 Part 1: Dance in general (Book 14) PART 1a: DANCE CONTEXT ~ 8 France ~ 10 Dance outdoors ~ 10 Types of indoor dancing ~ 16 The formal ball according to Rameau ~ 17 The Court ball as described by de Luynes ~ 19 The Masquerade according to Sain-Simon and others ~ 21 Private balls ~ 27 The Opera balls ~ 28 How did Paris Opera ball actually work? ~ 31 Other new dance venues ~ 32 The dances of folk origin ~ 33 Theatrical vers Social ~ 34 The rise of the contredanse ~ 36 Spain and Italy ~ 41 Spain ~ 41 Italy ~ 43 England ~ 44 The rustic dance ~ 44 Public assemblies ~ 46 Weaver, Jenys and a place for the new French noble style ~ 48 Links with theatrical world ~ 51 The breadth of the country dance repertoire ~ 54 Scotland and Ireland ~ 55 Germany and Austria ~ 58 The French influence ~ 58 The persistence of Indigenous dance forms and style ~ 63 A growing indulgence ~ 66 Saxony, Poland and Russia ~ 70 America ~ 71
PART 1b: DANCE FORMS ~ 75 The Allemande ~ 77 The Bourrée ~ 81 The Branle ~ 82 Cotillon / Contredanse français ~ 84 Its branle origins ~ 84 Its rise to popularity ~ 85 Its association with the ballets, operas and opera balls ~ 88 The Country Dance ~ 90 The Country Dance / Contredanse (Anglaise)~ 90 Thomlinson on how to avoid disorder ~ 91 The French on contredances—Feuillet ~ 93 English country dance / French contredanse concordance ~ 95 French on contredances—Rameau and others ~ 99 Figure invention, medley-making, hybridising and starting improper ~ 101 The Courant / Courante ~ 103 The Gavotte~ 107 The Minuet ~ 109 Its importance ~ 109 Its forms ~ 109 Its steps ~ 112 Its figures ~ 113 Its evolution ~ 116 The Pass(e)pied ~ 121 Other courtly dances ~ 122 The Sarabande ~ 122 The Rigaudon ~ 122 The Chaconne and Passacaglia / Passacailles ~ 122 The Gigue ~ 123
PART 1c: DANCE ELEMENTS ~ 124 Style ~ 126 Timing and grace ~ 126 Body mechanics ~ 127 Body disposition ~ 128 Walking ~ 130 The lady’s disposition and movement ~ 132 Arms ~ 133 Etiquette ~ 136 At a grand occasion ~ 136 Kissing ~ 137 Fans ~ 138 Honours ~ 139 Standing bow for the gentleman ~ 139 Standing courtesy for the lady ~ 141 Passing bow for the gentleman ~ 143 Passsing courtsey for lady ~ 144 Retiring bow for the gentleman~ 145 Retiring courtesy for the lady~ 147 Honours before dancing (the minuet) ~ 147 Before dancing ~ 148 The first honour—honour to presence ~ 149 The second honour—honour to partner ~ 150 Preparation to dance / minuet ~ 151 The Hat ~ 152 Holds and Positions ~ 154 Foot positions ~ 154 Arm and hand holds ~ 156 Formations 158 Couples dances ~ 158 2-couples squares ~ 159 4-couples squares ~ 159 4-couples longways ~ 159 Dances for other set numbers ~ 159 Longways for as many as will ~ 160 Figures ~ 162 3-in-line ~ 162 4-in-file or -line ~ 162 Allemande ~ 163 Arm ~ 165 Back to back ~ 165 Balance ~ 166 Cast (off) ~ 166 Chain / Bootlace~ 167 Change (places) ~ 167 Chase ~ 168 Circle ~ 168 Clapping and other hand gestures ~ 168 Contra corners ~ 168 Cross ~ 169 Down and back ~ 169 Draw ~ 169 Fall back and meet ~ 169 Follow-the-leader cast off and lead back ~ 170 Figure ~ 170 Gesture ~ 170 Gypsy ~ 171 Hands across ~ 171 Hands round ~ 171 Hey ~ 171 Jumps ~ 172 Kiss ~ 172 Lead ~ 173 