Our surviving knowledge of Renaissance dance and choreography comes primarily from the notes and manuals written by dance masters and students of that era. These sources span several centuries and different countries and cultures. For example, a style of dance that began in France in the early 17th century is the beginning of what came to be known as Baroque dance, characterized by precise, highly stylized choreography, and is generally considered to be the ending point of Renaissance dance.
During the period now known as the high Renaissance, from about 1550 to 1650, several dance masters produced manuals. One of the most important of these was Thoinot Arbeau's "Orchesographie." Published in 1588, this treatise describes dances from France during that period as well as information on dances from other countries. Arbeau wrote of three primary dance styles, including the branles, or circle dances. Arbeau described more than 20 different types of branles divided into three main groupings: the simple branle, which consists of sideways sequences of single or double steps; the mixed branle, which combines jumps on one or both legs; and a third type that required the dancer to mime gestures or add facial expressions to the movements.
The galliard is considered the most difficult of Renaissance-era dances, and was typically a showcase for athletic male dancers. Performed in a triple meter, the galliard's movements including five quick changes performed in six beats, with jumps between each change. In addition to the basic galliard, Arbeau also wrote of different five-step variations and even galliards that link two phrases of five steps to create an intricate 11-step version. There were also Italian varieties of galliards that were slightly different from the French varieties.
The pavan was a processional dance. In "Orchesographie," Arbeau describes the method of performing a pavan as "walking with decorum and measured gravity." The pavan consists of two single steps and one double step, either forward or backward. The dancer can than reverse direction. Arbeau's instructions also included details on ballroom etiquette and descriptions of the elaborate step vocabulary, including information on the subtle variations in jumps and turns that a dancer needed to know in order to properly perform these Renaissance dances.