Orientation and Overview

Here below is the contents to

Dancing through the Ages  Book 1: Orientation and Overview that includes full acknowledgments, a consolidated contents, a bibliography of secondary scholarship, a history of dance leading up to 1400, and sections on the purpose of dance and scope of this work, on story-lines and ideas that have persisted through 500 years of dance, and on continuities and changes in the nature of balls and dance forms. 

For the contents for the other 32 books in the series see the other subpages in this menu

For an introduction to all 33 volumes in this series go to the 'Dancing through the Ages' subpage on Books & CD or the header button for this 'Dancing through the Ages' menu.

To order any number of books in this 33 book series go to Lulu.com.

To order the whole set at a considerable discount email us.

N.B. I recommend that you only order Books 32 and 33 (the Companions) if you have also ordered all the main Volume books relevant to your interest, and to that end recommend that you always order the covering also the period each side of the period you think of greatest interest to you, and recommend that no matter which period you are most interested in, that you order Book 1: 'Orientation and Overview' (286 pages). 

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!ere below are the contents to

—Book 1: Orientation and Overview that includes full acknowledgments, a consolidated contents, a bibliography of secondary scholarship, a history of dance leading up to 1400, and sections on the purpose of dance and scope of this work, on story-lines and ideas that have persisted through 500 years of dance, and on continuities and changes in the nature of balls and dance forms. 

—Book 32 and 33,  Companion 1: 1400-1750 and Companion 2: 1750-1900 which have sturdy spiral binding and offer easy music-stand access to essential music and dance instruction extracts from Volumes I-V and Volumes VI-IX respectively. 

On 10 separate web pages accessible via the menu above are the covers and contents of the 30 volumes in between the ‘Overview’ and ‘Companion’ books. Between these book 1 and books 32 and 33 the series is divided into 10 Volumes. Each Volume consists of 3 books (that total on average of 1,000 pages) devoted to a particular period, i.e. books 2 to 31,  see the subpages that follow.  Between each is divided into 2 parts where Part 1 (one book) is devoted to dance in general and Part 2 (two books) is devoted to dances in detail (alphabetically-ordered reconstructions of dances that seem to have had their first recording in the period which is the subject of the Volume).

To order any number of books in this 33 book series go to Lulu.com.

To order the whole set at a considerable discount email us.

N.B. I recommend that you only order Books 32 and 33 (the Companions) if you have also ordered all the main Volume books relevant to your interest, and to that end recommend that you always order the covering also the period each side of the period you think of greatest interest to you, and recommend that no matter which period you are most interested in, that you order Book 1: 'Orientation and Overview' (286 pages). 

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!

Here then are the covers and contents of just the first and last books in the series. See the menu for the covers and contents of the other 30.

