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.

Date:
1602

Description:
La Caccia d’Amore is a lively dance from Cesare Negri’s Le Gratie d’Amore, a notable Italian dance manual from the early 17th century. The title translates as The Hunt of Love, and the piece combines elegance with playful energy, characteristic of the Italian Renaissance courtly dance tradition.

Discussion:
This piece is typically performed instrumentally, often using a small ensemble of period instruments such as recorder, lute, viols, and percussion. Its name and structure suggest it may have been intended to accompany a choreographed allegorical pursuit or flirtatious dance. It offers a chance to explore dynamic contrasts and spirited rhythms.

Date:
Early 17th century (first published c. 1612)

Description:
The Lorraine Alman is an instrumental dance piece from the Liber Primus Leviorum Carminum, a collection of lighter, dance-related works from the early 17th century. The Alman is typically performed in a moderate duple time and is characterised by its lively, yet stately rhythm, suitable for courtly dance settings. The piece reflects the fusion of English and continental dance styles of the period, blending the German-originated Alman form with regional influences like those from Lorraine.

Date:
Late 14th century (exact date unknown)

Description:
Ly Bens Distonys is an English medieval dance or song often classified as a ballad or a lieder. The piece is noted for its playful and somewhat humorous treatment of a subject, as well as its repetitive and simple musical structure, characteristic of late medieval English song forms. The title roughly translates to “The Ben’s Distonys” or “Ben’s Troubles,” with “Bens” likely being a reference to a character (possibly an abbreviation or nickname).

Date:
Late 16th century

Description:
Madam Cecilia’s Alman, alternatively named Madam Sosilia’s Alman, is a lively Renaissance dance piece, belonging to the family of Almain or Alman dances. This particular piece is named after Saint Cecilia, the patron saint of music, a common reference in Renaissance music, especially when dedicated to notable figures or occasions. The Alman is a slow or moderate-paced dance in duple time, often used in social gatherings and courtly settings. Madam Cecilia’s Alman is a bright, spirited composition that captures the grace and elegance of the time.

Date:
Late 16th to early 17th century (c. 1599–1611)

Description:
“New Alman” is a popular English Renaissance dance tune, most famously associated with John Playford’s later The Dancing Master collections, though earlier manuscript versions exist. The term “Alman” (also spelled “Almain”) refers to a type of stately duple-time dance of German origin, adopted into English courtly and domestic repertoire. This piece is typically instrumental and features a graceful, measured rhythm suitable for courtly dance.

Date:
Late 16th century (likely composed c. 1590s)

Description:
The Queen’s Alman is a well-known example of a Renaissance dance, specifically an alman, which was a popular courtly dance in the late 16th century. The alman is generally a lively, upbeat dance in duple time (4/4), often characterised by its steady rhythm and lively, catchy melodies. This piece is attributed to John Dowland, one of the leading composers of the Renaissance period, known for his contributions to both vocal and instrumental music.

Date:
Late 14th century

Description:
Stella Splendens is a vibrant pilgrim song from the Llibre Vermell de Montserrat, a manuscript compiled circa 1399 at the monastery of Montserrat in Catalonia. The title translates to “Shining Star”, referring to the Virgin Mary, who is praised in the song as a beacon of light guiding pilgrims to her holy shrine.

Discussion:
This piece is one of the most well-known from the Llibre Vermell. It features a catchy, dance-like melody in a lively triple metre, making it ideal for group singing and processions. The song’s structure allows for responsorial or alternated performance and has been interpreted both as a monophonic piece and with added harmonies in modern settings.

Date:
Early 16th century

Description:
The Old Alman is an English folk tune often categorized as an alman, a popular type of dance music during the Renaissance period. It is lively and rhythmic, typically performed in a 4/4 time signature and known for its simple, repeating structure, which was common in dance music of the time.

Discussion:
The tune is attributed to be part of the repertoire in the early 16th century, and though its precise origin is unclear, it appears in several early music collections. Like other almans, The Old Alman was likely performed in both court and informal settings, often as part of a larger suite of dances. The alman was a staple of the Renaissance dance repertoire, and this particular tune was easy to play, making it accessible for both professional and amateur musicians.

Date:
Late 16th century

Description:
The Scottish Bransle (also spelled branle or brawl) is a Renaissance dance tune included in Thoinot Arbeau’s Orchésographie (1589), a dance manual that describes popular dances of the time along with their music and choreography. Despite its name, the Scottish Bransle is not of Scottish origin but was inspired by French interpretations of Scottish musical style.

Discussion:
Bransles were group dances performed in a circle or line, often involving simple steps suitable for social gatherings. The Scottish Bransle is in duple time and features a repeating structure that aligns with the basic stepping pattern described by Arbeau. The tune is catchy and energetic, making it a favourite in early dance and music circles.

Date:
Late 15th century or early 16th century

Description:
Tinternell is a lively and well-known dance tune, often associated with the Renaissance period. It is commonly categorised as a volta, a type of dance in triple time. The melody is bright and repetitive, with a rhythmic structure that invites movement, making it a popular choice for court dances and festivities of the time.

Discussion:
The origins of Tinternell are somewhat unclear, though it is generally considered to be of German or Flemish origin. It was popular across Europe during the late 15th and early 16th centuries. The piece appears in a number of Renaissance collections and is often arranged for both instrumental and vocal performances. Though it originally would have been played on instruments such as the lute or organ, modern renditions of Tinternell are often arranged for ensembles of early music instruments like viols, recorders, and other period instruments.

Date:
Late 16th century

Description:
Washerwoman’s Bransle (also known as Branle des Lavandières) is a lively French dance from the Renaissance period. It belongs to the family of branles—circle or line dances popular in court and country settings across France and beyond. This particular dance is light-hearted and humorous in character, often incorporating mimed movements of washing clothes, and is suitable for both performance and participatory dance events.

Discussion:
Collected in Thoinot Arbeau’s Orchésographie (1589), a manual of Renaissance dance and music, Washerwoman’s Bransle is a fine example of music that was composed specifically to accompany dance steps. The music features a repetitive, bouncy rhythm well-suited to the mimed actions of the dance. It is typically played by a small consort of recorders, viols, or other Renaissance instruments, though it also works well for voices or mixed ensembles.