Each suite in Schein’s Banchetto musicale begins with this dance and ends with the newer allemande. Joan Ambrosio Dalza paired five of these dances with a saltarello and a piva. Ben Jonson wrote “Hear me, O God” for Alfonso Ferrabosco the Younger’s “four-note” one. This elegant dance was usually followed by a hopping afterdance sometimes called the cinquepace (“SINK-uh-pace”). In My Ladye Nevells Booke, this dance is often followed by a piece whose title ends with “to the same.” A piece originally in this AABBCC form opens with a G minor chord and a four-note (*) “falling tear” motif. The faster triple-time galliard (“GAL-yerd”) was danced after this stately duple-time dance from northern Italy. John Dowland’s air “Flow, my tears” was adapted from a lute piece written as one of these dances titled “Lachrimae.” For 10 points, what dance titles Fauré’s Opus 50 in F-sharp minor, which inspired one “for a Dead Princess” by Ravel? ■END■
ANSWER: pavane [or pavan, pavana, padovana, pavian, or pavin; accept “Four-Note Pavan” or “Lachrimae Pavan”; accept Pavane pour une infante défunte or Pavane for a Dead Princess; reject “air” or “ayre”]
<IZ, Classical Music and Opera>
= Average correct buzz position