continue the tune until the dancers have made the circuit of the 'salle' twice or thrice.
Besides this state dancing of pavans, this dance was used in Mascarade, when triumphal chariots of gods and goddesses enter, or of emperors and kings 'plains de maiesté.'
On p. 29 ff, Arbeau gives the vocal Pavan for four voices, 'Belle qui tiens ma vie,' which is quoted in Grove. The proper drum accompaniment, continued throughout the 32 bars (22) is—
etc. He also gives seven more verses of words to it, and says if you do not wish to dance, you can play or sing it. Moreover, he adds, that the drum is not a necessity, but is good to keep the time equal; and that for dancing you may use violins, spinets, flutes, both traverse and 'à neuf trous' (nine-holed flute—i.e., a flageolet), hautboys, and, in fact, 'all sorts of instruments '; or you may sing instead.
Arbeau's account of the Passemĕze, or Passy-measures-pavin of Shakespeare, is very simple. He says that the instrumentalists increase the speed of the pavan every time they play it through, and by the time it has reached the moderate speed of a basse-dance, it is no longer called Pavan, but Passĕmeze.