PART A: Introduction to the series

Plea and acknowledgements ~ 10 

Plea ~ 10 

Acknowledgements ~ 11 

Notes on need ~ 13 

The need to better understand and preserve our dance heritage ~ 13 

The need to better value source material ~ 13 

The need to bridge the scholarly/practical divide ~ 15 

The need to better involve young people ~ 15 

Approaches and limitations ~ 16 

Approach to the subject ~ 16 

Approach to sources ~ 16 

Approach to presentation ~ 17 

Note on limitations ~ 17 

Structure, formatting and language ~ 18 

Structure ~ 18 

Formating ~ 19 

Transcriptions & Translations ~ 19 

Abbreviations ~ 20 

Orientations ~ 21 

On reconstructing dances ~ 22 

Understanding our purpose ~ 22 

Understanding the written and notated sources ~ 23 

Understanding the pictorial sources ~ 24 

Understanding a dance’s storylines ~ 26 


PART B: The path to the ballroom 29 

Earliest Times ~ 31 

Origins ~ 31 

Egyptian dance ~ 32 

Phoenician, Minoan and Mycenaean dance ~ 32 

Classical Greek times ~ 36 

Ritual dance ~ 36 

Combat-related dance ~ 39 

Theatrical dance ~ 40 

Private and competitive dance ~ 43 

Competitive dance ~ 45 

Processional dance and song dance ~ 45 

Partnered dance ~ 47 

Etruscan and Roman dance ~ 51 

Dance in Italy at the time of the Etruscans~ 51 

Roman dance ~ 52 

The ancient study of dance history ~ 54 

The Dark Ages ~ 58 

Dance under the early church ~ 58 

The dance of northern Europe ~ 60 

The dance of Carolingians ~ 62 

Early Medieval times ~ 63 

11th-12th centuries ~ 63 

13th century ~ 64 

Late Medieval times ~ 66 

The solo woman’s dance ~ 66 

Women’s group dance ~ 67 

Mixed group dance ~ 68 

Mixed social dance in context ~ 69 

Social dance as an allegory for healthy society ~ 76 

Mummery ~ 77 

Dance and music ~ 79 


PART C: The persistence of forms 82

Persistence of imperatives ~ 84 

Man leading woman on right in an indoor space ~ 84 

Courteous behaviour within politic parameters ~ 85 

Enjoyment of the other, of the new, of life ~ 85 

Change and continuity ~ 87 

Ways dance forms change ~ 87 

Dances not tabulated in the sections that follow ~ 89 

1) The follow-the-leader or circle dance ~ 90 

From carol to branle to gavotte and farandole ~ 90 

Sections relevant to follow-the-leader / circle dances ~ 92 

2) The processional couple’s dance ~ 94 

From basse dance to pavan to Almain, late courante and Polonaise ~ 94 

Sections relevant to the processional dance ~ 96 

3) The facing couple’s dance ~ 98 

From balli and cascarde to minuet to cut-in jig ~ 98 

Sections relevant to the facing couple’s dance ~ 100 

Galliard sequences in balli ~ 101 

4) The playful dance ~ 105 

From competition dances, early courante, relay mixer to cotillon dance games ~ 105 

Sections relevant to the playful dances 106 

The new cotillon ~ 108 

Cotillon medley (1)—early 1820s ~ 109 

Cotillon medley (2)—late 1820s-1840s ~ 110 

Cotillon medley (3)—late 1840s ~ 111 

Cotillon medley (4)—late 19th century ~ 112 

5) The whole-set longways finishing dance ~ 114 

The whole-set longways finishing dance ~ 114 

Sections relevant to the whole-set longways finishing dance ~ 115 

The whole-set longways finishing dance by ideas ~ 117 

The whole-set longways finishing dance by Volume, entry and changes ~ 118 

6) Progressive or fancy longways dance ~ 120 

From country dance to contredanse Anglaise and Écossaise ~ 120 

Sections relevant to the longways dance ~ 123 

Corner stealing / La Triumph ~ 127 

7) The square set dance ~ 129 

From cotillon/contredanse française to potpourri, douze, quadrille and early cancan ~ 129 

Sections relevant to the square set dance ~ 131 

The Quadrille Français ~ 133 

The Lancers ~ 134 

Mazurka Quadrilles ~ 135 

8) The turning dances 136 

Origins ~ 136 

The Allemande ~ 136 

The waltz ~ 137 

The mazurka ~ 137 

The galop and polka ~ 138 

The hybridising of couple’s dances ~ 139 

Sections relevant to the turning couple’s dances ~ 139 

Mazurka couples dance ~ 141 

9) The hybrid sets ~ 143 

From the Spanish, Swedish, Mescolanze & Circassian dances to mazurka quadrilles and polka country dances ~ 143 

Sections relevant to post-1750 hybrid sets ~ 145 

La Tempête / The Tempest ~ 146 

The Waltz Country Dance and Spanish Waltz ~ 147 

The persistence of ball format ~ 149 

The persistence of dance order with balls ~ 149 

Persistence of particular balls ~ 152 


PART D: The persistence of ideas 153 

Persistence of propensities ~ 155 

Appreciating the curve and counter curve ~ 155 

Providing an opportunity for one sex to regard the other ~ 156 

Taking figures from one formation or ‘genre’ or rhythm to another ~ 156 

Having some figures overlapped or ‘canonised’ ~ 156 

Transforming the shape of the set ~ 157 

Reusing patterns for larger formats ~ 157 

Reusing patterns in different formats ~ 158 

Reusing patterns in different formats ~ 158 

Taking dances from one milieu into another ~ 158 

Expecting improvisation ~ 159 

Making long sequences ~ 159 

Reusing common step patterns ~ 160 

Persistence of devices ~ 161 

Promenading up and back, or in an oval ~ 161 

Codifying then repeating figures ~ 161 

Taking turn leading a figure ~ 162 

Making suites that progress from simple to more flashy figures, steps or holds ~ 162 

Randomly changing partners or cutting-in ~ 162 

Slipping away from a set ~ 163 

‘Snowballing’ a two-person dance sequence ~ 163 

Visiting ~ 163 

 Having a leader choose those to participate ~ 163 

Following a graceful step-sparse group-oriented ‘low’ processional dance with an exuberant step-busy couples-oriented ‘high’ dance ~ 163 

Taking a turn leading a dance ~ 164 

Starting a multi-part couples dance side-by-side, with symmetrical figures move toward presence, separate, reunite and return to starting point ~ 164 

Having the man go up toward the present, woman go down 164 

Having the 1s start improper in a longways set ~ 164 

Claps, jumps, kisses and gestures ~ 165 

Persistence of figures ~ 166 

Following the leader into and out of knots ~ 166 

Having a follow-the-leader line bend back on itself ~ 166 

‘Stripping’ a set or ‘bootlacing’ 166 

Making a reverse ‘S’ ~ 166 

Chasing the opposite sex ~ 167 

Chaining / weaving / ‘dip&diving’ down a longways set 168 

Teasing the opposite gender ~ 168 

Stealing corners ~ 168 

Taking another man’s partner and advancing 3-a-breast on the one left alone ~ 169 

