France to Ger- many and England. In all these countries a body of folk dances had accumulated among the people, which were popular at country festivals and kir- messes. While the trades-people in connection with their Guilds were inventing and perfecting industrial themes to their hearts' content, the higher classes levied on this material to vitalize their own dances, or give spice to some royal High Jinks. On occasions Good Queen Bess would rollick through a Dargason or Trenchmore, to the delight of her admiring subjects. The ancient group dances, coun- try contra, line and circle dances, of the boisterous barn dance species, then became established for all time; in Germany the Reigen and Zuenfte dances, in France the Rondes and Basse dances, in Italy the Ballads and Grotesques. From the last mentioned originated the Ballet and Masquerade. Each coun- try was enriched by its own characteristic forms in addition to sharing in the growing art of the dance. Masques and~ Grand Ballets The period just previous to the "Golden Noon" of the Dance was devoted to the production of mag- nificent ballets and dance dramas. In France these choregraphic spectacles were encouraged by the Courts of Francis I, Catherine de Medicis and Henry IV, by Cardinals and by all the literary and musical geniuses of their time. These productions were not the creations of professionals or hirelings, but events in which Royalty itself freely took part. The Grand Ballet d 'Action assembled all the ele- ments of the dance then extant; it stimulated theat- rical dancing, it revived the spirit of the Greeks, and choregraphy again became necessary in order to register these large forms. Finally through the personal efforts of Louis XIV the Terpischorean art became one of the accepted customs of the French people. Louis XIV and the Dance The famous Ballets of the Grand Monarque were a reincarnation of the formal Masques and statelier pageantry of the Courts of the previous century. In the magnificent ball-rooms of the Tuilleries, the Louvre, Versailles and Fontainebleu were pre^nted these triumphs of art, in twenty-seven, of which the Grand Monarque himself took part. A few of the subjects interpreted were "The Ballet of the Night," in which the king took the part of " Le Roi Soleil ; ' ' "Prosperity of the Arms of France;" "Grand Ballet du Roi;" "Ballot of the Muses;" "Ballet of Hercules;" also such Comedies as the "Ballet du Carrousel;" "Game of Picquet;" "Impatience;" all huge pantomimic stories, danced out with most elaborate art and attention to detail. These Ballets were often intermezzos to the plays of the great literary men of the period, Racine, Moliere and Corneille. They were danced by kings and prin- cesses, who entered intelligently into the spirit of the works of the master playwrights. Beauchamp, the inventor of choregraphic writing, together with the great dancers, Pecour, Le Basque, Dupre and Ballon, developed and staged these royal revels. Lully, Rameau, and later Mozart, Gretry and Boc- cherini composed music for the scenes. King, po and musician united their efforts to produce th apotheosis of the dance. Steps were tested, namt and classified until gradually a theorie de la dan, was established. The Ballet, as we have known for the last few centuries, was brought at that tin into lasting connection with Grand Opera, ai served as interludes to plays. Henceforth tl French ceased to depend on Spanish and Italij inspiration, and themselves became the foremo exponents of the art of dancing. Classical Dancing and Classical Music Historic analogy shows us the period of classic dancing running parallel with classical musi Whether dancing drew its inspiration from mus or vice versa, it is difficult to say. Both these art e pressions had been preceded by generations natural folk song and dance, and the later compose of music could easily follow the lines already w( set in nature and the life about them. The earlie dances were usually sung, the voice guiding tl rhythm of the feet. Certainly the best dance forn: composed by Bach, Handel, Mozart, are those whii are the most danceable, and at the same time tl most playable. Their fascination lies in the stron pulsing stream of rhythm, on which the pearls melody are strung. The early classical masters i composed for the dance — Lully, Rameau, Couperi Bach, Gretry, Gluck, Boccherini. When the famoi masters of the dance, Pecour, Marcel, Gardel, s about creating a dance for some elaborate Cou function, they sent for the musician, whose office was to translate the delicate imagery of their ere tions into complementary music. Music was s interpretation of the dance, not the dance of tl music. Hence the wonderful characterization ai lifelike play of the early dance music. When Bac Handel, Haydn, Mozart, our acknowledged music classicists, finally transcribed this into musical fori a riotous exuberance of Rondos, Gigues, Bourree Adagios, Andantes, Allegros, Prestos, etc., lea; from their prolific pens to remain the astonishme of the ages. In trying to characterize the classic spirit of that time it must be said that both the danc and music most exquisitely express a delicate poet sentiment of the day. A highly refined social ci ture prevailed and people sang and danced ai dressed up to its standards. The intellectual quali of the dance of the period not only required gre; technical skill for its performance, but also d manded good music as the underlying principle i its production. When moderns wish motives f( 10 new dances they must needs revert to these, as do artists and sculptors of our day to the pure types of earlier periods of perfection. The Minuet An attempt to write all that the Minuet implies would necessitate compiling the social history of France during several centuries; the manners, cus- toms, costumes, art, music, and ceremonies of the period of the Grand Manner, as well as the manifold steps and forms invented in its behalf. Arriving as a climax in the art of the dance, in a period of luxurious national life, its very name suggests the refined magnificence of the courts of the kings in whose century it flourished. Millions were spent in its production; musicians, poets, decorators, art- ists and costumers exercised their combined powers to set forth its perfections. Its despotic ceremonial governed kings and queens, and its etiquette decided the fate of statesmen more often than their ability in statecraft. The dancing teachers of that day were autocrats to whom all bowed and deferred. The best idea of its importance is given in the words of Moliere, who jeeringly said, "today the destiny of nations depends on the art of dancing. ' ' The pictorial art of the time of the best period of the Minuet was inspired by such masters as Watteau, Lancret, Boucher and Latour. They filled the boudoirs and salons of the day Avith beribboned shepherds and shepherdesses, posing among sheep in meadows of tenderest green. From the palette of Boucher flowed unending idylls of "Love and Eoses," exquisitely set in "water-green, pale blue or ivory panels," relieved by gold or the vivid, glowing color of flower beds. It was a reign of daintiness and taste, a trifle mincing and superficial, but characterized by courtesy and charm of manner. Ladies affected rich brocades and gauzy tissues, mauve ribbons, long gloves and bouquets, wore patches on their cheeks, put carmine on their lips, and encased their feet in dainty high-heeled shoes. In this time of the perfection of all the arts, the Minuet was set like a gem in their midst. In the rendering of the Minuet the dancers laid emphasis upon beauty and grace of movement and ensemble. No one danced merely for his own enjoy- ment, but rather to contribute to the charm of the whole and to the impression made upon the observer. From the first salutation, throughout its progress, on to its elaborate conclusion, the Minuet was a com- pliment shared mutually by the dancers and all the guests assembled. It was the dance of high cere- mony, of courtesy and chivalry, interpreting the most exquisite social charm and personal grace on the part of the fair sex, combined with the ideals of chivalrous gallantry on the part of the gentilhomme. In spite of this ultra refinement arising out of its association with Court life, the Minuet, like the Gavotte, claims a folk ancestry in the Branle of Poitou. Among the people, it is said to have been a gay and lively dance, "simple, yet not without distinction. ' ' But when it was adopted by the Court of Louis XIV it took on the slow and grave character of the other ceremonial dances. Pecour, its greatest devotee, says the characteristic of this dance is a "noble and elegant simplicity; its movement is rather moderate than rapid, and one may say it is the least gay of all such dances. " The Minuets most famous in the history of dancing are the Menuet de la Cour, the Menuet d'Exaudet, the Menuet de la Reine, and the Menuet de la Dauphine. As to its performance we are told that in "set balls" the King and Queen were appointed to open the dance. After the first dancing was over, a fresh cavalier was chosen by the Queen and each in turn chose another partner; thus, in cumulative fashion, all in turn joined in the dance. The favorite "Don Juan" Minuet by Mozart, written after the time when the character and style of this dance had been definitely set, shows a decided imitation of the Menuet de la Cour. The Gavotte It is with the greatest satisfaction that all author- ities chronicle the Gavotte as directly descended from the old Branle, or double Brawl, of the peas- antry of France. This, after the supreme perfection of the Minuet, is a compliment to the native genius .of the people, as well as to the appreciation shown by the Haute Noblesse. Its folk origin is directly traced to the Gavats, the mountain peasants of Gap in Dauphiny, in whose costume it was first danced at the court of Louis XV. Later, as the favorite of Marie Antoinette, the Gavotte became a perfected dance of fashion and skill. AVhat was popular under Louis XV became supreme under Louis XVI. Pol- ished out of all semblance to its progenitor, the cruder Brawl, it was finally regarded as the full flower of all dancing art. "NAHien at its best, the Gavotte is a joyous, spark- ling, lively dance, distinguished by "many little steps." The great artist de Vestris describes it as consisting of "three steps and an ensemble." Littre says "the steps of a Gavotte differ only from the natural walking step in that one springs upon the foot which is bn the ground, and at the same time points the toe of the foot downward." It is further described as "the skillful and charming offspring 11 of the poetic Minuet, sometimes gay, but often slow and tender, interspersed witli kisses and bouquets." It appeared as a welcome reaction after a long period of strenuous etiquette devoted to dances of undoubt- edly tedious elegance. One can fancy a younger generation of Royalty seizing with avidity upon this new terpsichorean delight. It soon became the fashion to follow the stately measure of the old dance of ceremony, the Minuet, with the lighter and more vivacious graces of its rival. Who could divine that this pleasant breaking away from the stern formalities of Court and Caste might presage so dire and devastating a calamity as the not far distant French Revolution! The Decadent Period "The Reign of Terror," like the invasion of the Goths and Vandals at an earlier period, swept away in its merciless path all the inequitable civilization of centuries of extravagance and misrule. With it went much wrong and injustice, also much that was good and true and beautiful, except as imperishably inscribed in such works of art as survived the general destruction. It is stated that during that "Mad Revel of Blood" dancing reached a point of frenzy. Dance halls were opened where