>>=20
>> How come "pas de passacalle" is in Feuillet's  Choregraphie from 1713?

Evidently by that time the French had created a dance for it, possibly an=
 outgrowth of its use in stage and/or chamber music:

"In France the Hispanic-Italian passacaglia, like the chaconne, was=
 transformed during the mid-17th century into a distinctive native genre,=
 although before that the genre had already had some impact as an exotic=
 Spanish import. A passacalle(in the earlier sense of ritornello) occurs in=
 an air to a Spanish text by De Bailly (1614), and in 1623 the Spanish=
 expatriate Luis de Bri=E7e=F1o published in Paris a guitar method that=
 included in chord tablature brief chaconnes and passacaglias similar to the=
 early Italian examples. During the 1640s the promotion of Italian music and=
 musicians by Cardinal Mazarin brought wider familiarity with the two genres=
 in their newer incarnations. A harpsichord passacaglia by Luigi Rossi (who=
 visited Paris in 1646 and whose Orfeo was performed there the following=
 year) enjoyed wide manuscript circulation. Francesco Corbetta, who settled=
 in Paris around 1648 and became guitar teacher to the future Louis XIV, was=
 perhaps the greatest Italian guitar virtuoso of his time, and the composer=
 of numerous chaconnes and passacaglias.

By the late 1650s the French passacaglia tradition was firmly in place,=
 already showing many of the characteristics that would mark the genre=
 during the later 17th century and the 18th. Like the chaconne, the=
 passacaglia was cultivated both in chamber music, especially by guitarists,=
 lutenists and keyboard players, and on the musical stage."   (New Grove)

This page from Kellom Tomlinson's dance treatise shows the steps for a=
 passacaille.  the accompanying music is not the bass line but a melody.
Caroline
http://www.bllearning.co.uk/live-extracts/108337/=20
*********************************
Caroline Usher, DCMB Administrative Coordinator
613-8155, Box 91000

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