step as 'travising and running,' which would appear to connect the Italian word with curro. Sir John Davies (1570–1626), in his poem 'Orchestra,' identifies Rounds, Corantos, measures, and some other dances with Country Dances. That is, whatever the rhythm or speed of the actual tune used, these variously named Country Dances could be performed to it. Sir Roger de Coverly, our typical English Country Dance, is in form almost the same as the Brawl, Coranto, Galliard, or measure. A Courant by Frescobaldi (1591–1640) is in triple time. As for its 'step,' Davies says it is 'on a triple dactile foot,' 'close by the ground with sliding passages.' According to Sir Toby, it would be a quicker and gayer dance than the Galliard, for he compares the walk to church to the latter; but the more lighthearted journey back to dinner he likens to the Coranto. The Jig would be even faster, for Sir Andrew's 'very walk,' that is, his week-day gait, was to be 'a jig.'
3. The Galliard, in accordance with its derivation, is properly described in H. 5. 12, 252, as a 'nimble' galliard. This was extremely popular, both as a virginal piece and for dancing. There is quite a long list of Galliards by various composers, in Qu. Elizabeth's Virginal Book. There are several in Parthĕnia