the excited populace nightly exhausted themselves in all kinds of bizarre revels. Here the rabble appeared in elegant dresses torn- from the poor victims of tlie Guillotine, bur- lesquing their mannerisms in ribald songs and dances. Tlie once famous Salons, now presided over by the "butchers, bakers and candlestick makers" of the new Republic, displayed grotesque caricatures of the elegancies of the Old Regime. Following this period Paris went "Polka mad." This dance is attributed to a Bohemian peasant girl and was danced by Carlotta Grisi. It was seized upon as representative of the spirit of the people so long suppressed, and became the favorite of the populace. ^ During the upheavals of the Napoleonic wars, a feeling of intense Nationalism asserted itself and brought to the surface a new class of dances, Ger- man, Bohemian, Russian, Polish and Hungarian; resulting in a long list of couple dances, viz. : waltz, polka, mazurka, redowa, varsovienne, czardas, gal- lop, schottisch, etc. These were danced with the wildest enthusiasm thru nearly all of the nineteenth century. Costume dances were instituted, public balls given, and dance halls opened freely to the people. This entire period of social disintegration and reconstruction was characterized by an extrav- agance in dancing similar to the one at present observable in society. Modern Figure Dancing The Quadrille, in its best sense, is directly de- scended from the great patterns of the Classical Dance period. Between it and them comes the interval of the French Revolution, during which all restraint of social form was swept away along with the representatives of the Old Regime. The ' ' fine art of living" gave way to a vulgar and more vigorous order in which the "Mad Polka" and other lively couple dances assailed society. Many quaint coun- try dances in lines, circles and squares, had devel- oped side by side with the more formal dances, and society, as it reorganized, now turned to the Square Dance, more familiarly known as the Quadrille. During the Second Empire huge Quadrilles, most extravagant in detail, were developed, in which the Princesses of the House of Napoleon took a promi- nent part. Such were the "White Quadrille," the "Chess Quadrille," modeled after the famous game, and others equally well known. The Quadrille was variously known at first as the Contredanse, Fran?oise and Cotillon. The earlier column forma- tions of the Contredanse gave way to four or eight couples, placed on four sides of the square, and it was finally called the Quadrille. The early Quadrilles retained the almost pantomimic figures of the ear- lier dances. See Moron's Cotillions. So great an artist as Taglioni is said to have invented Quadrille figures. When at the height of its popularity the Quadrille represented by far the best dancing of tlie nineteenth century. Its spirit was truly demo- cratic and social. The period of exacting technique had passed by. People no longer danced well enough to indulge in "steps," except the simplest. An occasional "pigeon wing" cut by some excitable gentleman, or a "pas seul" by some frisky maiden, represented the high water mark of dancing ability. Later "calls" became necessary to guide the dancers thru the mazes of tlie figures. With a good partner acquainted witli the calls anyone could enjoy the pleasures of the dance. Lanciers The Lanciers Quadrille was introduced into France by its two great later masters of the dance, Laborde and Cellarius. The Lanciers was the favor- ite dance at the court of Napoleon III, especially with the Empress Eugenie. It is an enlarged form of the Quadrille proper, and many of its figures, and certainly its dignity, were drawn from the older dancing art. The term Lanciers was derived from the fact that its figures were often manoeuvred or danced in military drills with horses, or in Lancier 12 uniform, with display of light arms and flags, which gave it a semi-military character. All the move- ments of this dance should be executed with great spirit and dignity. Its chief beauty lies in exactness of execution. In fact, it is a sort of militarized Minuet, picturesque and pleasing, with courtly movement boasting a "measure full of state and ancientry. ' ' It is pre-eminently suitable for opening State and Inaugural Balls, and in our own country was thus used for many years. The high character of the Lanciers helped re-establish other semi-court and ceremonial dances, such as the "Prince Imperial," "Quadrille Russe," which still hold sway in Euro- pean countries. In later years, the Lanciers fell into sad repute, and became romping dances, known as "Kitchen or Breakneck Lanciers." It remains for those interested in the amenities of the dance to restore it to high place in the ranks of social diversions. The Cotillion The Cotillion was first known as the Quadrille, the fashionable Contredanse of the early part of the last century. About 1844 the Cotillion appeared in this country under the name of the German Cotil- lion. In order to distinguish it from the Quadrille proper it has become known as the "German," and as such is still used as a select society dance. The Quadrille represents a democratic sociability in which the various couples of a set need not neces- sarily be acquainted. The Cotillion, to the contrary, implies an artistocratic inner circle. On occasions, the "favors" employed in decorating and distin- guishing its figures embody all that wealth and good taste can suggest. The Cotillion has been spoken of as not being a legitimate dance. But it has two values which ought to keep it a permanent and useful factor in social dancing; viz.: it employs a great variety of steps and figures and provides a high class of socialized entertainment for large groups of people. It may be said to be a compendium of all the good dancing, good form and good manners of a modern ball room. Dodworth says of it : "It is peculiarly social, requir- ing a constant interchange of partners; all must therefore be on terms of familiarity. As all of the round dances are used in its arrangement, every variety of time and accent may be enjoyed. Innu- merable figures give the pleasure derivable from movements in concert with each other, and infinite variety in the character of these figures, serious, merry and comical, maintains interest to the last." Hundreds of figures or inventions are listed, taken from old-time dances, eighty-three being cited by Cellarius of Paris in his book on "Fashionable Dancing," and Dodworth listing many more. Fig- ures with "favors" have been added, greatly elabo- rating the presentation of the Cotillion, without always strengthening the essentials of good dancing. Dodworth, in his "Duties and Etiquette of the Cotillion," calls attention to five essentials which give the Cotillion its true character and position as a representative dance of modern civilization, "combining fine music, fine motions and fine manners ' ' : 1st. Alertness, each dancer being at all times awake to the duties required of him or her. 2nd. Promptness in taking places for the execu- tion of a figure. , f 3rd. Silence and attention during the explanation of any novelty. 4th. Obedience at all times to the conductor during course of the dance. 5th. Willingness to sacrifice momentary personal pleasure, so that others may gain. The leader or conductor of a Cotillion must be par excellence a social Beau Brummel and past master of tact, if he is to minister successfully at this shrine of terpsichorean art. For service in restoring our fast vanishing social art of the dance, the Cotillion should be encouraged and cultivated among all classes. American Dances This sketch would be incomplete without a word on this mooted subject. AVhat we possess in this respect, as in others, we owe mostly to inheritance. Up to the last few years we have followed the dance traditions of other countries, varying them just enough to suit our ruder surroundings and cruder state of society. In the earlier days every immi- gration brought its social conventions, which took root or mingled with others. In the Southern States one still finds the Minuet of the Colonials, as well as evidences of old country figure dances. Among the mountaineers we discover ballads and rustic dances still in common use,, which show a direct descent from the old English Yeomanry. The Scotch, the Irish, the Dutch, the German, the Spanish element of the Southwest, the Puritans of the North- east, the cowboy of the far West, all are represented in our cosmopolitan art of the dance. The body of the dances and of the dance music of our pioneer times consisted of the numberless popular jigs, reels, strathspeys and country dance music of a century ago. Right merrily did our grandfathers and grand- mothers foot it on rough barn floors, to these lively 13 airs, to the scraping fiddle and strident calls of the leader. New inventions were made on the old forms, and Old Zip Coon, Money Musk, The Devil 's Dream, The Fireman's Dance, and scores of others, are, strictly speaking, American dances. From dancing in a barn Ave gained the term Barn Dances, a set of dances recently popularized. Original themes we derive from the Indian and the Negro, the latter creating the American Cake Walk. In the present period of dance invention none has been more active than the American. The Tango school craze has been followed up by numberless fanciful creations, most of which would come under the head of dance antics rather than dance art. The criticism which justly falls upon these so-called dances is that they express neither graces of movement, of social life, nor of human relations. The postures are contorted, unduly intimate, and absolutely devoid of social qualities. The best of the steps have been uncon- sciously adapted from older dances, but the postures emanate from the dance hall of the underworld. The best teachers of the dance are urging a return to the older polite dances, until the happy medium sliall have been regained. Mari Ruef Hofek. Chicago, August 31, 1916. [Editor's Note: Recognition is due Mr. Herbert E. Hyde for liis careful editing and revision of old manuscript music; to Frances Proudfoot for the costume reproductions. Thanks are also due to Mr. Adolph Weidig for cooperation in the critical revision of this volume.] 14 EXPLANATION OF DANCE TERMS Fundamental Positions : 1st Position— Heels together, toes out, legs firm, equal weight. 2nd Position — Right foot out to right side, equal weight. 3rd Position— Heel of right foot back to hollow of left instep. 4th Position— Move right foot forward, heel on line with left toe. 5th Position— Feet completely crossed in front, or first position. Repeat with left foot and backwards with right and left foot. 't'as Maiche: Slow, graceful walking step, some- times one or three steps to bar. Pas Grave: Fifth position right in front; bend both knees, rise on toes, sink on left heel, raise right heel, keeping toe on floor. One bar. Pas Minuet: Fifth position of right; bend both knees, rise, extend right to second position, change weight to right. One bar. Repeat right or left. Pas Gavotte: Three springing steps, alternate feet, back foot toe down. "^Pas Glisse: Sliding one foot after the other along the floor. Four directions. ^ Pas de Bourree: Small follow steps with back foot, preceded by Jette. Pas de Basque: Right foot circle back to third position, left forward, right follow. Pas Polonaise: Dignified walk with follow step. Right, left, right; left, right, left, etc. Pas de Ballotte: Feet cross alternately before and behind as in Scotch dance. Pas Coupe: Cutting step. Active foot cuts under resting foot. Right, left, etc. nOhassez: Chasing step. One foot chases the other, driving body forward. Assemble: Assemble the feet from open to closed position. Assemble soutenue: Sustain closed position. Ensemble: Bringing together. Impression of the whole picture. i^Balencez: Rocking from foot to foot, rising on toes and sinking back. Dos-a-dos: Passing partner back-to-back; right to left, left to right. Degafje: Disengage or separate the feet to sides, front and back. Jette: With a light jump, raise free foot and throw weight on pointed toe. Changement de Jambe: Change weight from leg to leg, with spring. Changement de Pied : Change feet simultaneously by jumping into air. Entre-chat: Cross and recross the feet while jumping into the air. Echappe: With closed feet jump lightly to an open position. Pirouettes: Cross feet, raise heels, turn both feet, finish with toe. Slow turns may be walked. The Pivot revolves one foot while the other beats time. 15 POLITE AND SOCIAL DANCES ^ ■•■ ^ Marclne dies Rois LULLY. Moderato. < jisiJ"r . ^^ m E^ ^B »FF 1^ mf f ^ ¥^=* ^^ ^ ■ ^ -m 1 r « # dim. e rit § «5P ^1 ^ f . \>0^ Y^r V 3t=^ i -^^^^ ^ ^ ^^^ i^ - ^-^ ^ ^^ ^ ^f ♦ # r^ *)= N h V ^ i J cresc. m "m ^ ^ a V r » i ■ ==f ^ ?y=g «^^3 ^^ J I < .