Miming a joust ~ 169 

Weaving one line through another ~ 169 

The cross-over hey and contra-corners ~ 170 

Going from column or square to one horizontal or vertical line ~ 171 

Persistence of figure orders within dances ~ 172 

Promenading, then cross then set then cross back then set ~ 172 

Promenading then gypsy then single hand turns and/or two hand turns ~ 172 

Promenading then reverse S then left, right and two hand turn ~ 172 

Setting then turning ~ 173 

Feigning then the full ~ 173 

Finishing with weavings or heys ~ 173 

Finishing with the most promiscuous all-involving and quickest mixing ~ 174 

Persistence of tunes ~ 175 


PART E: The ball beyond 1900 179 

New developments and continuing heritages ~ 181 

New developments ~ 181 

Publications facilitating continuity ~ 182 

New dance genres facilitating continuity ~ 183 

Nostalgia and the persistence of some ball dances into the 20th century ~ 185 

20th century examples of continuing interest in 19th century dance forms ~ 186 

Le Bridge ~ 188 

Lulu Fado ~ 203 


PART F: Consolidated contents 214-251 


PART G: Series bibliography 252 

Primary sources ~ 253

Table showing certain primary sources in context ~ 253 

Dances from Italian and French sources in Volumes II and III ~ 258 

Post-1900 secondary sources ~ 263 

Electronic resources ~ 263 

Anonymous writer, editor or translator ~ 263 

Pseudonym used by author ~ 264 

Personal name of author, editor or translator ~ 264

Extracts from Volume I: 1400-1550

Alenchon, Alesandresca, Amoroso (for 2), Amoroso (for 3), Anello, Angelosa, Barcelona, La Bassa de Castille/Spayñ, Basse danse communes / Jouissance / Jouyssance vous donneray, Belfiore, Belriguardo (for two), Belriguardo Nuovo (for three), Borges, Chastelana, Chirintana, Colonnese, Corona, La Danse de Cleves, Eglamowr, Esperans, L’Esperence de Bourbon, La Figlia Guglielmino (1), La Figlia Guglielmino (2), Francho cuore gentile, La Franchoise nouvelle, Gelosia, Gioioso fiorito / Rostiboli Gioioso (3), Gioioso for three, Gioliva, Grazioso, Ingrata, Jupiter, Lauro, Legiadra, Libeaus Desconus, Lioncello Nuovo (for three), Lioncello vechio (for two), Malgratiosa, Marchesana, Mercantia, Mignotta for 2 (Vecchia / Nova) or 3, Northumberland, La Partita Crudele, Pellegrina, Petit Rinense, Le Petit Rouen, Pizochara, Prenes a gard, Prenes on gre, Prigionera, Reale, Rostiboli Gioioso, Sobria, Spero, Talbott, Tantaine, Temperans, Tesara,Venus, Verçepe, Villanella (1), La Vita di Cholino (for 2), La Vita di Cholino (for 3), Voltati in ça Rosina Rossina


Extracts from Volume II: 1550-1600

Alba Novella, Allegrezza d’Amore, Allemande (1), Alta Regina, Alta Vittoria, Ballo del Fiore (1), Ballo del Fiore (2) / Branle du Chandelier (2), Barriera, Barriera nuova, Bassa Toscana, Bella Gioiosa, Bellezze d’Olimpia, Black Almain, Les Bouffons, Branle de Bretaigne / Triory de Bretagne, d’Ecosse, Branle de la Haye, Branle de la Montarde, de Malte, Branle de Poitou (1, Branle des Chevaux (1) & (2), Branle du Chandelier (1), Branle du Haut Barrois, Branle l’Officiel, Cassandre, Pinagay, Branles—Charlotte, de la Guerre, Aridan, Branles—mimed suite, Branles—opening suite (1), La Caccia d’Amore (1), Canario (1), La Castellana, Chiaranzana, Chiaranzana / Catena / Caccia medley, Chiara Stella, Contentezza d’Amore, Il Conto dell’Orco, Contrapasso (1), Contrapasso (2), Coranto d’Espagne, Courante (1) / The Old Courante / La Boèsme, La Courante (2), the new / La Corrente, Dolce Amoroso Foco, Fedeltà, Fiamma d’amore, Florido Giglio, Fulgente Stella, Furioso (1) & (2), Galliard (1) – basic sequences, (2) – fancier sequences, Gavotte (1), Gloria d’Amore, Gracca Amorosa, Leggiadria d’Amore, The Longe Pavian, Allemayne, Lucretia, Madam Cecilia Almain, Maraviglia d’Amore, The Old Measures, Passo e mezzo, Pavan, Pavaniglia / Spanish Pavan (1), Pavan Matthei, Piantone, Pungente Dardo (1), Spagnoletta (1), Spagnoletta Nuova, Squilina, Torneo Amoroso (1), Villanella (2), La Volta