Meet ~ 173 Moulinet ~ 173 Poussette ~ 173 Right and left ~ 173 Rond ~ 174 Set ~ 174 Sides / Siding ~ 175 Stamps ~ 176 Turn ~ 176 Turn back to back ~ 176 Turn single ~ 177 Up and back ~ 177 Steps in general ~ 178 Introductory remarks ~ 178 Contredance steps in general ~ 179 Contredance steps in 3/2—the ‘Hornpipe’ ~ 182 Cotillion steps in general ~ 185 Gavotte stepping in cotillions and contredances ~ 186 Menuet/Minuet steps in general ~ 189 Steps in detail ~ 198 Assemblé ~ 198 Balancé (Pas)~ 200 Balloté ~ 202 Balonné (Pas ) ~ 202 Bourrée (Pas de) of 1 movement or Fleuret ~ 203 Bourrée (pas de) with 2 movements ~ 214 Bourré (pas de) vite / Bourrée with a bound ~ 215 Changement de Jambe ~ 217 Chassé ~ 217 Contretemps / Contretemps de gavotte ~ 221 Contretems à deux mouvemens / Contretemps balonné ~ 230 Contretemps de menuet / Hop minuet step ~ 231 Coupé (Pas) simple and coupé soutenue ~ 233 Coupé (Pas) à deux mouvemens ~ 243 Coupé avec ouverture de jambe ~ 246 Coupé battu ~ 247 Coupé fermé / coupé révérence ~ 247 Coupé sans poser le corps / Coupé en ne posant que la pointe ~ 248 Courante (Pas de) ~ 248 Demi-Contretemps ~ 248 Demi-coupé ~ 249 Demi-Jeté ~ 255 Echappé (Pas) ~ 256 Emboët(t)é ~ 257 Fleuret ~ 257 Gaillarde (Pas de) and Pas Tombé ~ 257 Gavotte (Pas de) ~ 262 Glissade ~ 263 Jeté ~ 264 Jeté chassé ~ 269 Minuet step (0)—0 movement ~ 270 Minuet step (1)—1 movement ~ 270 Minuet step (2a)—2 movements, hemiolic ~ 272 Minuet step (2b)—2 movement, non-hemiolic ~ 281 Minuet step (2c & 2d)—2 movement, late 2nd ~ 283 Minuet (3a & 3b)—3 movements without and with leap ~ 290 Passacaille (Pas de) ~ 293 Passepied ~ 295 Pirouette ~ 295 Point / Temps ~ 299 Rigaudon / Rigadoon ~ 300 The rigadoon of two springs ~ 305 Set ~ 307 Sissone / Pas de sissone~ 307 Temps de Courante / Pas Grave ~ 310 Temps levé ~ 314 Tombé (Pas) ~ 314 Zephyr (Pas de) ~ 314
PART 1d: DANCE TEACHING ~ 315 Dancing master classes ~ 316 In England ~ 316 In Scotland and Ireland ~ 316 In France ~ 317 In Germany ~ 318 Elsewhere ~ 319 In America ~ 320 Other aspects of the vocation ~ 321 The apprenticeship ~ 321 Connection with fencing ~ 322 The social regard ~ 322 The teaching repertoire ~ 326 Notation ~ 328 Five different systems ~ 328 The Feuillet system ~ 329 Uses of and variants on the Feuillet notation system ~ 359 Publications ~ 363 Technical publications ~ 363 Annual publications in France ~ 363 Annual publications in England ~ 365 Teaching theory ~ 367 Anonymous works ~ 369 The dancing master ~ 369 The Durlach manuscript ~ 369 The ‘Tanz’ article in Universal Lexicon ~ 369 Ms-30 ~ 369 Ms-70 ~ 369 Ms-80 ~ 370 Authors and their works ~ 371 Alexander ~ 371 Behr ~ 371 Bickham ~ 372 Bonin ~ 372 Bonnefond ~ 372 Bonnet ~ 373 Burette ~ 373 Caverley ~ 373 Descan / Deslan ~ 374 Dezais ~ 374 Dubreil ~ 375 Dufort ~ 376 Essex ~ 376 Ferriol ~ 377 Feuillet ~ 378 Holst ~ 381 I.H.P ~ 381 Isaac ~ 382 Jayme ~ 383 Jenyns ~ 384 Kynaston ~ 384 L’Abbée ~ 384 Lambranzi ~ 385 La Vigne ~ 385 Magny ~ 386 Minguet e Irol ~ 386 Neal ~ 387 Nivelon ~ 387 Pasch ~ 388 Pécour ~ 388 Pemberton ~ 388 Playford ~ 389 Priest ~ 390 Rameau ~ 390 Siris ~ 391 Taubert ~ 391 Tomlinson ~ 393 Walsh ~ 395 Weaver ~ 396 Wright ~ 398 Young ~ 