^ ;^ Ij J 1 f — # dim. mf ^m ^ i I ^^ To be used as an introductory March with a fig-ured step which varies with the pattern of the music. C.F. 8. Co. 1750 - 70 Copyrigiit 1917 by Clayton P. Summy Co. 'y-f ''f ^ ^ J f } m m i E 7 7 .i s p ^ • .^^ aTT r^ ^ ? 5^ i E^E s ♦-*-# ^ t^ :i as s «i — # eg ^ 1^ 1^ ^ P ^ ^ dim. 'prp K^F S «lfF ^m ^- sz; C.P. S. Co. 17;) ^l Pa vane. Ancient Song' Form. ARBEAXJ'S ORCHESOGBAPHIE. ^ terisa n t ika n ^ "r ' r'rrrrrr ' r ' rr"rr " rr ' fr' r r r rr n i m r i i i i i^ rx r"i i i j r i 1 1 r Bel - le,qui tiens ma vi - e Cap-ti-ve dans lesyeux, Qui m'as la-me ra - vi - e Dun su-briz gra-ci-eux, Tes beau-t6s et ta gra-ce Et tes di-vins pro-pos Ont ech-auff-6 la gla-ce Qui me ge - lait les os, Ap-pro-che donc,ma bel-le, Ap-pro-che-toi,monbieni Ne me soi plus re- bel-le,Puis-que moncoeurest tieni LUJ i mijir. i rr i ^ij.r i rff It was customary to sing- one verse before the dance beg-an r ' rr'r.r i rn^ ase durins: the third f ig'ure of tht dance, and the final figrure is danced to the instruments. ance beg-an unaccompanied. The voices cease during' the third f ig'ure of the dance, and the rinal tig ^ i I w 3 rrTTi^TTY IH i VIII r r T P f r rriF u ne-moi unbais-er. Pour mon ame a-pais-er Uqn-ne-mpi un bai J J.JJ,J.^,^^,P.J,i.J J.JJ Viens tot ma se-cour - ir Ou me faud-rait mou-rir, Viens tot me se-cour - ir Ou me faud-rait mou- rir . Et ont rem-plis mon coer D'une a - mour-euse ar- deur, Et ont rem-plis mon cour D'une a- mour-euse ar-deur. Pouri g I mon ame a- pais )ais - er La Don r^TTr^rp^^^ i I ifr i rr^ i r i f r i rr ' ^ i ' i un bais - er. PAVANE FOR ONE COUPLE. Formation: Couple face audience, holding- inside hands. Beg-in dance with outside feet on first beat of music, one step to the measure. The head must be turned in the direction of the foot which is pointed well forward and the free hand gniides the dress. 1. Four pas marche steps down the stag-e, point and hold-, ag-ain four steps and as the g-entleman passes lady across, he changes hands. Both turn and retrace steps with same figure —back to stag"e— then recrossingrto place thay ag-ain face audience. This requires the first eight measures repeated. 2. The man now takes three short steps backwards, leading- lady round in front of him, the lady taking- three longer steps to gain the opposite side. This takes four bars of the second part of the music; they chang-e hands and pose on the fourth step, pointing- outside feet and heads leaning" in same direction, holding- inside hands . This is repeated with the lady stepping backwards and leading- g-entleman round in front from the op- posite side pose to the audience. This occupies four more measures of music. The g-entleman now takes three steps backward into his own place, leading- the lady in front, then pose with backs to audience, heads away from each other. Lady then turns under her own arm and both face audi - ence and finish with deep courtesy and bow. Second part repeated . 3. Both d£incers now pas glissez to left, ending- with deep curtsy, repeat to rig-ht with deep curtsy; join rig^ht hands and with two steps cross over to the other side. Pas glissez and curtsy to rig-ht, crossing- over obliquely and pose back to back, head turned over left shoulder, pointing- left foot. Repeat in the opposite direction. For the close, one pas g-lissez to the right the other to the left, ending- with deep reverence. Gentleman leads lady off with pas marche step to her seat. This tract may be followed by any even number of couples ^\^ich the dancing- space al- lows. COSTUME NOTES. The dress should be of the heavy style of the Medici days, antedating- the Minuet. The ladies costume should be of satin and velvet and rich lace§. The trains with bejewelled fastening-s, hang- from the shoulders. The un- dersleeves -s a series of puffs from the shoulder to the wrist, with a long- outer open sleeve made of the mater- ial of the train falling" the lenglh of the skirt. Jewelled stomachers should be worn and small pearl trimmed velvet caps on the hig-h coff ieur of the period . The wide ruff is also essential to the costume . The gfentlemen vie with the ladies in the richness and splendor of their costume puffed breeches, colored hose and doublet, velvet cloaks elegantly draped, plumed hats, bejewelled swords, all in the best style of the Spanish ca - velier. This gorg-eousness of apparel is only exceeded by splendor of manner and bearing-. The entire dance is characterized by stately rhythmic gfrace. As has been said "The learners of this dance must enshroud their very souls with majestic dig-nity, the arms must be gracefully rounded as the couples cross and recross, turning- their heads away from each other altog-ether; the shoulders well back with the leisured gestures of those stately days." — r P. s. no. 17.-^0-70 Ancient Dances. Pa. vane . Grave, well marked rhythm. ^X^ i i ^^^ i ^^ p _ p m^ w/" I I ^ cresc. dim. ^ ■d * i m ^^ m ^ 1 f dim. OI HT f CJ ILL W ^ ^ i frrr p # ^ C.P. S.Co.1760-70 Pavane Kavorite ^ Moderato. J :7a. de LOUIS XIV. BRISSON. ^-H^^=£# It ^ ^ ^ I *f^ Entra/nce f i S: ^E w/* p ^^^ dim. tt* jP ^ ^ > — a * ^ # ^ ^ s s ^s 0l4 4 p p "^m ^^ P I. fe^ m *M m ? h: ^ ^ iS # 7^ ^^^ d7o^a 5 5 JEI ^ 3E 9 # feU ^ _a- p ^ ^ 55F J: ^^ i f ^* u^ ^ ^^ feEa s t l: g l * i t ,1 ^^ ^ ^ fe: i zz: =5 tr tr tr ixn XE 14 P ^P gg p—mi^ i ^ rf*W. w* .^ ^ ^/^ j t J* J^* III. f ffi ^ i • V 1= p */ g ^^ f%r^ ^^^ ^ g vgv ^ittv .v ss e^ =^FFF ^ 4 ^ Ji «. m m. J^ P^=5:k H^ ¥f=¥^ ■ V • ^^ ^^ ^= f r ¥ n w s Pri i7Rn-'7n 8 i ¥ J > r\ ^f^ ^p "& 3^ #. ItffV fF P ^ # 35^ K ^ IV. fe ^ i: ''7#r» r^ r 3a& t» XT e^ ^^ y -: ; ■ • m f 0^ - ^^ m i yyy W^f^ 5 /'z^tt t7 * - i ^«*- oT^M r r r - r-. . • • f 1 • ' • . - * S •> ty * 4/ 4. 1 ^}-]>f ikf^ •«/■*/ ■*/•*/ i !• !• — c f— • 717 ^ 1» ^ — .1/ *y ■ *v 4/ ' ft 11 11 ^77 ^77 J / - 7 ^7 7 ^7 7 ■7 '7 • 7 7 7 7 p i ^ iE |ti @^ i=r :^ rF^ «*-» rfim. Z' lf?Sfe ^ ur 3 J ^ j; ^ E t S ^ii^i i '^^ii Theory and Discription of the Pavane— G. Desrat. Before beg-inning- the dance, the couple or couples taking- part promenaded around the room, bowing- gravely to the hosts in whose house the dance was given. It was sometimes followed by a sprightly dance in order to en- liven those present. The Pavane is danced in a slow measure in 2-2 time with the one foot now ahead and now behind, to one side and turning- around. Step right foot advance one step, bend the knee, slipping- the left foot after, extend the left foot in front of the right, toe much extended only touching- the g-round. For the left foot move in the opposite direc- tion and in turning rise on the tip of the toes coming down nearer to the foot ahead. I Two couples are placed opposite one another, the cavalier to the left of his lady; they describe a great se- mi-circle to their right, changing places; then Pavane step to the right. The cavaliers hold the hands of the ladies very higti and after changing- places the two couples bow to each other. They repeat the same movement coming back to their original places. II. The two couples take four Pavane steps, advancing to their right and stop, facing each other, in the middle of the room; they bow to each other, then they advance toward each other with two Pavane steps and turn on tip- toe, each cavalier dancing- this with the lady opposite him. The cavaliers turn and face their ladies and by four Pa- vane steps take their original places. Coming back the cavaliers lead their ladies by the right hand held high in their own left; they bow to each other slowly, previously spending- one beat on tiptoe. III. A single gentleman cavalier describes a great semi-circle to the left, by four Pavane steps, and coming before the opposite lady, he bows and curtsys with her; returning- by the same half circle, he bows and curtsys with his own lady in place. The second cavalier repeats this same figure. Coda, The two couples advance without tak- ing each others hands, four open Pavane steps to the right and to the left; they bow to each other; then cavaliers face about to their ladies, bow to them and take them back to the place froni where they invited them. The Pavane is often ended with a promenade and bows to host and hostess and important g-uests, as in the beginning. Pavane Italierine XVI Cent. PAVANE PROCESSIONAL. This quaint measure lends itself well to the Processional form which the older Pavane discriptions sug-g-est, using" the follow step as well as the pas marche. Also the forward and backward movements and shifting" from side to side. These evolutions, tho simple, g"ive a charming" effect when employed with larg"e numbers. Observe one step to meas. 1. Procession forms to playing" of music as many times as necessary to marshall them all on floor. At a g"iven sig"nal the dance opens with a reverence to partners, they join inside hands, standing" rather far apart with con- siderable distance between co.uples, to accommodate trains. Hats and fans are held in the free hand to use in the poses and g"estures of the bows. 2. Pahners beg"in with the rig"ht foot well extended, follow with the left, point and pause with rig-ht on hold of third measure, step forward left, rig"ht, left, rig"ht — turning" left behind — lady sinking" in curtsy while man draws right heel, salute. Here the whole procession reverses and the same fig"ure is repeated in the opposite direction. 3. At the closing" bow, partners face and move to left, cross - stepping" behind with the rig"ht foot, left, rig"iit; left, hold leaning" back over rig"ht foot, lady raising" fan, g"entleman hat. Shift weig-ht and perform same to rigtit, ag"ain to left, then each walks forward three steps, turns and bows. Repeat the same from the opposite side, returning" to place, having" danced around a small square. It is at this point that partners may be chang"ed, g"entlemen stepping" back and taking" next lady behind. In order to best effect this the circle should be closed. Any amoiml of invention may be broug"ht to bear upon the dance, which may be left to the discre- tion of the leader. C.P.S. Co. 1750-70 10 Allegro moderato The Eaple of Salisbury WILLIAM BYRDE ^ ^^^ ^ mf i ^ i li$^ fr ^ ^ ^ p ^ ^ ^ ^ 'N ^ 3ni ^^ TT- IXSI legato PAVANE STEP The rather ambiguous terms, simples and doubles mentioned in connection with the Pavane, are thus ex- plained. Simple: 1. Step forward with left foot, follow with right to 1st Position. 2. Step forward with the right foot, follow with left to 1st Position. Double: 1. Walking step forward left, right, left follow right — close. First 4 measures repeat. This pattern of two simples and one double is followed throughout one tour up and down or around the room to the first movement of the music. It is then repeated backward; then to the side, when the partners separate, crossing each other with the simples, walking forward with the doubles, crossing again with the simples and finish with a bow. O. PS. Co. 1750-70 Allemancie. Allegro molto moderato ; i j.