Extracts from Volume III: 1600-1650

L’Alemana d’Amore, Alta Carretta, Alta Mendoza, Ballo nuovo fatto da sei Cavalieri, Bassa Imperiale, Bassa Savella, La Battaglia, Il Bianco Fiore, Bizzaria d’Amore, Bobbing Joe (1), Boon Companion, La Bourrée à six passages, Brando detta Alta Regina, Brando di Cales, Branles—opening suite (2a&b), La Caccia d’Amore (2), Canario (2), La Catena d’Amore, Celeste Giglio, The Chirping of the Nightingale (1), Contrapasso Nuovo, Courant (2), Cuckolds all a row (1), Donna Leggiadra, Fedeltà d’Amore, Forza d’Amore, The Friar and the Nun, Galliard (3), Gavotte (2), La Gillotte, Goddesses, Graies Inne Maske (1), Greenwood (1), The Gypsies (1), A Health to Betty, Hearts-Ease (1), Hunsdon House, Jack Pudding, Jog On (1), Ladye Spiller / Lady Spellor, Lansdowne no.4, Laura Suave, Leggiadra Marina, Lightly Love, A Mayden Fayre / Once I lov’d a Maiden Fair, The Milking Payle / Merry Merry Milkmaids (1), Moll Peatley (1), Nido d’Amore, La Nizzarda, An Old Man is a Bed full of Bones, Il Pastor Leggiadro, Picking of Sticks, Pungente Dardo (2), Rose is white and rose is red, St John / Dull Sir John, Selva Amorosa, So Ben Mi Chi Ha Buon Tempo, Spagnoletta (2), Spagnoletta (3), Lo Spagnoletto, Spring Garden, The Tassel Jump, Ten Pound Lass (1), Torneo Amoroso (2), Trenchmore, Villanicco

Extracts from Volume IV: 1650-1700

Adson’s Saraband, All in the Garden green, Amaryllis, Anna Maria, Arcadia, Argeers, Aye me, or the Simphony, Bartlett House, The Bath, The Begger Boy, Bellamira / The Baulk (1), Black Bess, Black Nag~, Boat-man, Bobbing Joe (2), Bonny grey-Ey’d morn, The Bore, or Sweet William, Braye’s Magott, Broome, Catching of Quails, Cheerily and Merrily, Chestnut, The Chirping of the Nightingale (2), Christchurch Bells (1), Christchurch Bells (2), Cobbler’s Jig, Cold and Raw, Confesse, Contredance nouvelle figurée à huit, Courant (3) & (4), The Country Coll, Cuckolds all a Row (2), Cupid Garden, The Cushion Dance (1), Daniel Cowper (1), Daphne, Dargason, De’il take the Wars (1), Drive the Cold Winter Away, The Duke of Gloucester’s March, Easter Tuesday, Emperor of the Moon, Epping Forrest, Excuse me, Fain I would, The Fine Companion, Gathering Peascods, The Geud Man of Ballangigh, The Glory of the West, Graies Inne Maske (2), Greenwood (2), Grimstock, The Gun Fleet (1) & (2), Half Hannykin, Have at thy coat old woman, The Health, Hearts-ease (2), Hedge Lane (1a&b, 2a&b), Hide Parke, Hobb’s Wedding, Hockley in the Hole, The Hole in the Wall, If all the World were Paper, The Irish Trot, Jack a Lent, Jack’s Maggot, Jacob Hall’s Jig, Jamaica / La bonne amitié, Jenny plucked Pears, Joan’s Placket (1) / Jeanne qui saute, Jog on (2), The Jovial Beggars, Juice of Barley, Kemp’s Jig, The Kettle Drum, King of Poland, The Last of Twenty, Lavena, Lilli Burlero (1), The London Gentlewoman, Lord of Carnavan’s Jig, Love and a Bottle (1), The Lover’s Luck, Lulle me beyond thee, Mad Robin (1), Mage on a Cree, Maiden Lane, The Maid in the Mill, Maid in the Moon, The Masque of the Seasons, The Maurice Daunce, Menuet Anglois / Mr Lane’s Minuet, The Milking Payle / Merry Milkmaids (2), The Mill-field, Millison’s Jig, Mr Beveridge’s Maggot, Mr Eaglesfield’s new Hornpipe, Mr Isaac’s Maggot, Mr Lane’s Magot, Mr Lane’s Trumpet Minuet, Mr Young’s Delight, The Mulberry-Garden (1) & (2), Mundesse, My Lady Cullen’s, The New Bath, New Boe Peep, Newcastle, The New Exchange, New Rigadoon, New Roger / Young Roger, The Nightpiece, Nobody’s Jig, Nonesuch / A la Mode de France, Old Simon the King, Pabana / Spanish Pavan (2), Parson’s Farewell, Parson upon Dorothy (1) / The Shepherd’s Daughter, Parson upon Dorothy (2), Paul’s Steeple, Peppers Black, Prince George, Prince Rupert’s March, Punk’s Delight, Put on thy Smock on a Monday, Putney Ferry, Red House (1) & (2), Rigadoon (1), Row Well ye Mariners, Rufty Tufty, Sage Leaf, Saint Martin, St. Martin’s Lane, Saraband, Scotch Cap, The Scotch Measure, Sellengers Round, Shepheard’s Holiday, Short and Sweet, Short’s Garden, The Siege of Limerick, The Slip, Spanish Jig (1) & (2), Spanish Gypsie / The Gypsies (2), The Spring, Staines Morris, Step Stately, The Stingo, or the Oyl of Barley, Strawberries and Cream (1), Sweet Kate, Ten Pound Lass (2), The 29th of May, Tythe Pig, Under and Over / Over and Under, Upon a Summers Day, Valentine’s Day, Vienna (1), Vienna (2), Well Hall, What you please, The Whirligig, Whitehall, Windsor Castle, Woodicock