398 |  Part 2a: Dances in detail A-Ma (Book 15) Aimable Vainqueur / Louvre ~ 6 Allemande (2) / L’Allemande ~ 15 Always Drunk and Never Sober (1) ~ 28 L’Amoreuse ~ 30 Apley House ~ 33 Auretti’s Dutch Skipper (1) ~ 36 La Bachante (1) ~ 38 La Bachante (2) ~ 45 Barbarini’s Tambourine ~ 49 La Bavaroise ~ 51 La Bergère ~ 60 La Blonde & la Brune ~ 63 Bob in the Bed ~ 72 La Bohaimiene ~ 74 La Bourgogne ~ 80 La Bourrée d’Achille ~ 91 The Busie Body ~ 101 Butter’d Pease (1) ~ 104 La Chaîne ~ 106 La Chasse ~ 112 Cheshire Rounds ~ 117 Childgrove ~ 120 The Children in the Wood ~ 122 The Collier’s Daughter (1), (2) & (3) ~ 126 Les Contrefaiseurs ~ 130 La Coquette / Coquette (1) ~ 141 Le Cordon Bleu ~ 144 Le Cotillon ~ 149 Le Cotillon des Fêtes de Thalie ~ 159 Cotillon de Surenne~ 164 De’il Take the Wars (2) ~ 173 Draw Cupid Draw ~ 176 Easter Thursday ~ 178 Entrée de deux Bacchantes ~ 181 Entrée pour un Berger et une Bergère ~ 187 Entrée pour un homme et une femme ~ 191 L’Epiphanie ~ 196 Fair and Softly ~ 199 The Fair Quaker of Deal ~ 201 La Fanatique ~ 204 Fop’s Fancy ~ 208 Les Galeries d’Amour ~ 210 La Gasconne ~ 215 La Gavotte du Roy à quatre ~ 219 Gigue à deux / Gigue de Roland ~ 224 Granadiais ~ 232 The Great Turk ~ 235 Greensleeves and Yellow Lace ~ 238 Hamstead Heath ~ 242 Hedge Lane (3) ~ 244 La hessoise d’armstatt ~ 246 The Highlander’s Wedding ~ 251 Hunt the Squirrel (1) & (2) ~ 253 Indian Queen ~ 257 In the Fields in Frost and Snow ~ 260 Irish Lamentation ~ 266 La Jalousie ~ 269 Kelsterne Gardens ~ 272 Knives and Forkes ~ 274 Lady Mary’s Courant ~ 276 Lilli Burlero (2a, b & c) ~ 278 Love in a Bottle (2) ~ 282 Love and a Bottle (3) ~ 284 Love’s Triumph ~ 286 Madame Robin / Mad Robin (2) ~ 289 Madamoiselle Dupingle (1) & (2) / Sabina ~ 294 Les Manches Vertes ~ 296 Les Mariniers ~ 301 The Marlborough (1) & (2) ~ 304 Masquerade Royal (1) & (2) ~ 307 La Matelote ~ 311
|  Part 2b: Dances in detail Me-Z (Book 16) Le Menuet à quatre (1) ~ 6 Menuet à quatre (2) ~ 9 Le Menuet d’Alcide ~ 14 Menuet de la Reine (1) ~ 22 The Merry Conclusions ~ 25 Minuet (1) / Menuet à deux (1) ~ 28 Moll Peatley, the New way / Moll Peatley (2) ~ 124 Mr Caverley’s Minuet ~ 128 Mr Holt’s Minuet and Jig ~ 137 Mr Priest’s Minuet ~ 145 My Lady Winwood’s Maggot ~ 154 My Lord Byron’s Maggot (1) & (2) ~ 156 New Round O ~ 161 L’ Nosse de Paysan ~ 166 Le Nouveau Pistolet ~ 169 Orleans Baffled ~ 175 La Pantomime ~ 177 Passacaille pour un homme et une femme / Passacaille de Persée ~ 180 Le Passepied à quatre ~ 199 Les Petites danses / Les Tricotets ~ 203 Le Pistolet ~ 213 Poole’s Hole (2) ~ 216 Portsmouth (1) & (2) ~ 218 Prince George’s Birthday ~ 221 Princess Amelia / Holborn March ~ 223 Prince William ~ 226 The Punch bowl ~ 229 The Pursuit ~ 232 Les Quatres Faces ~ 234 The Queen’s Jigg ~ 238 The Rakes of Rochester ~ 239 Les Rats ~ 242 The Recruiting Officer (1) & (2) ~ 251 Red House (2 & 3) / La Maison Rouge ~ 254 Rigadoon (2) / Rigaudon d’Angleterre ~ 257 Rigadoon (3) / Rigoudon de Mr. Favier ~ 263 (Sir) Roger de Coverley (1) ~ 266 St Margaret’s Hill ~ 269 Softly Good Tummas ~ 272 Le Soleildieu ~ 274 Spanish Jig (2 &3) / La Gigue Espagnol ~ 277 Strawberries and Cream (2) ~ 281 Subligny’s Minuet ~ 283 The Tatler ~ 285 The Toast ~ 289 A Trip to Paris ~ 294 A Trip to the Jubilee ~ 297 Trumpet minuet / New Minuet~ 302 La Venitienne ~ 305 La Vieille Bourrée / La Petite Bourrée ~ 316 Vienna (3) ~ 321 We’ll Wed and We’ll Bed ~ 324 Wou’d you have a young Virgin (1)/(2) ~ 328 Yellow Stockings ~ 331 Volpony ~ 334 Young Sir John / Happy Bride ~ 338 Zephirs and Flora ~ 341 |
