Age of the Galliard
Curt Sachs first coined the term "Age of the Galliard" to describe the style of dance performed in Italy from the early sixteenth through the mid-seventeenth centuries. Herein, I present my work - translations, notations, and teaching resources - of this era of dance.
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Changes between editions of Il Ballarino: Cascarde
A second edition of this book was published in mid 2010.

After further examination and research, the time signatures for nine dances were altered. Those changed were Alta Regina, Candida Luna, La Castellana, Fedelta, Fiamma d'Amore, Florido Giglio, Fulgente Stella, Gracca Amorosa, and Maraviglia d'Amore. The corrected sheet music for these dances is also available here.

Additionally, a few adjustments were made to the following dances:
  • Alta Regina: Replaced the missing Scambiate after the opening Riverenza. Also clarified Part Five to begin facing and to make the Doppii to the sides.
  • Bentivoglio: The original choreography did not indicate where to drop hands, however, it is necessary for the dancers to turn in their own circle in Part Two. Logically, they may either drop hands before or after the two Seguiti spezzati in a wheel in the first or second verse.
  • Fedelta: The opening stance has been changed to "Couples, all facing in a wheel, alternating Men and Women, no hands held" because Caroso never directly indicates which dancers make up the couples. In Part Three, each man dances with the woman to his right, clasping right hands. Then, in Part Four, Caroso says, "the men, clasping the left hands, make to the contrary the same actions." This suggests that the men dance with the same women as in part three, but can be interpreted otherwise. As a result, the opening stance has been adjusted so that the dancers can chose how to interpret this section. Additionally, the fourth part has been adjusted so that the dancers move in the opposite direction. The Riprese and Seguito spezzato turning in an individual circle have been rewritten to be performed to the right. Because so many changes were made to this dance, the updated version is available here.
  • Gloria d'Amore: In part five, the first two Seguiti spezzati and Seguito semidoppio are done in a wheel to the left, and the second sequence is done in a wheel to the right. The choreography has been adjusted to make this more clear.
  • Maraviglia d'Amore: In Part Four, the dancers were directed to clap the wrong hands during the Seguiti spezzati changing places. The hands have been reversed (right the first time and left the second) to match the original instructions.

Final Note: In Allegrezza d'Amore, Candida Luna and La Castallana, the original choreography is unclear whether to make the 2 Passi or the Cadenza to the left. In the first two dances, the punctuation would suggest only the Cadenza is done to the left, but the sequence in the Castallana is done "in a wheel," suggesting that the entire sequence is done to the left. The reconstructions in this book reflect this, however, reconstructors may choose to interpret this direction differently.

If you purchased a copy of the first volume of Il Ballarino: Cascarde and want a corrected copy, we will exchange copies free of charge - you only pay shipping and handling. Please Email Us for more information.

Copyright © 2009-2011, Margaret Roe