Galliards

Note: you will almost certainly NOT be able to learn to galliard from this page, nor will you get an accurate summary of 16thC galliards. These notes are nothing more than a record of the mutanze I've taught recently, and are likely to be useful only to dancers who attend my classes.

These 'mutanze' contain elements from many 16th and early-17th C sources; mostly Italian, some French. I've tried to indicate what comes from where, but for an accurate idea of any particular master's style, go to the source.

Choreography, with little jumping, suitable for gentle music in 4-bar strains:

This is based on bits from Caroso's Forza d'Amore (Nobilta di Dame, 1600), and other 16thC sources, but it is my choreography, invented only to help learn some mutanza.

(numbers represent tempi: one tempo = time for one cinquepasso)

A couple begin holding ordinary hands at the end of the room

opening

1-4            Riverenza, 2 Continenze

1-2            2 Seguiti ordinarii walking to centre of room

3-4            2 Seguiti ordinarii, circling, holding right hands

1-2            2 Seguiti ordinarii, circling, holding left hands

3-4            2 Seguiti ordinarii, separating - end facing, several metres apart

mutanza

first the man alone does this mutanza, then the woman alone

1-2          2 Seguiti ordinarii flankingly forwards, LR, approaching partner

3              2 Trabuchetti, LR

4              Seguito finto, backwards and to left

ritirata - repeat, on other foot, retreating

1-2         2 Seguiti ordinarii flankingly backwards, RL, returning to place

3            2 trabuchetti, RL

4            Seguito finto, backwards and to right

finale

1            man does destice flankingly forwards and to left (2 sottopiede, then a trabuchetto)

2           woman does destice flankingly forwards to left

3           man, destice, flankingly forwards to right

4           woman, destice, flankingly forwards to right

1-2       both: 2 seguito ordinarii, circling with right hands (or approaching if you're not together yet)

3-4       final Riverenza, holding ordinary hands

Other Variations:

Basic cinquepasso:

1- kick, 2 - kick, 3 - kick, 4 - kick, 5 - jump, 6 - land on both feet

Cinquepasso with sottopiede: (go to Caroso for a more detailed description)

1 - kick left forwards;

2 - kick right backwards;

3 - kick left forwards;

4 - kick right forwards;

5 - jump;

6 - land on both feet, left foot in front

Short version: forwards, backwards, forwards, forwards, cadenza

Suggested uses: anywhere you'd use the plain cinquepasso; especially good for travelling, and for conserving energy. In choreography above you could use this instead of any of the seguiti ordinarii

Sources: almost everyone (Caroso, Negri, Lupi, Arbeau . . . )

Simple turn:

steps - passo in volta, then passo incrociata, over one tempo

source - Santucci, c. 1615

Suggested use - in choreography above - substitute for Seguiti finti at end of mutanza; generally - only use one at a time; makes a good finale to a moving mutanza; a pretty turn, but not difficult

details (to left, can also be done to right): first step - passo in volta - start with left foot in front; draw it back, in small a C-shape, place toes just behind right foot. Rise on toes of both feet, swivel to left, rotating through 180 degrees, end with feet flat again. Second step - passo incrociata - right foot is now behind; bring it around in front of left, and place right toes next to left foot, on outside/left side; rise onto toes of both feet, keeping legs straight; swivel another 180 degrees, turning to left; end mutanza where you started, facing forwards again, with feet flat on floor.

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