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 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:
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:
Mid-14th century (circa 1350)

Description:
“Douce Dame Jolie” is a monophonic song composed by Guillaume de Machaut, one of the most influential composers and poets of the Medieval period. Written in the style of a virelai, it expresses the pain of unrequited love and devotion to a distant lady. Its haunting melody and lyrical intensity have made it a favourite in the performance of medieval music.

Discussion:
This piece is a prime example of ars nova style—characterized by rhythmic complexity and expressive lyrical content. Though monophonic, it offers rich possibilities for interpretation, including instrumental accompaniment or improvisation on medieval instruments. Machaut’s poetry enhances the musical experience, evoking themes of courtly love and emotional longing. Many modern performances pair the vocal line with harp, vielle, or recorder.

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:
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.