Books & CDs >
Dancing through the Ages 1700-1750
Dancing through the Ages is an 10,800 page work offering background on, reconstruction of, and chorded music for nearly 1,000 dances from between from 1400 to 1900, as well as extensive notes analysing links between these dances, the evolution of dance forms, movement ideas and notation systems through this 500 period, and the changing nature of ball culture and dance sources in countries across the old and new word. The whole is supported by thousands of quotations, diagrams and illustrations from original sources.
The work is broken into 31 books, each of between 300 and 460 (average 350) double-sided A4 pages. After the 'Orientation and Overview' book 1, the work is organised into ten 'Volumes', each of 3 books.
Each 3-book Volume is devoted to a particular period and consists of 1,000 plus pages of research, discussion, analysis, illustrations, musical scores, dance reconstructions, source extracts, transcriptions and translations. The first book (Part 1a-d) looks at dancing in general (the social, political and geographic contexts in which dance and the institution of the ball was evolving; the nature and evolution of the period’s main forms of dance; dance elements such as style, etiquette, honours, holds, formations, figures and steps; developments in dance teaching, notation and publication, and period-relevant primary sources (including little known ones). The second and third books (Part 2a and Part 2b respectively) offer sources and music for, and reconstructions and analysis of dozens of dances from the relevant period, presented in alphabetic order.
To order any or all of the books in this 31-book series go to (PUBLISHER's WEBSITE ORDER PAGE LINK TO APPEAR HERE END SEPTEMBER 2020 when grand work is finally available!) . The books are AUS$35 each (approximately US$25), plus postage which will diminish with the more books in your order. As your books will be sent from the nearest Lulu printer on your continent, you will not be paying for overseas shipping and will not be waiting long for the books to arrive. Orders are normally filled at local postage rates within a week.
N.B. I recommend that in addition to ordering the books pertaining to the period you first think of, you also order books from the adjacent period collections plus the invaluable Book 1: 'Orientation and Overview'. Indeed, because of the interconnectivity of dance over the 500 years covered by this series (and the cross-referencing between books in the series), I highly recommend the full set!
If you are able to collect from our home in Canberra Australia, I may be able to offer you a special no-postage price on a full-set. Phone 62811098 or email us.
Below are the front covers and contents of the three books that constitute Volume V in the series.