Extracts from Volume V: 1700-1750

Aimable Vainqueur / Louvre, Allemande (2) / L’Allemande, Always Drunk and Never Sober (1), Apley House, Auretti’s Dutch Skipper (1), La Bachante (1), La Bachante (2), Barbarini’s Tambourine, La Bergère, La Blonde & la Brune, Bob in the Bed, La Bohaimiene, La Bourgogne, La Bourrée d’Achille, The Busie Body, Butter’d Pease (1), La Chaîne, La Chasse, Cheshire Rounds, Childgrove, The Collier’s Daughter (1), (2) & (3), Les Contrefaiseurs, La Coquette / Coquette (1), Le Cordon Bleu, Le Cotillon, Le Cotillon des Fêtes de Thalie, Cotillon de Surenne, De’il Take the Wars (2), Draw Cupid Draw, Easter Thursday, Entrée de deux Bacchantes, Entrée pour un Berger et une Bergère, Entrée pour un homme et une femme, Fair and Softly, The Fair Quaker of Deal, Les Galeries d’Amour, La Gasconne, La Gavotte du Roy à quatre, Gigue à deux / Gigue de Roland, Granadiais, The Great Turk, Greensleeves and Yellow Lace, Hamstead Heath, Hunt the Squirrel (1) & (2), Indian Queen, Irish Lamentation, Kelsterne Gardens, Knives and Forkes, Lady Mary’s Courant, Lilli Burlero (2a, b & c), Love in a Bottle (2), Love and a Bottle (3), Love’s Triumph, Madame Robin / Mad Robin (2), Madamoiselle Dupingle (1) & (2) / Sabina, Les Manches Vertes, Les Mariniers, The Marlborough (1) & (2), Masquerade Royal (1) & (2), La Matelote, Le Menuet à quatre (1), Menuet à quatre (2), Menuet de la Reine (1), The Merry Conclusions, Minuet (1) / Menuet à deux (1), Moll Peatley, the New way / Moll Peatley (2), Mr Caverley’s Minuet, Mr Holt’s Minuet and Jig, Mr Priest’s Minuet, My Lady Winwood’s Maggot, My Lord Byron’s Maggot (1) & (2), New Round O, L’ Nosse de Paysan, Le Nouveau Pistolet, Orleans Baffled, La Pantomime, Passacaille de Persée / Passacaille pour un homme et une femme, Le Passepied à quatre, Les Petites danses / Les Tricotets, Le Pistolet, Portsmouth (1) & (2), Prince George’s Birthday, Princess Amelia / Holborn March, Prince William, The Punch bowl, The Pursuit, Les Quatres Faces, The Queen’s Jigg, The Rakes of Rochester, The Recruiting Officer (1) & (2), Rigadoon (2) / Rigaudon d’Angleterre, (Sir) Roger de Coverley (1), Softly Good Tummas, Le Soleildieu, St Margaret’s Hill, Strawberries and Cream (2), Subligny’s Minuet, The Tatler, The Toast, A Trip to Paris, A Trip to the Jubilee, La Vieille Bourrée / La Petite Bourrée, Vienna (3), We’ll Wed and We’ll Bed, Wou’d you have a young Virgin (1)/(2), Yellow Stockings, Young Sir John / Happy Bride, Zephirs and Flora.

