Original Publications:

• The [English] Dancing Master 3rd edn, published by J. Playford, 1657, London (and included in all subsequent editions)
• Original notation for What You Please

Modern Interpretations:

• None known

Comments:

• It is generally the case for the layout used, in the original, that the text under the "A" music represents movement to the "A" music and the text under the "B" music represents movement to the "B" music.  However, to use this construction for this dance results in very odd combinations of A's and B's or, alternatively, far too much dance is required to be done to too little music.  However, if the first part of the left hand column is assumed to be an Introduction lasting 16 bars (AABB) then the rest of the instruction becomes standard with instructions in the left hand column representing movement to two As and the instructions in the right hand column representing movement to the B music.
• The dance consists of a 16-bar Introduction which would have been danced by every one followed by three separate Figures.  Each of these Figures would have been started by the top two couples only and each successive couple would join in as the original top couple reached them until everyone was back in original places (or at least they and the next couple were back - I know of no conclusive evidence either way).  The top couple would then begin the second Figure.  Similarly, when everyone had completed the second Figure the top couple would start the 3rd Figure.  The structure of the dance is similar to the conventional USA (up a double, siding, arming) dances with the more normal top-to-bottom or non-progressive figure replaced by a duple minor dance.  The siding and the arming have then been dropped leaving just an "up a double" Introduction figure followed by three duple minor progressive Figures.  This is not unique - Once I Loved A Maiden Fair is another example of this structure.  Later on, dance authors must have realised that they did not have to keep to the "old" formula and dances were constructed with just an Introduction and two Figures  followed by an Introduction and one Figure, finally dropping (or at least not publishing) the Introduction leaving us with the form with which we are most familiar today.
• The dictates of both modern and authentic performance can be achieved by doing this type of dance as a two couple longways dance.  The order then becomes: Introduction, Figure 1 (led by couple 1), Figure 1 (led by couple 2), Figure 2 (led by couple 1), Figure 2 (led by couple 2), Figure 3 (led by couple 1), Figure 3 (led by couple 2),
• The way the dance is laid out leads one to expect that the music should be played AABⁿ with the A musics being an introduction done by everyone followed by B musics repeated until everyone is back. However, close inspection of the dance shows that the A movements are needed to precede the B movements.  The next issue, therefore is whether the B music section is B, BB or BBB.  For the 3rd Figure it is clearly BB.  The second Figure is indeterminate but can (and is) interpreted as BB.  The first Figure seems to be BBB but if one assumes some confusion in all the instructions to "fall back" and "meet" then one can (and I have) interpreted this as BB.  Apart from maintaining a regular pattern throughout the dance (AABB) this interpretation results in the B2 movement in the Introduction, Figure 1 and Figure 3 all being the same.  It would be nice if this were also the case for Figure 2 but since the previous movements in this Figure leaves one couple "proper" and one couple "improper" a movement which can get everyone back proper (arming) is required.
• There are specific instructions to hold hands for the lines falling back in Figure 1 (A2) and the leading up in Figure 2 (A2).  The absence of instructions for other similar movements is assumed to mean that hands are not taken.

Formation:

• Longways duple minor

Music (1716):

• What You Please (abc format)

Notation:

Your feedback is always welcome - please click to give feedback