^ J. JmJtJJ.. ^ 11 JOHANN MATTHESON. 4 5 2 8 543 i 2 8 4 643 r% ^J^ J i iJ J^rTO 4 8_a ^g=# TF rrrf 1 a 3 1.^ " 2 asr ^ J § j=i 1 2 5^ p M^ r m r' ^^ ^i=^ 543 2 3 4 fck ^3 i jii'j-^n 4- ^^W^ 5 4 a 3 36 ^ 8 4 3 P 1 mfU m m m :^ & I Z' p ? fcir ^^ 4323 8 IT R r o 4 *■!* 5 2 3 * f EBB »-* 6 H^^ 1 ^U 3 i i m cresG. 4 1 .3 234 3 21 2 dim. rail ^^ ^ w ? ALLEMANDE *u 'f^f An old reading of the Allemande gives the following directions: 1st Part: Step forward with the left foot, Step forward with the right foot, step forward with the left foot, turn arms over to the right, pose. The same beginning with the right. Repeat this entire figure. 2nd Part: Step forward with the left foot, turn arms over to the right; Step forward with the right foot, Turn arms over to the left. Pass lady right - left - turn arms to place. 3rd Part: In rapid tempo, one step to each beat, each step accompanied by a light spring. Step forward with the left, spring on the right. Step forward with the right, spring on the left.. Repeat these twice, pause and pose. Close the dance by repeating the first part. Position for the dance: Lady places herself in front of the gentleman with the two left hands and two right hands joined, left hands raised. The turn is performed from side to side or like the ordinary "wringing the ladies dishcloth." Accent step by a slight sinking of the knee. It is danced by couples which follow each other up and down the room. At the close they turn and dance in the other direction. Slight changes may be necessary to fit the steps to the music. Adapt to Matheson Allemande. rt t:* a /~i— -^ryr^^ 1^ r 12 A-llemancie . The Allemande, as is sig-nified by its name, is of Allemanic or German origin. Tho heavy in style, it was adopted by the French, and in 1540 was danced at the fetes g-iven by Fran cis I to Charles V. In its older form it w^as a couple dance, with many other couples follow^ing the leaders about the room. One of its peculiarities was, that the partners hands remained joined thru all the 'turns and evolutions of the dance." Tabouret says that it can be danced by a large company, others placing themselves be- hind you, each one holding his partner by both hands, walking forward and retreating in dupk time, three steps and one pause — the foot raised— without a hop. When you have walked to the end of the room, you turn, every dancer stops and faces his partner, then continuing with th« second part. (Repeat), The third part or figure is also danced in duple time, but faster and mort lightly and with little hops. In deciphering the old discriptions, we can infer, that in order to effect the turns grace- fully the hands w^ere crossed, as is well shown in the spirited front page picture. Also in an other discription we are told that the lady at frequent intervals passed before the gentleman before the pauses. From these and many other hints, the following interpretation is offered, ir conjunction with Couperins music. The Allemand remained popular for over two Centuries. It is an excellent processional dance, to be performed before royalty in some scene of Ancient Pageantry. In commhn with tht old dances the phrase suggests the patterns of the dance, two steps to the measure, and lik« most old music it is unevenly measured. COUPERINS ALLBMANDB. I. Lady takes her place to the right and a little in front of the gentleman. Pose of head anc feet go together. Lady extends her right hand right, joining gentlemans right hand, her left ovei her own left shoulder joining gentlemans left. Both start with the right foot w^ell pointed, w^alP four steps to tw^o measures. Then both side-step tvi^o steps— lady to the right in front, gentle man to left, behind, finishing v^^ith opposite feet. Both now^ step forward two steps, pose; back- ward tw^o steps, pose; then to the next long phrase, repeat the movements of the first four meas- ures. The next long phrase, walk forward gravely four steps, beginning with right, point left same to neyt phrase, going forward with pointing foot; gentleman turns lady (vi^ring the ladies dish cloth) arms completely overhead to first position. This figure is then repeated to other end of room, and is called the first part. II. The second part begins w^ith six jumping steps forv^^ard lightly from foot to foot three measures. Next slide-pose, crossing three times, w^alk four steps, turn under, pose. Walk with syncopated beat one, tw^o, three, jump across, w^alk one, tM^o, three, jumpjump, turr iinderanr pose. All this is performed leisurely and in great style. Other AUemands are extant. C. F. S. L\) 17,50-70 Allegretto. Allemancie . 13 FR. COUPERIN. ii i ^m^ Bl ^P 1 * W ■w-^ — * 1/ p ^ f^ ^^ ^ i FlF=f ?; ?^?^ \-. ., ■■i fel' '^ fe^ ^^ ^ i^ ^ # m cresc. f ^^m ^ ^ 5=i« f^lEf ?^ ^ '-^' - 'w v*^. cX-O'^'^-'*^ i n ^^^^^^^^ _i^__ _,^ ^n U "n ^ :^g ^ w ;s # ^ a lS>-^ ^^ II i? accel f dim. m ^^ i r mo ? ^ ^ s ^ i ^ i H- mf ^ ? ?^ ^ cresc. m ^ V W^. ? I i ^ i S ^ 14 Pas s amezzo ^ ^m oo XVI Cent 5 W ^^ ^^ p -J) JW) J. ja a i p p r «p '''^ m^ 1} ^^'J i' ^ ^ *=« s ^j^ij i)johj j^i 1 1 I s Mr PI p m f nj p The Passamezzo, Pas- to walk— Mezzo- half, a slow dance, little different to walking-. It belongfs to the dig-nified Court dances, and was much liked by Queen Elizabeth, who prided herself on the skill anc g-race with which she performed it; also the opportunity it g-ave for the display of the splendid Court dressei of her time. The Passamezzo is imported from Italy and supposed to represent all the eleg-ancies of the re fined social culture of that country. It is here inserted as a musical bit appropriate for illustrating" a Pag- eant scene of the period. A dance can easily be arrang-ed for it. Partners stand opposite, arms outstretchec wide, both step left, pass back to back, turn, face. Knee curtsy. Repeat etc. CP.S. Co. 1750-70 S arabaride 15 G. F. Handel. t i=^ P ^ IE m 9=^ M H ^ i Kzim ^ m rf «JJ i i ^ p ^ i=i I^J M-3t ^1 ff^ i^ 2 s: S^^ ^ » ^q^ ^ Ir ^ fe ^ rnr g ? ^ ?"i>^ i I % W^ r ^1 ^m The Sarabande is one of the best type of the Basque dances, which later found their way into the class- ics. History claims it as a Relig'ious Processional Dance and this form was used on occasions of hig'h State, in the receptions of King's and Queens. So g-reat a man as Richelieu is said to have danced it before Anne of Austria and it was a favorite court dance during" the reig"n of Louis XIII. It claims Arabic origfin as shown in its oriental movements. The Sarabands of Bach and Handel keep to the old dig'nified form, tho later danced in a much livelier mood. According- to Bohme the earlier Sarabands did not fall into stereotyped musical form as some of the la- ter arrang-ements would have us believe. The Handel Sarabande offered in this volume shows the first period to consist of 9 measures, of two short phrases 'ag-ainst a long" one; the second period of 12 measures has three 4 measure phrases. In presenting" the" dance each part must be repeated in order to balance the form. Play- fords arrang-ement of the Sarabande as a country dance, is hardly in keeping" with either its steps or form. The Spanish Dance steps of the Sarabande may be fignired for this music in the following" way; Casten- ets are used with which to mark the time . 1. Point and raise the rig-ht foot, (count 1) step forward ,( count 2-3) slide the left foot lift and pose, (sec- ond measure). Repeat in the opposite direction, concluding" four measures. Begrin the fifth measure like the first, instead of posing-, pas bourree to the left ten little steps turning" and finishing: with a pose. Repeat the entire fig-ure ag-ain beg-inning- with the rig-ht foot and finish with a pose in place. 2. Spanish draw step to the left three times, pose— four measures; repeat to the rig-ht— four measures; Spring- left foot forward, rig-ht arm over head during- pose; spring- rig-ht foot forward, left arm over head, then two draw steps backward with the left foot, a quick turn backward to the rig"ht, stamping* rig"ht foot and rig-ht arm raised over head- pose. Repeat this movement entire, which is danced .to the second part of the n»usic. The dance is concluded by repeating: the first movement. C.P. S.Co. 1750-70 16 Xamb outr in * Allegro vivace MARTINI. £E ^ ^ CO m H m m |=gz ±i f j"^"*- »"^~ir S^ 3 ^ |E:i5=ie Fine. Z2I #-f-1» ^ ^ #-P^ ^ ^ i ^— ^ i ii Vi/ r r ^ ^ ^^ ^ i ^ S -^ J^ 1 ^^ ^^ ;t=n: q .i^ jh: i^ r r r CSS ^ ^^ ^ ^ ^^ * ^ <> 3 :i ' — . ^ 2 r te^ ^^ ^ ffl fo=# I wm^ w ■m-^-m m t^ bf^ m H- MM > 1 I I M J P 31: 33: l ilJ^J^TJ ^^ m^m GO ^ f D.C.al Fine. m i Mil * 1. Partners run forward 4 steps, stamp-brush three times; run four steps, stamp-brush twice, pirouette. Re- peat to place. Outside hand shakes tambourine. 2. Partners next run round each other to the left 4 steps, stamp-brush three times ag"ain; jetle-coupe eigfht steps past each other. Repeat back to place. 3. Repeat 4 meas. of 1. then brush-step? times, dodgfing- from side to sideCg-irl in front of boy). As boy raises tambourine, girl stoops, each twice. Then g'irl leading" pas bouree in a chase round a circle, 3 meas. Pose to- g"ether tambourines over head. Repeat t. and finish at Fine. The tambourine is usually accompanied by a drum. C.F. S.Co. 1750-70 Pass epie d.s . 17 Vivace ( J) :138) ANDRE CAMPRA. (1660 -1744). 1. Set — five running- steps — pass partners rigfht shoulder — five shuffle steps back,two stamps. Repeat pass- ings left shoulders. Dance same figtire, partners groing" forwards and backwards'in opposite direction. 2. Both couples dance backward beg^inning^ with right foot pas de basque — point — shuffle, pas de basque; balance right, left,rig-ht. Repeat and balance al close with joined hands and pose. C.F. S.Co. 1750-70 18 Sicillian. REINECKE. Ul! r p The Sicillian is a Shepherd dance of Sicily, and is usually accompanied by flute or tambourine. It is embel- lished by shaking" handkerchief or tambourine, or clapping" hands. It is the joyous happy dance of a youthful cou- ple. 1. Step-throw rig"ht and left four times, slide-step outward twice, step and turn. Repeat backward to place. Body should swing slightly with step. 2. Both now move outward and round with four chasse steps, two stamps- and turn, handkerchief shakinghigh above head, outside hand on hip. Now facing partner lead across with four chasse steps and finish with stamp . Repeat all in opposite direction back to place. 3. Youth pursues girl round circle with eight chasse steps, turn on 7, 8- Girl pursues in opposite direction both turn together, two left palms touching" waist at back, right hand shaking* tambourine over head . C.P.S. Co. 1750-70 Chelsea Reacti. 19 Chelsea Reach is one of the best types of Old Eng-lish dancing" of the Queen Elizabeth time. It com- bines the gracious charm of the Court Dance with the fig'ures of the Country or Contra Dance, which later took the form of a Quadrille. One can easily see how King's and Queens could step down from their thrones and ming'le in this dance without loss of dig-nity. The dante was named after the famous Chelsea Gardens, where it g-raced many a royal fete, and where it was last danced in the Chelsea Pag-eant, 1908. In order to avoid confusion the dancers must think of the performance in distinct, set fig'ures, the cou- ples moving" log"ically from one to the other. The first fig"ure is a square, the second takes the form of a col- umn in two g"roups of four; this column resolves itself into two lines. The third fig"ure begfins with these lines and swing's back into two circles. The last fig"ure is in a square. The directions are after Playfords Danc- ing" Master, 1665. The fig'ures are g'iven in his discriptions first and followed with an explanation by the Au- thor. Nellie Chaplin Studio, London, 1911. FIGURES OF CHELSEA REACH. The step is a leisurly walking' with toe well pointed. The form a square of four couples. Partners dance well apart with hands held hig'h in the manner of the minuette . In this dance the man is on the rigrht of the lady. In leading' out the rig'ht hands are joined. The womans curtsy is low to the heel, not the g"rand bow of the French minuette. The mans bow a bend and backward step and draw of the rig'ht foot, right arm brot to the waist in front and left extended back . In the best style a hat is carried by the g"entleman which requires much skill in handling". Two steps are observed to the measure thruout. 