Extracts from Volume VI: 1750-1800

Adonis, Ah Ça Ira (1), Allemande (3), Allemande à trois, Allemande du Devin de Village, Allemande Suisse, Always Drunk and Never Sober (2), Aly Grogan & Round O, Anglaise de chez l’embassadeur (1), Anglaise de chez l’embassadeur (2), Anglaise de la Reine (1), Anglaise de la Reine (2), Anglaise de la Rhein (3), Anglaise de la Reine (4), Auretti’s Dutch Skipper (1), Auretti’s Dutch Skipper (2), Barley Mow, La Baroque, La Belle Alliance, Les Belles Filles de Norwich, Bevis Mount, La Bionni, The Bishop, The Black Dance (1), The Black Dance (2), La Bonne Amitié, Blessmann’s Englischer Tanz nr.1, Blessmann’s Englischer Tanz nr.2, Bonny Lass of our Town, La Boulangère (1), La Bouquette, Der Canontanz, Carillon National, The Changing, La Chasse d’Amour, Cockney’s Frolic, La Cométe, The Comical Fellow, Congo Minuet, The Cossack, Country Bumpkin (1), Daniel Cowper (2a&b) / Daniel Cooper, Douze, The Dusky Night, The Fair Maid of the Inn, The Fandango, Feldtenstein’s no. 4, Feldtenstein’s no. 5, Feldtenstein’s No. 6, Fête Champêtre, La Folie ou le Goût du Siècle, The Fourth of June, La Fricassée (1), La Fricassée (2), Fricke’s no.1, La Fuiarde, Galopade (1a & b), The Happy Captive, Le Jardin Enchanté, La Jesuite, or, the Jesuit, Le Jeu des quatres coins, Les Jolis Garçons, Lasses of Portsmouth, Leather Lake House, Link’s Englischer Contre-Tanz no. 2, Link’s Englischer Contre-Tanz no. 4, Linnen Hall, Lord Nelson’s Waltz, The Macaroni, Magri’s contradanza I, Magri’s contradanza II, Magri’s contradanza no. VIII, Magri’s contradanza no. XVI, Magri’s contradanza no. XXIX, Magri’s contradanza XXXVIII, La Maison du Bois, Marset’s no.1 / The Baulk (2), Marset’s no.2, La Méditation des Chinois, Menuet de la cour (1), La Mignonette, Minuet (2), Miss Bland’s Allemande, Money Musk (1), La Musette, Mutual Love, New Twelfth Night, Les Ombres Chinois, Le Palais de l’amour, La Perigourdine, Petersen’s Englischer Tanz no. 5, Petersen’s Englischer Tanz no.9, Les Plaisirs de la Jeunesse, Pleasures of the Town (1a&b), Polonaise (1) / The Polish dance, Polonaise (2) / Neu Figurirte Polonoise, La Pontlevoy, La Pouvoir de la Beauté, Der Prager-Student / Student of Prague, Le Prince de Galles, Prince of Wales’ Cotillion, The Princess of Wales’s Waltz, The Prussian Camp, Le Quadrille, Les Quadrilles, Les Quatre Berceaux, Les Quatre Nymphes (1), Les Quatre Nymphes (2), Les Quatre Saisons, La Réverbère, Rigadoon (3) / Rigodon, La Riswic, Ruffs and Rhees, The Savage Dance, Schmiedt’s Angloise No.1, Schmiedt’s Quadrille No.1, Scotch Lilt, A School for Scandal, Shrewsbury Lasses, Soldier’s Joy (1a&b), La Strasbourgeoise (1), La Strasbourgeoise (2), Strawberries and Cream (3), Sun Assembly, The Touchstone, Le Tourbillon, A Trip to Highgate, The Triumph (1a), La Voltaire et la Franklein, Von einem Böhmen no.1, Von einem Böhmen no.2, Von einem Böhmen no.9, Wakefield Hunt, Waltz (on a fan), Wednesday Night, Wernigeröder Englischer Tanz nom. 19, La Windsor, The Wish, The Young Widow

