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The Gaillarde, he says, is so-called “parce qu’il fault estre gaillard and dispos pour la dancer,” and with much detail as to its performance explains that while danced somewhat like the tordion the latter is done “plus doulcement and avec actions and gestes moings violents.”

He gives nearly a dozen musical examples for the gaillarde, one called “La traditors my fa morire”; another “Anthoinette”; another, with the charming title “Baisons nous belle”; another, “Si j’ayme ou non.”

Capriol, by the way, remarks apropos after the second-named, that “At Orleans when we give Aubades we always play on our lutes and guiternes a gaillarde called ‘La Romanesque,’” but that it seemed so hackneyed and trivial that he and his companions took to “Anthoinette” as being livelier and having a better rhythm.

The Gaillarde was in triple time, and was made up of five steps (or four steps and a leap) and one “position”; the term cinq pas also being alternatively applied to it, hence the Shakespearean “cinque-pace” and “sink-a-pace.”