e ear,' is merely a development from
Dances.

He speaks of the association of Pavan and Galliard as being 'in
course.' He spells the latter _Giliard_, and says that it is
'according to its name' [see Skeat, Etym. Dict., Spanish, gallardo (ll
= ly), pleasant, gay, lively] 'of a loftly and frolick movement.'
Immediately afterwards, however, Sympson seems to forget his own
remarks, for he says the name is derived from Gallia, 'the country
whence it came.'

On page 117 he speaks of _Corants_, _Sarabands_, _Jiggs_, _Country
Dances_, etc., as 'things so common in each one's ears' that he 'need
not enlarge his Discourse' to them.

There is a capital bit of patriotism on page 118, which deserves
quoting, first, because at the time it was entirely justifiable;
secondly, because it shews us that in 1667, instrumental music had at
last decidedly parted company with vocal part-writing, and had an
independent existence. 'You need not seek Outlandish Authors,
especially for Instrumental _Music_; no Nation (in my opinion) being
equal to the _English_ in that way; as well for their excellent as
their various and numerous Consorts, of 3, 4, 5, and 6 Parts, made
properly [on purpose] for Instruments, of all which (as I said)
_Fancies_ are the chief.' For 'Consort,' see _Two Gent._ III, ii, 83;
and for 'Fancies,' _Hen. IV. B._ III, ii, 323.

Hawkins (1776) does not add much of interest to the above account of
the Elizabethan dances, except (p. 704) that there is no authority for
a Jigg having generally a pointed (_i.e._, dotted) note at the
beginning of every bar. There is, however, a 'Jegge' given in Stainer
and Barrett's Dict. of Musical Terms, dated 1678, where the 'pointed'
note is quite characteristic. This may be a more modern feature, for
an undoubtedly ancient Jig--viz., Dr Bull's 'King's Hunting Jigg,' not
only has no dotted note, but is in common time, without even a
tendency towards the rhythm of triplets. [Also see Appendix,
'Cobbler's Jig.' 1622.]

Here is a most entertaining quotation from Selden,[19] dealing with
fashionable court dances in Elizabeth's reign, and shewing how things
had gone from bad to worse in respect of dignity and state in dancing,
under the Stuarts.

[Footnote 19: Selden's Table Talk, article 'King of England,' Sec. 7.]

'The court of England is much alter'd. At a solemn dancing,
_first_ you had the _grave measures_, _then_ the _Corantoes_
and the _Galliards_, and _this_ kept up