Extracts from Volume VII: 1800-1825

Ah Ça Ira (2), The Alexander, Allemande (5) / Strassburger, L’Augustin Waltz (1&2), La Batteuse, The Battle of Leipzig, La Belle Annette & La Batteuse Country dance, Butter’d Pease (2), The Caledonian Quadrille, Le Carillon de Dunkerque, The Chase (1), College Hornpipe, The Comet, Contre-Ecossaise, Conversation (1) & (2), Le Cotillon 1820 (Lauchery) , Le Cotillon 1823 (Lauchery), Le Cotillon 1823 (Collinet), Countess of Yarmouth’s Fancy, Country Bumpkin (2), Country Bumpkin (3), The Cushion Dance (2), The Cushion Dance (3) / Der Polstertanz           , The Czar, Damen Verein, The De’il among the Tailors, Downfall of Paris, Drops of Brandy, The Duke of Kent’s Waltz, Dutch Dollars, Ecossaise mit 2 Colonnen, Elegance and Simplicity, L’Été, The Fair Circassian, The Fairy Dance, Française en rond, Francaise royal, The Good Girl, The Graces, Großvater (1)—Gergoux, Großvater (2) / Le Grand-père (Collinet)          , Haste to the Wedding, Highland Laddie (1), Highland Laddie (2, 3 & 4), Highland Laddie & Mr Chivers’ Fancy, Les Hussars, Isabella (1), Isabella (2), Italian Monfrina (1), Italian Monfrina (2), Joan’s Placket (2a & b), La Josephine, Juliana (1), Juliana (2) , Juliana (3 & 4), Jumping Joan (3a&b), Kattfuß’s Ecossoise no. 1, Keraus, Kreuz-Ecossaisen, Lady Caroline Lee’s Waltz (1), The Lancers Quadrille (1) / Les Lanciers (1), The Lancers Quadrille (2) / Duval Lancers, The Lancers Quadrille (3) / Hart Lancers   , Les Lanciers (2) / Les Lanciers for 16, Les Lanciers (3) / Les L. (country dance), Länger’s Ecossaise no.1, Lauchery’s Ecossaise for 1823, Mazurka Quadrille (1), La Monaco, Money Musk (2), La Monferine, Morgiana in Ireland (1a, b, c), Morgiana in Ireland (2), The Moscovians, Mr Chivers’ Fancy (1, 2, 3 and 4), Mr Turner’s Academy Cotillion, La Napoléon, National Waltz, National Waltz and Highland Laddie, Nichols’ Favorite      , Pantalon (1a&b), (2) & (3), Pleasures of the Town (2)       1, Polonaise (3) / La Grande Polonaise, La Poule (1), La Poule (2a), La Poule (2b, c, d), La Poule (3a&b)  , Quadrille Français (1) / Simonet’s, Quadrille Français (2a) / Paine’s 1st Set, Rond(e) de Rocha(t), The Russian Ambassador’s Waltz, Russian Dance (1), (2) and (3), Russian Dance and Morgiana in Ireland, Scotch Reel of 3 & of 4, Scotch Reel of 5 (1a&b), Scotch Reel of 5 (2), Scotch Reel of 6 (1a,b&c)~, Scotch Reel of 6 (2), Sicilian Dance (1) & (2), Sir Roger de Coverley (2a), Sir Roger de Coverley (3) / Haymakers, Soldier’s Joy (2a&b), Spanish Dance (1a&b) / The Guaracha, La Tempête (1 a, b, c, d), Triolet (1), The Triumph (1b&c, 2), La Trompeuse, Tyrolese Waltz and Isabella, The Union Waltz, La Valse en Cotillon, La Vinetta, The Volga, Waltz (1) / French Waltzing, Waltz (2) / German Waltzing / Drehen, Waltz in the Russian style, Wechsel-Waltzer, Wilson’s Quadrilles

Extracts from Volume VIII: 1825-1850

Blasis’ new set of Quadrilles, The Cinderella Cotillion, Cotillon 1829 (Helmke), Cotillon 1836 (Hentschke), Cotillon 1839 (Maksin), Cotillon 1843 (Roller), Cotillon 1847 (Cellarius)—for 3 couples, Cotillon 1847 (Cellarius)—for more W, Cotillon 1847 (Cellarius)—for 4 couples, Cotillon 1847 (Cellarius)—with cushion / Cushion dance (4), Ecossaise Waltzer (1) & (2), Fancy Quadrille Figures, The Five Step Waltz (1), Galop (1) / Galopade (2), Galopade (3) / Quadrille Galope, Highland Reel (1), Hull’s Victory, Mazurka Quadrille (2), Mazurka Quadrille (3)        , Mazurka Quadrille (4), Mazurka Waltz (1) / La Cellarius, Minuet (3)   , Polka (1), Polka (2), Polka (3) / Grand Polkas, Polka Quadrille / London Polka Quadrille, Polonaise (4), Portland Fancy, Quadrille Français (2c) / Mundy’s First Set / L’Albert Quadrille, The Redowa (1), The Royal Gallopade, The Serious Family Polka, Sir Roger de Coverley (4a) / Virginia Reel (1), Sixdrilles / Quadrille Français (1b), Soldier’s Joy (3), Spanish Dance (2) / Spanish Waltz (1), Spanish Waltz (2), Styrienne, Swedish Dance (1), (2) and (3), La Tempête (2), The Triumph (3), The Triumph (3), The Triumph (4) / Lady’s Triumph, Triolet (2), Triolet Waltzer, Waltz (3) / Valse à deux Temps, Waltz (4) / Valse à trois temps, Waltz Cotillion, Waverley Quadrilles / Quadrille Français (2b), Wiener Waltz