1. Meet all in and fall back, set each to his own — Play ford. All couples forward to center four steps, point, turn toward each other and perform same back to place. Setting— pass each other diag"onally with left shoulder, same step, turn to place and finish with a bow. Eig"ht measures . 2. Lead out all square, fall back and set to your own — Play ford. Perform the same fig"ure outward from the square . Repeat first eig"ht measures . 3. The first and third couples chang"e places with their women, whilst the second and fourth couple meet in and clap back to back; the first man and third woman meet the second couple, and the first woman and third man meet the fourth couple. The first man and third woman take hands round with the second couple, and the first woman and third man take hands round with the fourth couple and g"o half round ; the first man gives his rig"ht hand to the third woman -whilst the second man g"ives his rig'ht hand to his partner; the first man g"ives his left hand to the second man and turn a whole turn, and the third woman gives her left hand to the second woman and turn a whole turn and then turn your own, the first woman and third man do as much tothe fourth couple, all at one time together and the second and fourth couple do the same to the first and third couple. -Ptejj/: While carefully anotated all this sounds confusing unless you see the column form out of the first change. Then the two groups of four mill and turn in chain until they find themselves in lines . The above analysiswill effect this if carefully followed. Alternate first and second part of music. 4. Sides all with your own, set to your own and that again. Men take your women by both hands and put all back to back, then women give ri^ht hands across and go half way round, whilst the men go on the out- side the contrary way till they meet with their women, and fall back with your own woman into the contrary place. Men do the same as the women did, till you come to your ^XzlCq^. — Play ford. All this is quite clear, from the setting with your partners in and out the lines, to the forming of the two circles, the mill and men going in opposite directions, repeating with men on the inside milling, and wo- men outside all turning in their own places. For the first part, music is repeated four times. For the milling; second part is repeated twice . 5. Arms all with your own, set to your awn.— Playford. Repeat first figure. That again. Men take all the women by the right hand and lead out, then back again, give all right hands to partners, leffto next, right and left till you meet your partner again, then lead on again with the same and give right and left hands till you all come to your own places.— Playford. This figure repeats the setting of the first figure and finishes with a grand chain or grand right and left. Finish with setting and a bow. Take partner to seat. For the setting use first part, of music, for chain the second part. C.F. S. Co.1750-70 20 Cttelsea Reacli. te p ^ ■^3^=* mf 5=t=:t J^T rr jTT:; T ^ 1^ -l<^ -1^ i ^s ^ ^w f ^jJ J 6 ^p 33 ^ ?j7]m f ^ i)J i n m f s Et=± m ffqr ^ gs^ # i ^ # • * J < H s i^J f #- nil-It: ^ i £ i_^ r i=^ m !i 1^ &F F^ P FF^ f ft J j = J i ^ ^z ^ m p ^ ^ r=T wf=4^ ^^^ \>. f cresc. ^^ ^ % ^ i iLn r t p p^?^ ' ^ ^ ^ f dim. S p^^ !^ ;t^|^=^ ^ I f-^ ^ ^^ ^ f f^^^^ f cresc. T ')\ } \\ } £^ r F j> g C.F. S.Co. 1750-70 Le Grand. Pere. 21 * Andcvnte S m s m n\ m m ^ m t^^it I m m m ^ m Trr in ^ i i^ l^= e= ^ * m i^ s s m Fine. KEHRAUS. Allegro ffs^E m ^m ^ m ^ p ^ ^ p s f «L^ i s The grandfathers dance In the earlier days this quaint song- dance of the Germans was specially used at nuptial and birthday cel- ebrations. Later it was used at childrens balls and may be effectively used in modern ball rooms as apromen - ade dance. It belong-s to the class of processional dances. 1. The round may be danced by any number of couples placed in a promenade, one couple behind the other, the g-entlemen leading- their ladies by the rig-ht hand. I. Walk the measure sedately, with well pointed foot, one step to the measure, dropping- a curtsey on the eig-hth measure. II. The same is danced to the next eig-ht measures . To part III of the music first 4 measures partners separ- ate and walk in opposite direction looking- back, then return 4 measures; drop four curtsys 8 measures, alter- nating- from rig-ht to left. Dance part IV.same as the first. 2. The Kehraus (2^ time) in livlier tempo invites the dancers to a g-allop, polka or two-step. V. Here two couples may join in circles of four dancing- to the left and back ag-ain, resuming- the processional. If used for a birthday, two ring-s g-oing- in opposite directions may be formed in this fig-ure, encircling- the birthday child or wedding- couple, after which the Kehraus proper may be danced as here described. The Kehraus t)rpifies that lively skirmish at the close of a wedding-, when it was customary to pick up any desirable household utensil such as a broom or frying- pan and dance out of the house with it. On ordinary occasions after the allegrro all the cou- ples again dance in procession and the whole is repeated as often as desired. The dance may be closed by the ccHiples wheeling- off into a waltz or two-s4ep 22 Metiuiet pfpf^ ^P r 3»^ ^ ^X^ ii Fine. LU 5Jii5 ^ ^^ ^ ^ rrr . J J Jl M ^ B *^ *^?5f .^Hl w r > » as ^ ^^ ja ♦ eE ^ p f C.F.a.Co. 1750-70 D. C. alFine. 26 Meniiet dii Dauptiine The name o^ this composition as well as its charming naivette suggests a childrens dance . The following form has been patterned after the melody and plan of the phrases. The simplest of the Minuette steps and movements are used - pas marche, (pointed walking step) pas minuette, balance, point, curtsey, bow^, pose. The girl should carry a fan, the boy a plumed hat to be used in the pictures. The disengaged hand holds the fan w^hich is suspended from a ribbon. The hat is changed from hand to hand as needed, held to the side, as in the bow^, extended w^ide as body is bent and heels come together. ENTRANCE — "With fan and hat in left hands, couple join right finger tips, and pas marche thru six measures of opening music to center of floor, reverence on seventh, hold, rise and face on eighth measure. Play first or last eight measures. I. Right hands joined, balance forward:! beat, rise on toes 2, hold 3; balance backward on left foot next measure in same manner; w^ith ha,nds still joined, minuette step round to each others places beginning with right foot and finishing w^ith curtsey on right foot back. Repeat to next four measures continuing to left and finishing in place. In the curtsey hands are disengaged, girl spreading skirt with right, boy bowing, arms wide, heels together. This rosette figure may be repeated to first eight measures. II. Rising from bow, couple walk past each other to side of room or stage, left shoulders in- side—heads, hat, fan leaning to left — nine pointed steps beginning vinth left foot and pausing on tenth with right foot pointing; pivot on right foot to -left and return to place and finish with curt- sey on eighth measure. Step on left, cross right-tap, tap, — repeat to right, to left, pirouette and bow. Repeat which finishes next sixteen measures. III. In Duo, couple join hands and walk to right hand side of stage, walk forw^ard five steps beginning vdth left foot and posing on sixth. Boy passes girl in front of him to left five follow steps then pirouette and bovs^. Repeat, returning to place, the girl to front of stage the second time. Repeat this figure in the other direction, returning to place in the center. lY Repeat first figure in the center of the stage, then retire to the opposite side back- wards and bow with face to audience. If two or more couples take part, the balance of the set- ting must be kept by working from opposite sides, both in the dance and in the entrances and exits. While the walking step is simple the style of the dance must be maintained by the back- ward pose of body and arms, with the daintily pointed foot carried well forward. Base, balance and grace of movement should characterise the dance. Meniiet dti Dauptiine 2' yt-^/- «. f .'' ',^'>. - ■[' ^Sr fefliU ^ ^ i ^ ^ p^i^ ^ ^ f s ^ ^ ^ f ^ ?^ ,.^V .^A^^■-- j cU).^,, y/r, -^^t.^^ i.. ijA-.-l ■iiMy :' l-irt-^ /X-l..iU^y ^s s w^ t*^ ** E^ II ^ i ^ 3 ^ 5^ IP i %<-^'-' '• ui.--«ji btn>0 fa^ ( h— (v-< f / y i i it* id^ ! P^ *^^**iLJ «bi=i: # •. ^ i i ^ ^ zz: S ?^ ^ P ^ ^ 0-S-y S n «F zz*! f *: te^ IV r ?^g te n :^ S ^ ■ V (_■> 1 •- I p ^ * * ^ >^i[F^ iS a « ^ f^^ fe- ^ ^M z?.c?. ^S ^ 3 ^ f. 1.- s Co 17r)0-70 28 IVTeniiet de la Reine. In contrast to the letter Z upon which the Minuet de la Cour is performed, the Minuet de la Reine is danced from right to left, partners moving away from each other, returning,pass- ing, going forward from the center, back, turning at the center, etc. It is a couple dance and while requiring a knowledge of the Minuet technic, is not difficult to perform. It is said that G-ardel the great master of the Minuet, arranged the de la Reine for . the marriage of Marie Antoinette to Louis the XVI. It is here adapted from the Von Jolizza „Schule des TanzesJ' to the music of Boccherini . Directions. The first 8 measures will serve to bring the couple or couples, on the floor. Then re- peat for the Reverence. 1. Reverence.— Gentleman presents his right hand, into palm of which lady gives fingertips of left. With hands well raised, both step forw^ard w^ith outside feet, shoulders dos - a - dos, pose, both perform demi - pirouette outward, bowing low. They now^ repeat this figure vi^ith demi- pirouette in opposite direction back to place, finish with bow; join hands and then bal- encez forw^ard one measure, back one measure, pirouette and bow^. First 8 measures repeated. 2. Separez. — Lady and gentleman now^ both make a quarter turn to the left and take six steps away from each other, turn and pose on 5-6. Repeat back to center and hold in place. 3. Traversez.— Lady and gentleman now both go forward with pas minuet step 1 measure pas Polinaise or f ollow^-step , 1 measurej repeat these two still forw^ard,face andpas de Basque t^vo measures on opposite feet, face, pirouette and turn. This finishes the next twelve meas. Repeat to place. 4. Rangez a recule. — Gentleman now^ makes a quarter turn to the right, lady to the left and with six small steps run or "range around"each other half turning on six, right shoulders to- 'gether. They half turn in this manner four times. 5. Pas recule— Beginning w^ith the right foot, both lady and gentleman step backward six steps and bow or pose viz a viz. Repeat back to place and finish with a bow^. This completes* 8 bars of the trio to Fig. 4-5. These two figures may be repeated in the opposite direction. 6. Balencez a cote. — Both lady and gentleman now balancez tw^ice to the side, beginning with the right foot finish with pirouette and bow, 4 meas. Repeat in opposite direction 4 measures more. 7. Traversez r-Vsus minuet, pas polinaise, pas minuet, turn— next four measures away from each other; pas minuet, pas polonaise, pas minuet tow^ard each other both joining hands, perform a tour de main or complete circle of six steps and finish w^ith bovi^. Fig. lor the Reverence is now repeated and closes the dance. Lead lady to seat. Meniaet. m 30 TRIO. '^yhh j>7,j7 7i! i' f J) 'I if y sv ^^m ±A mf- p "> \ r 2 \, s 7 ^: ,41444^ ir-iMf>r ^ 2^3 ^ ^ C.F.S. Co. 1750-70 'D.C.alFine. senza repetizione. Minutet Il.