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Historic Dance IV: 1650-1700

Like all 10 volumes in this series this is an A4 book by Dr John Gardiner-Garden with nearly 740 pages of research, discussion and analysis, with hundreds of illustrations, musical scores, dance reconstructions, source extracts, transcriptions and translations, and with each volume divided into five parts. 

Part 1 (Dance context) explores the social, political and geographic contexts in which dance and the institution of the ball was evolving. 

Part 2 (Dance forms) examines the nature and evolution of the period’s main types of dance. 

Part 3 (Dance Technicalities) has in-depth sections on ‘Style’, ‘Etiquette’, ‘Honours’, ‘Holds’, ‘Formations’, ‘Figures’ and ‘Steps’. 

Part 5 (Dancing Masters) is devoted to developments in dance teaching, notation and publication, and offers an annotated bibliography of primary sources. 

Part 4 (Dances in Detail) offers reconstructions, music and source comparisons for the following dances of the period:

Adson’s Saraband; All in the Garden Green; Anna Maria; Argeers; Aye me, or the Simphony; The Bath; The Begger Boy; Bellamira / The Baulk (1); Black Bess; Black Nag; Boat-man; Bobbing Joe (2); The Bore, or Sweet William; Braye’s Magott; Broome; Catching of Quails; Cherily and Merrily;Chestnut; The Chirping of the Nightingale (2); Christchurch Bells (1); Christchurch Bells (2); Cobbler’s Jig; Cold and Raw; Confesse; Contredance nouvelle figurée à huit; Courant (3) & (4); Cuckolds all a row (2); Cupid’s Garden; The Cushion Dance (1); Daphne; Dargason; Deil Take the Wars (1); Drive the Cold Winter away; The Duke of Gloucester’s March; Easter Tuesday; Emperor of the Moon; Epping Forrest; Excusez Moy; Fain I would; The Fine Companion; Gathering Peascods; The Geud Man of Ballangigh; The Glory of the West; Graies Inne Maske (2); Greenwood (2); Grimstock; Half Hannykin; Have at thy coat old woman; The Health; Hearts-Ease (2); Hedge Lane (1a&b, 2a&b); Hide Parke; Hobb’s Wedding; Hockley in the Hole; The Hole in the Wall; If all the World were Paper; The Irish Trot; Jack a Lent; Jack’s Maggot; Jacob Hall’s Jig; Jamaica / La Bonne Amitié; Jenny Plucked Pears; Joan’s Placket (1) / Jeanne qui saute; Jog On (2); The Jovial Beggars; The Juice of Barley; Kelsterne Gardens; Kemp’s Jig; The Kettle Drum; Lavena; Lilli Bulero; Lord of Carnavan’s Jig; Love and a Bottle (1); The Lover’s Luck; Lulle me beyond thee; Mad Robin (1); Mage on a Cree; Maiden Lane; Maid in the Moon; The Milking Payle / Merry Merry Milkmaids; The Mill-field; Millison’s Jig; Mr Beveridge’s Maggot; Mr Eaglesfield’s New Hornpipe; Mr Isaac’s Maggot; Mr Lane’s Magot; Mr Lane’s Minuet; Mr Lane’s Trumpet Minuet (1); Mr Young’s Delight; Mundesse; My Lady Cullen’s; The New Bath; New Boe Peep; Newcastle; The New Exchange; New Rigadoon; New Roger / Young Roger; The Nightpiece; Nobody’s Jig; Nonesuch / A la Mode de France; Pabana / Spanish Pavan (2); Parson’s Farewell; Parson upon Dorothy (1); Parson upon Dorothy (2); Paul’s Steeple; Peppers Black; Prince George; Prince Ruperts March; Punk’s Delight; Put on thy Smock on a Monday; Putney Ferry; Red House (1) & (2); Rigadoon (1); Row Well ye Mariners; Rufty Tufty; Sage Leaf; Saint Martin; Saraband; The Scotch Measure; Sellingers Round; Shepheards Holyday; Siege of Limerick; Spanish Jig (1) & (2); Spanish Gypsie / The Gypsies (2); The Spring; Staines Morris; Step Stately; The Stingo, or the Oyl of Barley; Strawberries and Cream (1); Sweet Kate; Tythe Pig; Under and Over; Upon a Summers Day; Valentine’s Day; Vienna (1); Vienna (2); Well Hall; The Whirligig; Whitehall; Windsor Castle; Woodicock.

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