Date:
14th century (Trecento period, c. 1350)

Description:
Amoroso is a short Italian dance from the 14th century, likely a ballata or estampie style instrumental piece. It exemplifies the lively and graceful character of secular dance music in the Italian Trecento, with a flowing melodic line and rhythmic vitality.

Discussion:
The piece appears in the London Manuscript Add. 29987, one of the primary sources of medieval Italian instrumental music. Like other works from this manuscript, Amoroso is monophonic and was likely played on instruments such as the vielle, recorder, or lute, possibly with improvised accompaniment. While the composer is unknown, the music reflects the courtly elegance of the time and is suitable for both dance and listening contexts. Its title, “Amoroso” (loving, affectionate), suggests a gentle, perhaps flirtatious character.

Date:
Late 16th century (published 1589)

Description:
“Belle qui tiens ma vie” is a charming and elegant French pavane composed by Thoinot Arbeau, featured in his famous dance manual Orchésographie. The piece is both a dance and a love song, expressing devotion to a beloved with courtly grace. Its slow, stately rhythm and lyrical phrasing make it ideal for Renaissance dance performances and vocal or instrumental ensembles.

Discussion:
This pavane exemplifies the late Renaissance blend of music and movement—Orchésographie includes dance instructions alongside the music, suggesting how it would have been used at court. The song is strophic, with each verse set to the same melody, making it easy to learn and perform. It has become a favorite in early music circles and is often adapted for voice, recorder consorts, or lutes.

Date:
Early 17th century (c. 1600–1615)

Description:
“Black Alman” (or “Black Almain”) is a stately instrumental dance in almain (allemande) style, popular in England during the late Renaissance and early Baroque period. Often attributed to composers like Anthony Holborne or Thomas Morley, it was a well-known tune performed at courtly events, masques, and social gatherings. Its elegant, steady rhythm and clear structure made it ideal for formal dancing.

Discussion:
The almain was a duple-meter dance of German origin, adapted into English court life with a more measured and graceful character. “Black Alman” survives in several lute and keyboard manuscripts, and is frequently arranged for viols, recorders, or mixed consorts. While the origin of the “black” in the title is uncertain, it may refer to black attire traditionally worn for formal dances, or simply to distinguish it from other almains.
Composer:
Anonymous (sometimes attributed to Thomas Morley or Anthony Holborne)

Date: 1651

Description:
Black Nag is a lively and rhythmically engaging country dance tune from The English Dancing Master, first published by John Playford in 1651. It is typically set in 6/8 time and is one of the more recognisable Playford dances still performed today.

Discussion:
The dance that accompanies Black Nag involves energetic, repetitive patterns with a driving triple rhythm, reflecting the jig style. The music’s structure supports the simple, yet dynamic choreography associated with English country dancing. It is often used as a teaching piece due to its regular phrasing and buoyant character.

Date: Late 16th century

Description:
The Clog Bransle (also spelled Branle) is a lively and percussive dance from the French Renaissance repertoire, famously notated by Thoinot Arbeau in his 1589 dance manual Orchésographie. It is characterised by its repetitive, stomping rhythm which mimics the sound of wooden clogs striking the floor.

Discussion:
The dance is straightforward and rhythmically bold, making it a favourite at feasts and festive gatherings. Its strong duple metre and accented steps allow for expressive movement and dramatic footwork. The melody is simple, often performed by pipe and tabor or other high-pitched melody instruments accompanied by percussion or drone.

Date:
Late 16th century (likely composed around 1590)

Description:
The “Earl of Essex Measure” is a stately, elegant English court dance from the late Renaissance period. This piece was likely composed in honour of Robert Devereux, the 2nd Earl of Essex, a prominent figure in the Elizabethan court. As a “measure,” it is a slower, more graceful dance compared to faster forms like the galliard.

Discussion:
The “Earl of Essex Measure” is a fine example of Elizabethan courtly dance music, designed for a slow and stately dance often performed in the noble courts of England. While the authorship of the piece is uncertain, it remains an important part of the early English dance tradition. The music is characterised by its simple, yet expressive structure, making it ideal for performance on keyboard instruments such as the virginal or harpsichord, as well as for small instrumental ensembles. The piece may also be performed on stringed instruments such as the lute or viol.

Date: First published in 1651

Description:
Gathering Peascods is a lively English country dance from the 17th century, featured in John Playford’s The English Dancing Master. The dance is circular in form and usually performed in groups, with figures involving hand-holding, circling, and weaving movements.

Discussion:
The music is in a bright duple metre and repeats with a predictable pattern, making it suitable for dancers of all levels. The title refers to the gathering of pea pods in the fields, suggesting a connection to rustic celebrations and seasonal festivities.

Date: 17th century (first published in The English Dancing Master, 1651)

Description:
Goddess is an elegant English country dance, originally set to a stately triple-time melody. Its graceful structure made it popular in courtly settings and amongst the gentry. The dance involves turns, set-and-honour figures, and changes of place.

Discussion:
The tune has a dignified character with flowing phrases and a lilting rhythm. It provides a good introduction to dances in triple metre and is suitable for intermediate dancers due to its more refined style.

Date: Late 16th century

Description:
Horses Bransle (or Branle des Chevaux) is a lively French dance from the Renaissance period, characterised by its mimetic elements—dancers imitate the movements of horses through rhythmic hopping and stamping. It was often performed in a line or circle, making it a popular social dance.

Discussion:
This bransle is part of a larger collection of branles described by Thoinot Arbeau in his 1589 dance manual Orchesography. The dance is playful and accessible, making it a favourite for both historical performance groups and educational settings.