<_j^^ (Don Juan) Moderato 31 MOZART. ^ i S ^ vm^ B ig ^ ^i» mf m ^ ^ ^ ^ ^ ? i P ^ ^fe i i 3E^ ^M i TT ^ w # ^ ^ . » . - JEZZZPC « T «l ^^ f 2 'II I I f Fine. 'y\ J r ^ » • * »~y i^ ^ i i % % t t feE^iL£^^ « ^eov. 3^ D.S. ^ DON JUAN MINUET. In the decline of the Minuet it was finally walked as a quadrille. This form yet prevails in the Southern States as a relic of Colonial days and yet will be found in the repertoire of most dancers there. Even in this meagrer form is preserved some of the stately g-raciousness for which this dance was famed in its earlier history. FORMATION. Quadrille. The Minuet should be danced very slowly, a dig-nified walking' step being* used, one -two -three, point, balancez front,back. Salutation to partners (introduction) two measures. 1. All coup, pass partners and meet corners, time two measures; pass on to next in same manner, pass a- g'ain, next salute partners in place, two measures. 2. First four to the rig"ht salute; to left salute; salute each other in center; partners in place salute; eig'ht measures. Side four repeat. 3. All forward, salute; to place, salute; repeat, eig'ht measures; salute comers; salute partners. Prom- enade to seats. C.P.S.Co. 1760-70 32 Oavotte de Vestris As described by G. Desrat. In 1887 the old dances reg-ained a little of the favor which they enjoyed in the 18th century. Next to the Court Minuet, the people delig-hted in the Gavotte. On account of the limited resources of later dances, it was impossible to revive the old Vestris and Tag-lione Gavotte, with their brilliant jumping- steps and the arrangement of the couples in their correct positions on the floor. Hence came the necessity of regulating- the dance as a Quadrille, executed by two or four couples. The three distinct parts of the dance are a faithful translation of the 18th Century Gavotte placed between the stately introduction and closing of the Court Minuet. See Min- uette de la Cour. ORDER OF THE DANCE. Two couples are placed facing each other as in the Quadrille, the gentleman holding in his right hand the left hand of the lady. INTRODUCTION. First movement of the Court Minuet, eig-ht measures. The same movement is also danced when taking the ladies back to their places. I. The gentleman taking the lady's left hand in his right, advances with her by a jete,bring the feet together, the rig-ht heel to the middle of the left foot, assemble (change feet) in front. Both go back three jetes, assemble behind, 8 measures. Criss-cross, the g-entleman to the rig-ht, the lady to the left in front of her partner by an open sidestep twice and three chang-es of the feet. Repeat in the opposite direction. II. Crossing by the gentlemen. The gentleman describes a large semi-circle to his left by eig-ht jetes, pass- ing- in front of his lady. He then takes seven jetes backward and assemble, 12 measures. Repeat. Same music 12 measures. Balancing, the lady and gentleman advance facing- each other, taking- 8 zephyr steps, giving- each other the right and left hand alternately four times. They return to their orig-inal places with eight more zephyr steps exe - cuted by turning- the hand. 12 measures. III. The gentlemen advance each leading- his lady by jete, assemble 'rest. They chang-e ladies, and withdraw by three jetes, assemble behind, 8 measures. The g-entlemen begin ag-ain with the same movement and take their ladies back to place, 8 measures. IV. The two couples, taking the zephyr step, execute a pursuit in a circle, changing- ladies twice; they then ad- vance to the front with three jetes backward and assemble to place, 12 measures. CODA. The two couples then beg-in ag-ain the introduction to the Court Minuet which finishes the dance. If the dance is danced by four couples they are placed as for a Quadrille. SECOND ARRANGEMENT FORMATION. Quadrille formation. Any number of sets of 4 placed the length of the room, gentleman at ladys left. STER Pas Marche three marching- steps (begin with outside footj and pause followed by 4 points with same foot . BOW. Minuet -Gentlemen step to left (facing- lady) close heels, bow low in hips with sweeping- gesture of the arms. Lady step to rig-ht, draw left foot behind, sink on rig-ht foot, transfer weight to left making sweeping- bow. ARMS. Gentlemia.i presents rig-ht hand off his sword or heart (three cornered hat in left hand held breast high) palm upward, hand raised above shoulder. LADY. Hands on skirt, raise left from back and drop tips of fing-ers on g-entleman's upturned palm. I. THE GREETING.(a) Head couples pas marche forward to the center, starting- with outside feet, pause, point four times.. Return, pointing- with inside feet, sides the same. (b) All forward. Pas Marche and bow. Reverse steps back to place, pointing- toe and looking- at each other over shoulder. Repeat; then dance last four measures by lady turning- forward under rig-ht arm df g-entleman (g-entleman in place) four steps finishing- with four points. II. THE FAN. Two side ladies extending- and joining- left hands walk toward the center, extending- at same time rig-ht hands to head and foot ladies, throwing- them into aline, the same figure should extend the length of the room thru all the sets. Three steps,beginning- with the rig-ht foot should bring- all into this line, then four points in place. Couples of each set next break at center, turn to the left, reversing- position, ending- with 4 points. Then two end ladies of each set,joinleft hands and swing to the right, end with four points. Break at center ag-ain and swing- to right, end with four points. This makes four chang-es. Hands of two center ladies should be down, hands of couples up. These four turns leave the ladies facing- corner g-entleman. Ladies now turn with corner g-entlemen then back to own partner who turns her to place and then under his rig-ht arm, finishing- with four points of outside foot. III. GRAND MARCH. Head couple and left side couple stand 6n one bar of X across the square facing- foot and right side couples. Thruout fig-ure,head and foot couples step forward and pass the other two couples on the out- side. Pas marche step, and point four times at meetingf each new couple. Four prog-ressions in this march leaves couples at corners opposite to their own places. To get back home, ladies chain,with opposite partners half turn and cross over to place. Gentlemen then turn ladies under right arm and finish with four points. IV. GRAND CHAIN, (a) Right hand to partner arm raised higli,pas marche on to corner, pause with four points, meeting- all couples on around to place, r^ Finish with b of Fig-ure 1. Bowing- profoundly, g-entle- man turning; lady under right arm and four points at close. v.— MARCH OFF FLOOR. Side couples fall in behind head couple, rig-ht hand couple first,left next. Pas Mar- che, about the room and «;eaf laHv \vifh a hn\u 33 Qavotte de Vestris Moderato poco allegro. (LH i i =jE S ^ w m p a 1=1 P f rrw p m a — 1 • • ^ f ^* ^ oo ^ # 5 n rt ^& 1^ fe S a a ^ * ^ *=5^ j^^we. I III y* p rt fe^ g ^ g TIJij f .Sfi. JC>£_ ^ ^ * p m IV i # a- — a ^ ^^ C.P 8 Co. 1760-70 34 Oavotte le Ballett diji Roi. Q-luck and Gretry both composed g-avottes, and the dancer Gardel, in the time of Marie Antoinette, introduced a fresh dance to &retry's music. At this time the dance was in great fa- vor. Suitable music to which the follow^ing tract of the gavotte can be danced is "he Ballet du Roi," by Lulli, 1633-1687. It is in 4 time, commencing on the third beat of the bar. The dancers start in a line or circle, the couples separating themselves from the rest. Only in this way can it be effectively danced. 1. Pour gavottes forward, four gavottes round, four back and four roimd again the dancers hand in hand, the figures always accompanied by graceful head movements, the partners turn- ing tow^ard each other or apart. 2. Gavotte round the room, the ladies changing sides four times, the dancers hand in hand, but each looking the opposite -way and making a step on the side, with the one a curtesy, the other a bow^, repeating the step and the reverence. 3. Face partners, taking both hands., and alternate toe and heel stepj point tee in front, then behind, then up the room, pivot, and same back, and pivot. 4. Repeat the same step to the right tw^ice, and twice to the left, with partner, four gavottes round . 5. Skate four times, viz., slide the one foot and bring it up behind the other; change feet, two pawing steps, gavotte round partner, repeat same step down (two pawing steps), and gavotte round partner. 6. Gavotte forw^ard three times, pirouette back, raise foot up to heel, and advance four times. The steps which form these movements are the gavotte viz . three steps and an assemble in 4 time. You spring on the foot that is on the ground and at the same time the toe of the other foot downw^ards at the back. For the half circle round, jump one foot to the side, bringing first the right foot forward and then the the left. For the pirouettes, slow^ly raise the foot, jumpmg round the while. Tliis is sometimes called the tarantelle pirouette. Pivot w^ith one foot, toe and heel, alternating with heel and toe. C.F.S.Co. 1760-70 Oavotte. le Ballett du Roi. 35 Allegro moderato LisfU^ 4 86 g 6 .1r M 'P graz%oso J^ ^>: 8 1/^ '^r I " I r p « l > J.B.LULLY. Arr. by R. Kleinmichel. 4 8 ^ 4 i '^m n- i ^^ ^ 11 ^#p^ 21? i 3 i it; — irs , .^ — 11 4 ife^ S ^ » -5 P P ^ tt « c ,«i r 5" t±t 5=:« ^— * i-Xe y p "sr iixi i 4^ ^ i pf I* 648 4 " li 2,-v 3 Wm 3C g m \ m ^JL t mrr I ^^ ^f I r rr## P y^ f fX i Ffrf r fc*S ^ i^ u lli^U &reso. TTli "f ^ JLe P ^ i /r>- ai y^y^i* „ ^ a tempo 34" ^ frrr^p ?>• 73 gj^ ^ *^p # ■H8» /?^ :P cresc. 1 m ^ ^ ^ i 1 i^E if J un poco animato ^ a 1 ? 1 ii • * A .^ * m^ r^ 9 !»■ ^ SZi ? unpoco rit. -o ^ a tempo ^ ^ -» ^ ip fe ^^ ^ leggiero. -^m 36 i *J^ ^*^k' %% \..i vbifeilSff «*k ^ mm s El 'i d i . i ^^ 4 4^ M ^ "t'lfo IS; ^^^i^ 1 1 4 13 2 ^=iF» 2 1.. ffi £ 3 -t i i >: 5 4: # F P- ^ ^ Tempo I. 8^ i ^F f# #i 1^ g ^^ i> ' g f;^ ^ It J* ^^ .^ r==t fei ti >- > / ^ P^^ ^ 5 4 i ^B I h . I « f J, ^ P ^ ? ^ 5, 4 3 4 1 1^ Vra Y -ff • I * I =3=*= f i*: ill g tlu; fiV Ml | g' ^ S ) s ^ i^l at=t=a: g gp7>f , jg-»il ^ m^^ T?^/T^ P¥JC ^ ii % -«3 ^^ 7n — *^ g cresG. mf f .»s :E=j:S? i r=+^ f poGO rit -&- I r\ p ^ # 1r_ J5gJ^ 3 tr h, r : T f J^^, , .^ m m ^ # ? ^ «-) oTlempo cresa ^m 1 f molto ritard. jsr -44^ i^ ^ * CPS.Co. 1750-70 Qavotte Favorite Allegretto. J:iia de MARIE ANTOINETTE 1774. 37 Arr. by Neustedt. 1 8n>- • ■ g P 2 1?. > g 1 2 ^1 _ 1^ 2 1 2>i ^ S ^ Z3C semplice. ^ * Jf * y? « ^^ NOTE: No orig-inal version of the dance being- extant, the greneral fig-ures of the ffavotte must be followed in the oreoaration of the H;infP :^D.a.cil Fine. 38 Oavotte Allegretto Jr72 J. S. BACH. m fj-^ i^ if-p- ffl^ ^ ^ ^ 4. * 3: f r 10 la W "'54 , 1 ' J J J J ■J.j^ . j ^ 6^2 f ^ ffi PP ^p ^l^Ql^ ^r OTTT r f 4 3- 2 _ cresa i » 2 s p f Musette Andante pastorale J:i08 J.S.BACH. * ^ i S m i ^ ^ TZJ ikU (UJJ ^5 p ^ 4, 2, ^ P ^^s ^ ^ _4^ I c?*»^. cresc. i i i j J.. J J i C.P.S.Co.1760-70 Bourree !| Vivace d^ios 3 39 J. S. BACH. $: *¥ ¥» jyja J n J^ * "??