Extracts from Volume IX: 1850-1875

L’Anglicane, Beseda, La Boulangère (2), The Chase (2) / Chase the Lady (1), The Chase (3) / Chase the Lady (2), The Chase (4) / Chase the Squirrel, Cheat the Lady / Coquette (2), Cinderella Set, Cinderella Waltz, Circassian Dances, Cotillon-mazurka 1858 (Gawlikowski), Coulon’s Double Quadrille, La Czarine  , Dashing White Sergeant (1)  ,, The Empire Quadrille, The Esmeralda (1), The Esmeralda (2a&b), The Esmeralda—Scherpf, The Five Step Waltz (2), Galop (2) / Galopade (4), Galopade Country Dance, The Gitana Waltz / La Carlowitzka, The Gorlitza, Highland Reel (2), The Holly Berry, Hongroise (1), Hongroise (2), Hop Waltz (1) / La Sauteuse, La Koska (1), La Koska (2) / La Coska, The Lancers’ Quadrille (4), Lancers for 16 (2), The Mazurka Quadrille (5) / Philadelphia Mazurka Quadrilles, The Mazurka Waltz (2), Money Musk (3), Mrs Henderson’s Double Quadrille, The New Caledonian Quadrille, Nine-Pin Quadrille, The Norwegian Country Dance, Polka (4), Polka Mazurka (1) /The Australian, Polka Mazurka (2a&b), Polka Country Dance, Polka Redowa, Pop Goes the Weasel (1), Pop Goes the Weasel (2), Prince Imperial Quadrille, Princess Alice, The Prisoner, La Prisonniere, Quadrille des Dames, Quadrille Français (2d) / The Christmas Quadrilles / Russian Quadrilles, Quadrille Français (3) / Orpheus Quadrille, Quadrille Français (4), Quadrille Russe, Redowa (2), Redowa (3), La Russe Quadrille, Russian Mazourka Quadrilles, Sackett’s Harbor, Schottische, Sicilian Circle, Sir Roger de Coverely (2b), The Tempest, La Tempête (3), La Tempête (4), Vals des Patineurs, Les Varietés Parisiennes, La Varsovienne / The Varsovienna (1), La Varsovienne / The Varsovienna (2), La Varsovienne / The Varsovienna (3), Waltz (5) / Glide Waltz, The Zingarilla (1), The Zingarilla (2) / La Zingerilla, Zulma l’Orientale, Zwiefache


Extracts from Volume X: 1875-1900

The Albert’s (1), The Albert’s (2), Baby Polka / German Finger Polka / La Badoise, The Berlin Polka / La Berline / Alsatian Polka / Polka Militaire, The Berlin Polka / La Berline / Alsatian Polka / Polka Militaire, Bohemian Polka / Heel and Toe, The Cake Walk, Charge of the Light Brigade, Les Cinq Parties du Monde, Combination Polka, Coquette (3a&b) / Glide Polka, Coquette (4a&b), Cotillon medley with blindfolds, Cotillon medley with cards, Cotillon medley with 4 chairs facing in, Cotillon medley with 8 chairs facing out, Cotillon medley with choice, Cotillon medley with circles and columns / Farandole, Cotillon medley with fans , Cotillon with hat and gloves, Cotillon with mixing, Cotillon with pairs of props, Cotillon medley with scarves (1), Cotillon medley with scarves (2), Cotillon medley with a sheet, Cotillon medley with surprises~, Cross Step Polka, La Dance Florence / Dashing White Sergeant (2), Double Glide Waltz, L’Élégante, L’Éxcentrique, The Fitzroy Quadrille, The Five Step Waltz (3), Galop (2), Galop (3), Galop (4) /Rhein Galop / Danish Waltz / Manchester, Ganglovienne / Ostendaise Valsée, Gavotte de Pas de Quatre, La Giraudette, Highland Schottische, Hongroise (3) / Valse Hongroise, Hop Waltz (2), Kreuz Polka, The Lancers’ Quadrille (5) / Pirates of Penzance, Lancers for 16 (3), Loomis Glide Mazurka, Menuet de la cour (2), Menuet de la Cour (3) / ... à la Reine (2), Menuet de la cour Quadrille, Military Schottische / Pas de Quatre / Barn Dance, The Newport, Ostendaise, Oxford Minuet, La Parisienne, Pas de trois, Pas des Patineurs, Polish Galop, Polka Mazurka (3) / The Waratah, Polka Russe (1), Polka Russe (2), Polka Russe (3) / Troika, Le Polo, Polonaise (5) / The Grand March, The Prince of Wales Schottische, Quadrille Classique, Quadrille Giraudet, Le Quadrille de Jean Gilles, Quadrille Français (5) / The Sydney Exhibition Quadrille, Quadrille Polo Américain, Rédowa (4) / Redowa Waltz, La Russe, The Russia, Sagantina Nancéenne, Singing Quadrille / Quadrille Français (6), Sir Roger de Coverley (4b) / Virginia Reel (2), Sir Roger de Coverley (5), Sir Roger de Coverley (6) / Gigue Anglais / Gigue Américaine, Stéphanoise, La Tempête (5), Waltz Minuet (1), Waltz Minuet (2a&b)