• ¥* ^ ^ ^JTj Jl ^ 3E ^ ^ ? rr rr ' r r^ m IS poco cresc. Ui ^ Jl ^ j::i^ ifi^ P f^ f r Tf r 2 12* r Moderato J : loo [Polonaise J.S.BACH. 1 3 2 »" frrfrgrfartff a § ^ « 8 6 1 s^ 3 4 y S pi S ^^ 5 4 t T '^/ I s ^Si ^ 5 a. ^ 3...15 dim. M P, i ^ P i ^^ P -^^=1:^ i i i i The Bach numbers show the use the later classical composers made of the old dances in perfecting so-called Musi- cal Form. In these their characteristic qualities and content are retained, but the freer rhythmic construction of the dance is made mathematically correct and they become good piano pieces instead. In this form they are retained in the Suites. Both the polite and the ruder dances of the people were used for these foundation forms. , The Bourree is a lively French Clog of great antiquity; the example here printed may well serve for a modern step-dance. The Musette usually followed upon the livelier steps of the Gavotte in the nature of a leave-taking of partners, bringing the latter to a digni- fied close. The Minuet and Polonaise have been previously discribed. C.F.S. Co. 1760-70 40 Princess Polonaise LEUTNER. t=$t i » ta a^ f m^^JM B ■ZICB ^in ^^ m p^ I i^ % dolce w i:r=»=t=t ttti »(»! liflt f^f X Er^rir i ^^^ IM^-^ :p :?#. ^>.itlll EEt ^^ f^fJ4 rf "The name Polonaife is g"iven to a great solemn and imposing' march executed at the opening" of Court balls, by all the dancers on their way to salute the Sovereig"ns. It is walked with slow steps to a measure of 94 time, proceeding" thru all the parlors and gralleries used for the occasion.. Altho used at the g"reat official balls of other foreig"n countries, it is never used by the French. In May 1890, an attempt was made to revive the Po- Ijnaise in its first form. Jean de Paris, in Figraro, May 7tn, of that year speaks of this revival as very hap- py and picturesque. Each Cavalier dressed in red coat and knee trousers, carried a little wand in his hand, which in the procedure of the march, while passing- before the hearth on the cadence of the triumphal war march he threw into the fire" — Desrat. Sometimes the name Polinaise is g"iven to the Russian Mazurka, danced in the form of a Cotillion. The Polonaise is a ceremonious processional dance used in the opening" of State Balls in European Courts. It seems to be a milder or later form of the Pavane, using" much the same step, salute and half turn, starting" with al - ternating" rig'ht and left feet. The master of ceremonies takes command and leads the procession thru various fig' ures. In formal court days the dance beg"an with a series of introductions, starting" with those of hig'hest rank. These beg'an to take their places on the floor in couples, followed by others until the entire company was assembled for the dance. After the grand march the procession came up the center of the room, where partners separated, gentlemen to the left and ladies to the rigtit, until they met ag"ain at the door; atsignal the g-entlemen paused and took the lady next behind them. This occured at regular intervals until the orig-inal partners came tog-ether. Where the as- semblag"e was very larg-e, two or four ladies passed forward at one time and the chang"e of partners was more quick- ly accomplished, the ladies pausing- with a suitable curtsy, awaiting" the new partner. These chang^es were also made to the side, couples crossing- from rig-ht to left and back, stepping- on to the next partner, forward. In this way, many beautiful fig-ures were originated, inspired by the martial changes in the music, always keeping- to the fig-ured step chosen at the start. The rhythmic n.otive of the music should be carefully studied and patterned to this effect. These fig-ures were often carried on to tedious leng-th but may be happily concluded by a, few turns of the old round waltz, when the reg-ular prog-ram of the ball may proceed. Chopins Military Polonaise, Opus 40 No.l,is excell- ent for occasions which warrant the use of a band, C. P. S. Co. 176- 70 42 Sir Roger de Coverly or VIRGINIA REEL The Sir Roger de Ooverly, which antedates the Virginia Reel was a dance of considerable dignity and character. "While a socalled Country or Contra Dance, it was in line of direct de- cent from the charming dances of past centuries and retains many of their graces . It w^as en- tirely a social dance, a display of courteous manners rather than an excuse for roughness. The first figure, "Cavalier and Lady" was the visiting figure in which couples walked forward, sedately bowing and indulging in various forms of greeting. The second figure "The Reel" or "Reeling" was livlier. In the "Grand March" the gentlemen drew their protective swords for the arch under w^hich the ladies passed. With this in mind a very dignified and interesting dance w^ill result. FORMATION: Sixteen people form in couples, four couples on a side, gentlemen placing all ladies to their right . This alternates lady w^ith gentlemen instead of all men on one side and ladies on the other. The step should be a walk for the first part, a. skip for the reel and marching for the last . Avoid romping and use the fingertips in taking the hands of thp danc- ers, carrying the arm well raised fr^ih the shoulder. The lady should raise the skirt lightly w^ith the disengaged hand. In the dos-a-dos Ithe skirt should be gracefully held with both hands. All the figures are danced double or in couples instead of single people, the more familiar w^ay known to us. Three contrasting sets of music, such as were used for this dance are given. 1. Cavalier and lady: Two couples approach from opposite corners,curtsey, take right hands, left, both, dos-a-dos as in our Reel, alternating couples from side to side. In turning in the middle be sure and turn entirely round and return to place backward the gentlemen leading the lady. 2. Reel: Tw^o couples down the middle and back. Form the line at the head by each gen- tleman facing his lady, joining right hands and half chaining forvs^ard to the next person form- a chain of six, then returning to partner again and chaining in the opposite direction, thus com- ing down the line, reeling with each person in turn. This forms a very pretty figure the test of vi^hich is that a gentlemen and lady are always dancing together. 3. March: When the two head couples have danced down thru the line in this way, they promenade up the center and lead off down the sides all the other couples following. The first tw^o gentlemen draw swords, forming arch for the others to march under, ladies placing them- selves to the right of their partners. This leaves the former head couple at the foot, with the second couple at the head. When all the couples have danced thru these figures a march may be formed preparatory to the guests making their adieux to host and hostess at the door. C.F.S. Co. 175-70 Sir Roger d.e Coverly. 43 Cavalier and Lady. Moderate ^^Mi jjopi-JJ ^m ^ m m' m w-m With spirit gg 1^ ^ % % ^^ ^ m i m £ ^ * " ^ ffl^ ^ » ■ « 7 » ■ • ' ^ p 0\ f P I=F i»-H* Se^ »=» « 3 ** ^:-f ^ t ^m ^ M ^ ffi w i PT^ rf m h^^ ^ ^^ f p^ ^ t p^^ ^ p^'gj'w^ -^^^ C.KS. Co. 175-70 45 COUNTRY DANCE Cavalier and Lady. Moderato. feS <^=jj ^ m ^ ^ p r ^Us r=f f ^A ^^ ^ ^^It-TTTf ^ ^^ S ^ ^ ^ M^ffl SS a- <: ^m f f r Fine. ^^ ^ ^ i ^^ ^ ^ ^ ^ ^ :zi ^ P r ^W^ r^r7 ^ ^ i ^ ^ i?.<7. S lE P^ ^ THE GIRL I LEFT BEHIND ME Reel. Allegro . ( A,^ '4 ff— = 1* — 5 — '-J——- p-^ — fff^ f^ "1 — ■— * I p' -J — J — J • * • I I ^ f I y ^ 3. — ^^ — -0 — J 1 ■ LL— J \ 1 V u -^ i ^^ ^ S B ^^ ^ i m:i fc* ^ p ^^ t g I ^3 ^^ #=F iF ^ ^^ ^ ■ B^K i=t ■rzK ^ ^ ^ CP.S. Co. 175-70 46 March WHITE COCKADE I ^ M i J fm m ^=^ ^^ ■ — ■ — m i iim i ^ ? ¥ ^ 1* n J;i|Jtpf | r^r^ | f jjf r i rrrrirrr w = g t* t* Cavalier and Lady. WASHINGTON QUICKSTEP § * ^^ cU cU k|r pJ^H"] £=gig ^^ ^ m 53^ a^-£j^ ^ ^ ^ '"» — (^ ^ ')'■ dJ lE p 3^ m ^ e ^^ P i i g ^ ^3! ^ S ^ ^^ ^ 1» — (^ i ^ m ^ D.C. m JtFP^ i m «. ^ ^^ ^ ^ L'ETE Promenade. 6th fig-ure. I. Forward 2 cross over, chassez rig-ht, left, cross over, balancezto partner, two hainds round. II. Ladies chaine. III. Promenade all around and seats. 9. F.S. Co. 1750-70 54 Original Lanciers. The fig"ures here described are those g-iven by the famous Mons. Cellarius, as danced by the Parisians and hig-h class Londoners of over fifty years ag"o. The directions are after Allen Dodworth, who later popu- larized the Lanciers in America, making- several versions of his own, notably the Saratog-a and New York Lan- '"'^^^ INTRODUCTION. te E f E^? ^ "f'-\>\i » 1 ^^f ^^^ ^ ^ % i ^ p m f m w4 ^m^l ^m p f^^^ Fine. ?n r p ^y ^ I j j'j J =^^i l^'p-^hj ^S ^Rgqe I ^^ ^ l ^^d^-i'^'^" ;;¥ f feM •-^ p^3^ I 1 ^^ JJ' J j, ^ ^^ tf * * !^?^^j ?)=!. * V r ^=1 ^ p r F ' If ^ ^ foi' p > a b i i ^i ^r ^ ^'^ ^ bi t > g !*: i?. C. alFine. 1st couple O + CO X I a. n' X o 2iid C.F.S. Co. 1750-70 FIRST FIGURE. Salutation to partners and corners . . . ... 8 bars First Lady and opposite gentlemen forward and back A » Same Couple forward a second time, turn with right hand, and return to places . .4 » ' First and second Couple cross over, the first passing- between the second . . . .4 " °5 Return to places, second passing between the first 4 " 1^"* Balance at both comers, the four Ladies balance to the gentlemen on their right, I gientlemen facing to the left to receive the balance. Turn with both hands, and finish in places Same for the other three Couples. All fig^ures are repeated four times each couple beginning- in turn. 55 LES LIGNES. # fca ^ mn f ^^ * * * ♦ # ♦ ♦ ♦ ♦ f^ * * E3 e e ^ CW Pedals #^— --— — \T Pf rf q If rfrrr^ « */ 8 — s= n.fSFfq -HV» » » — ►— f f f — » — » — » — t , f ' 7 Fine. f • V ^''^^ — T~ _p ~f J>— ^ f — 7 'CJ ' — — ' 8- ^i ^ ^n^JHli S^ f^ f ♦ £ e a ^ e / >^J^ ,rr » '^-^-r- ^B r^ r — r — r — i ~^-' 1* |» •C'm — rt-T— T-n-i \j^ — ^^" f ^\. 1 T^ — i — ^i^ — -^TTT' • fff- p ^tf f t f 9 » » \--^ i=»^ 7 » ~f Li-J—U-J — 1 L^' K..rrw^=r »— r — f — f — 1 -■7=r^— If c/ fjj' p m ^ 0. 0— W tiiLLfrfffi id Iff f f » — » .^ r f D.C.alF )■ — 'ine. 9 ^Z_,! ^ d -0 -0 H SECOND FIGURE. THE LINES. First couple forward and back . .4 Forward a second time and leave Lady in front of opposite Couple, facing- her partner, Gentle- men returning- to place 4 Chassez to right and left (same Couple) . .4 Turn with both hands to place (same Couple) 4 All eight forward and back in two lines 4 Forward and turn partner to places. .4 In forming- two lines 1st and 2nd times, the two side Couples separate from their partners and join each side of the head Couples forming- two lines, four on a side, 3rd and 4th time the head Couple join the side. 56 LES MOULINETS. pm m 5 ^M 1^ »h-^ ^^ ^^ mm ^m ^ I s ? ^ E^ e=M E a^XTc^ri Fine. ^ ^ iJP^ji f r 1 1 r h J rri 1 r M ^ .fi i i 1 r= — !• !• 1* W m- ' m %j I 1 1 iH _i — -^ p— >^^tf ^ — _• — t^— t t- p r ' If PI N P ^ P 7 il /^ .m d ^ p=f # — ' — (» w-f— hf— g f r^ D. C. al Fine. m m ^=7 THIRD FIGURE. THE MILL. First Gentlemen and opposite Lady forward and back .4 Forward a second time and salute, (Courtsy and Bow,) and return to places . .4 The four Ladies form a Windmill by giving their right hands, the four Gentlemen take their part- ner's left hands, with their left hands, all facing the same direction and promenade entirely round and turn partners in places 8 In place of the Windmill, sometimes make a double Ladies' chain: Four Ladies cross hands with ri^t hcind half round the circle, turn the opposite Gentlemen with left, cross hands half round £igain, and turn partners with left hand. Same for the other 3 Couples. 57 LES VISITES, to m • j r ^ • ^^ — ^ f-p-1» r r r r i y-rP fe y ^ ^r^r ^ # .0^;^ r tr n ^^F* P Fine. ^^ ^r^ ^ s t V. m m ^ E ^ i ^ P ^ ^ ^^ ^ ^ g^-g3 ^ m ^'^f S ^ « — #■ ^ ^ ^ i r S V } 1 f *J&* g gt ^t> )tlg ;z I HeeI I £":EiE^ e ^- m ^=r^ ^^ /?. -5'. a/ i^me. £i i ^ ^ ^ <• — # # #■ FOURTH FIGURE. THE VISIT. First Couple visit the Couple on the right, salute with bow and courtsy . . .4 Visit the Couple on the left and salute . . ...... . . 4 Chassez across four with the Second Couple visited . . 4 First Couple return to place 4 Right and left with opposite Couple . 8 This figure may be danced double, viz: First and opposite Couple visit the rig^ht hand Couple and then the left. Chassez across and return to places and right and left. C. P. S. Co. 1750 -70 58 LES LANCIERS. 1^ *-' Begin v, i m ^m -i rrnn r r cxLJ: with Music. ^ ^ ^ ^ ^^ ccw Pedale % ^^^^ ■^ PP PPP m- m P ^ i ^^^ ^^ ^ Fine. ^ IT :» ^ ^ it K.-t , ^ ^ ^^ ^ 0- » m g «1^ 4^4 ^ IT t: J^ ^^ ^ ^ i D.S.al Pine, then Trio. '1 ^"i^2 I ' TRIO £ i #=^ ^ ^^^ ^ 4 ^ m 5K £ fe»^ ^ #■ I ^ ^ i# ? i ^ # — (T ^ fi— ^'W' ^^ 3 ^ 4Mi ^ ^ *:» * S *=^ .^ J JtyJ ^ ie^ ? S^ ^ ^ * » • • -3--^ ^ J^ir J: Q^ # M • g ^ ii 7). (7. ^ ^ ^ P FIFTH FIGURE. THE LANCIERS. Grand chain, or grand chain rigfht and left half way round meet and salute partners, complete chain and salute . Dance spiritedly 16 First couple promenade round inside, face to front, all follow joining" in line 8 All chassez across,ladies to left and g"ents to right, three slides, balance2,return, balance .... 8 March round, head couple separate, all follow outward to foot, join hands march to head and repeat. 8 All forward in lines, salute, repeat backward and forward, take partners and turn to place 8 All couples commence with grand chain and finish with same a fifth time. 59 Tlie Quadrille. Even in its decadent days the Quadrille stood preeminently for sociability, good fellowship as well as good form. Interpreting the figures literally you find the "forward and back /'"balance all" "cross over" merely the polite greetings and meetings of an or- derly drawingroom full of people, vieing with each other in the expression of social amenities and graces. The Quadrille was the dance of our pioneer forbears when "quilttn bees" and "bain raisins" called the neighbors together for miles around. These occasions were always concluded with a dance, the presiding genius of w^hich was the old fiddler w^ho scraped from his strings such lively tunes as the "Arkansas Tra- veler" "Devils Dream" the dancers responding to his raucous calls until beams and rafters creaked. As a national dance the Quad- rille still holds sw^ay in the mining camps and on the cattle ranches of the far North and "West. "41 ere it again serves the primitive purpose of the dance, the bringing together of isolated social groups. In the quaint vernacular of the Cow^boy calls, one traces resemblances to past greatness,"Chicken in the middle" or more politely speaking "Birdie in the cage "is distinctly remini- scent of its French progenitor La Poule i'The Hen" virhich is now danced "Lady balance in the center, gents four hands round." C. p. S. Co. 1750 -70 60 American Qutadrille A LIFE ON THE OCEAN WAVE. INTRODUCTION Allegro * £ S ^:^ ^^^ ^y ^ m n=^ E ^ i^ i i E :^ m m mm S: w ^^ W i £ rP^ ^ rPT ?BE^g^ ^^1 ^^ 5^? J^^J ^^% * W g^^Fj ^^^5 ^ te^ #-W ZJ 77 TT m ^^ Nff ^¥ i»— (• — r pr p »=?='=? * ^ i ^ «H#— • qi J i J _^ fr * rr § 5^!? WP ^ ^J ^^? F^?^ '^^ i *: ^ ^ s 5^ ^=^ ft ^ fP lai 7r= 0^ ^^E^! * — » ^s ?^? jtjt E^? EP f- r p BASKET QUADRILLE FIGURES. FORMATION Quadrille. Eight hands round — eig-ht bars. First four rig-ht and left eig"ht bars. All balance partners four bars. Turn four bars. First four, ladies chain eight bars. Balance corners four bars. Turn four bars. All pro- menade eight bars. Sides the same. Repeat music if necessary. r V a rr. i'7fin-7n LITTLE BROWN JUG 61 INTRODUCTION Allegretto » 3Bi III *=Jt=* w. '/ ^ /TN ^^ ^? J J I i r I II t i: I P fe s ■ — »• ^ B I II s > — g ^ > — g i g f=^ « — < — « a d d d 1 «i ► II I ¥^^ a ?Jp^ ■ > r » g First couple forward and back— four bars. Leave lady opposite— four bars. Three hands round there- four bars. Ladies cross over, three hands round there, four bars. All balance partners, four bars. Turn to places four bars. All promenade eig"ht bars. Next couple forward etc. Repeat music if necessary. INTRODUCTION Con, Spirito NANCY LEE mf E ^^^^f^ ^^=E^? ^m m^m con Pedale fii ^ ^E^ ^^^^ ;~£^^ f; w s r/^ i7Rn-'7n 62 r' p r F i ^ :r :c:4» ^!=? ^^1 ^? i fe^^ # • IB iE^^ ^ « — # — # — # 'H r p r p i ^ ^ £ ^ ^ fe^^ ^ S ii.j^ji) J i I r=a=aifi x=a( TW m m m — wt m W E n=^ a ffYt 1^1 =£=! J^ ^ ^ ^ fe^ ff w m m f ^m * m ^m ^=1 P =«=y ^W~T^ i' r'Vr ^ i ft ^ ^ m ^^ r^r f rr rrrr v> f fff I ^ ff# ^ ?^j 5e^E; ^^ w i ^ I vrrj t V ? P^P ^? ^^g^l I E I ^ =? ^ ^ ^ ^ ^ E5 First two, rig"ht hand across, four bars. Left hand back into line, four bars. Balance four bars. Turn to places four bars. Ladies grand chain eight bars. All promenade eig^ht bars. Next two rig-ht hand across etc. Repeat music if necessary. THE MINSTEL BOY 63 # INTRODUCTION Lively m » I ^ =5 ^ wpi ^S ^P ?— »-^ ^ rr r • • I f ^ a j j-w * *=* d-» r '^nTTfr • • t=^ ^Ui ^ ^ T $T ^ ■=^ PE!!::!^ > 7 rg E f ^5 /?^ fc ^ ^ *rT j.^ ^ £^ /?^ ^ ri i pf i . i r\ ^g ^ :^zZi-^ — WEI ^ E E! fci ief First couple lead to the ng'ht, four bars. Four hands round there, four bars. Rig"ht and leftwiththe next couple aig-ht bars. Ladies chain with the next couple eig^ht bars. All promenade eig"ht bars. Next cou- ple, etc. Repeat music if necessary. DIXIE i Alleg-ro 511 J}^ \** i fVj 4U ^ m j=^ m i ^ i xmr wr ,\'* i ^ ^^ 9-9- ^m ^^ m i 5 J-.JlJ-..Jg i< ' J ^ i rrff i r^ ^ wm s§ 65 ! » • #•• ^ mmm E^j gr" g m f I f 4 i ? *=? r ^ JJk* « g? ^ nil ^ i E^ i f La Boulang-ere is a French country dance of great antiquity. In the present day it is used for the concluding- dance in the same way that the Sir Roger de Coverley is in England. This quaint old verse La Boulangere (The Bakeress) is chanted along with the dance. The tune is of the continuous kind. "La Boulangere a des ecus Qui ne lui content gurre, Elle en a je les ai vus Jai vu la Boulangere " FORMATION. The gentlemen and partners place themselves in two circles, the gentleman facing inwards and the ladies outward, join hands. I. They dance in opposite directions once round the circle still keeping hands; when they come back to their places, the leading couple begins the figure. II. The gentleman with his right hand takes his partner's right hand, turns once round with her and then leaves her. After which with his left hand he takes the lady next in rotation, then returns to his partner, again giving his right hand as before, his left to the lady standing next in the circle, and so on to the end, always al- ternatly turning his partner; she in the meantime when he leaves her continues to turn by herself inside the cir- cle, keeping as far from him as she can. When this couple arrive at their own place again, the whole number join hands as before, turning round in a circle, the next couple to the right dancing the same figure. When the party is very large, two couples may begin at the same time, one at the top and the other at the bottom of the room. Le Carillon de DiinkerqiJie i T T^ i ^ Jl Le Carillon de dunkerque is the merriest and noisiest of all the old French country dances. Ii is called the Mother of the Gavotte. FORMATION. The gentlemen select their partners and place themselves as for a Quadrille or in a circle. It is of no consequence if the number of couples is not equal, the more the merrier. I. All salute, balance and turn with their partners, the gentlemen finishing with their faces toward the la- dies, and their backs to the centre of the Quadrille or circle. Then all the ladies and gentlemen clap their hands three times and then stamp on the floor three times, and finish by turning round with their new partners. This figure is again begun and repeated until the gentlemen meet with their own partners, after which the ladies per- form the figure in the same manner with the gentlemen. C.F.S. Co. 1750-70 66 ^ Krencli Country Dance (Qarcon Volange) ir AAA A *^ m - m. 00 m ^ i ^m mm m • •^ * ^T # t-zt 1—J % E^ fc^ [A^ ..ftrri A A A A /* \0 \ ^ A rf C 1 A ^0 • R ■ » ■ ^ ' ii \ ^fflji — ■ 1 1 1 — — I — II f J., -■ — 1—9 — z_ •i* t •/ -■_■_■_■ Z • 7 7 7 • f 7 17 « 7 1 7 7 7 i ^ A # • !»-#■ S E!^ •i=± ^ ^ o p v | ^ ; ni El^ ^ ^ i^ I P ^ ^^ i ^ m ^ ^ s B ^^m ^w This is one of the many Country Dance tunes popular during last century danced at Harvest gatherings. Its spirit of rollicking fun is most appropriate to such occasions. The figures are repeated until the company is tired out. This is excellent for a costume dance. The best formation is for four couples in Quadrille set. As many sets as you like. I. Begin with grand chain, (grand-right-and-left) giving right hand to partner, left-right-left, joining both hands with partner, milling quickly around and stamping four times. Again proceed forward as before milling in place with partner, finishing with stamps. Step, lively skip. II. Face partners and "pease porridge" right- left, both-own, four times, repeat with partner. Turn toone be- hind and play in same manner. III. Turn and face partner, arms akimbo, stamp-throw, left foot over right- left-right, joining hands run a- round in place to the left and pass on to the next. Repeat this until you have come round the circle back to your own partner. Repeat the music until you are thru. At the close skip off. C.P.S.Co. 1750-70 Spanishi Dance. Allegro con pedale litfr r r 1 -^ tfr r r *- • p p p » * "f rfff J r 1 r 1 , ^ t — 1 f ir J^^ ^— ' ' fl fl The much loved Spanish dances and music, too difficult for general adoption, led to easy arrange- ments like the following- in which all could join. FORMATION. This can be danced by any number of couples and continued as long" as desired. The first couple will take its position at th^ head of the room, facing- the other end. The next couple face the first and so on thru- out the len^h of the room, every two couples facing- each other. I. Couples forward and back, forward ag-ain and exchang-e partners turning- to the left half way roundto rig-ht an- ^e with first position. Again forward and back, chang-ing- to first partner again turning- on the right ang-le. Two more turns like this brings each couple back to original place. II. Mill, joining right hands and turning to the left once around; join left hands and return to place. III. Then slow waltz forward once and a half around which leaves each couple opposite a new couple. Repeat, the odd end couple either standing still or dancing in place. All the dancers must go forward in the direc- tion of the first facing. 68 Tlie Xempest. ^ m ^ ^s ^ w ^ w m ^ ^ a P S te P^ E A Sgz ^m ^ 5K i Fine. S ^S t i ^ f-F-# ^^ % m ^^Sf^ ■llfc i m m 11 i 1 FORMATION. Couples form side by side in lines facing' each other three or four couples on each side. I. Head couples down the center-one couple from each side-four abreast. Couples part at foot, swingoutward and come up abreast, facing- the next couple below them on starting-. The next figure now begins with the two couples on each side. II. Balance forward and back, swing four hands once and a half round, visiting or head couples then pass under raised hands of the other couple and again promenade four abreast to the foot of line, casting- off on opposite side from which they started. * III. As the dance proceeds the lines move up and the leading couples in turn perform the figures and cast off as a- bove, visiting- all the other couples in the set. Only two couples dance at a time. Devils Dream. irT — firr — r- — - — — w w L-J 1 J — 1 1 —^-0 ' m '^ i — I_^i — L — 1 f 1 — f .r ffff* J— •U • 9 • • L_J_J — ^_l ±5: 000 000 ' ' — J — ' — 1 i m^M ^m ^ ^E ^ i ^ i • l .. ;r g ^ f FORMATION. Sets of six couples facing-. I. First couple dOwn the outside, at the same time foot couple up the middle; first couple down the middle, cast off; at same time foot couple up outside and back. TT T nHiAQ rhain firU. new parter. s ^ ^ ri ^ Promenade to finish and repeat each time gaining i ^^ ^m 1 r=f la - dies night, For this is the style in the m k^. Arm - y. Hj w *"r WW WW rw ww ^mw ww rw rw wt *"r w M new partner. T=¥f^=f ^ ^^ ^ tJ ^^ -^-lU' f ^ ffl- W' ^ JJJJJJJJJ JJ ^JJJJJJJJJ ^ ^^= ^^ The description of the dance is shown in the adaptation of the words of this once popular Marine song of fifty years ago, now being revived as an American dance. 14 DAY USE RETURN TO DESK FROM WHICH BORROWED LOAN DEPT. This book is due on the last date stamped below, or Th.s book ^s a ^^^^ ^^ ^^.^^ ^^^^^^. Renew books are subject toimmed^ateje^U^ Ln21A-50m-9,'58 (6S89slO)4-6B General Library . University of California Berkeley YE 03126 ^TTVTVFRSTTY OF CAI 'F'