By Giovannino
trans. | meas. | man 1 | lady | man 2 | notes | end position |
---|---|---|---|---|---|---|
Introduction | ||||||
5:9:21-22 | 1 | RL | RL | RL | ||
2 | cL cR | cL cR | cL cR | |||
3 | rL rL rL | rL rL rL | rL rL rL |
Holding hands Florence specifies 1 ripresa. Fiametta, in its instance of the volta di Tromboni, specifies "the long riprese". We theorize this may be an early predecessor to the corinto |
||
5:9:23-24 | 4 | vR | vR | vR | Letting go of hands, turning left on the right foot | |
5:9:24-25 | 5 | rR rR rR | rR rR rR | rR rR rR | Holding hands; as in measure 3, but the other direction | |
Section 1 | ||||||
5:9:25-28 | 6 | PxL | PxL | Men go a little forwards, take right hands, and change places | small triangle | |
7 | Px? | Px? | ||||
5:9:28- 5:10:1 | 8 | PxL | Straight forwards through the men, turning back to face them at the end | reverse triangle | ||
9 | Px? | |||||
5:10:1-2 | 10 | _RL _RL | _RL _RL | _RL _RL | First forwards, second back | |
5:10:3-4 | 11 | pL pR pL pR | Return to the middle of the men, turning to face the same direction they are at the end. Take hands at the end. | line | ||
5:10:4-6 | 12 | rL rL rL | rL rL rL | rL rL rL | As above | |
13 | vR | vR | vR | |||
14 | rR rR rR | rR rR rR | rR rR rR | |||
Section 2 | ||||||
5:10:7-9 | 15 | PxL | PxL | Men go a little forwards, take right hands, and change places | small triangle | |
16 | Px? | Px? | ||||
5:10:10-11 | 17 | PxL | Straight forwards through the men, turning to face them at the end | reverse triangle | ||
18 | Px? | |||||
5:10:11-13 | 19 | _RL _RL | _RL _RL | _RL _RL | First forwards, second back | |
5:10:13-14 | 20 | pL pR pL pR | return to the middle of the men; take hands | line | ||
5:10:14-15 | 21 | rL rL rL | rL rL rL | rL rL rL | As above | |
22 | vR | vR | vR | |||
23 | rR rR rR | rR rR rR | rR rR rR |
trans. | meas. | man 1 | lady | man 2 | notes | end position |
---|---|---|---|---|---|---|
Section 3 | ||||||
5:10:16-17 | 24 | tL tR | tL tR | tL tR | Join hands, and go straight forwards, turning back the other way at the end | |
25 | tL PR | tL PR | tL PR | |||
5:10:17-19 | 26 | PxL | PxL | PxL | Back the way they came | |
27 | Px? | dR | Px? | But the lady turns a double instead of the second passo intraverso | small triangle | |
5:10:19-20 | 28 | _RL _RL | _RL _RL | _RL _RL |
Turn to face first First forwards, second back |
|
5:10:20-22 | 29 | cL cR | cL cR | cL cR | ||
30 | rL rL rL | rL rL rL | rL rL rL | As above | ||
31 | vR | vR | vR | |||
32 | rR rR rR | rR rR rR | rR rR rR | |||
Section 4 | ||||||
5:10:23-25 | 33 | tL tR | tL tR | Circling 360° holding right hands | ||
34 | tL PR | tL PR | ||||
5:10:25-26 | 35 | tL tR | tL tR | Circling 360° holding left hands | ||
36 | tL PR | tL PR | ||||
5:10:27-28 | 37 | _RL _RL | _RL _RL | _RL _RL | It just says, "the riverenze" - we are assuming as above | |
38 | cL cR | cL cR | cL cR | |||
39 | rL rL rL | rL rL rL | rL rL rL | As above | ||
40 | vR | vR | vR | |||
41 | rR rR rR | rR rR rR | rR rR rR | |||
Section 5 | ||||||
5:10:29- 6:11:2 | 42 | tL tR | tL tR | tL tR |
Treccia, with hands, starting with the lady and the man on her right. Men switch places - so probably a hay-and-a-half End with the lady off-center facing the men |
shallow triangle |
43 | tL tR | tL tR | tL tR | |||
44 | tL tR | tL tR | tL tR | |||
45 | tL PR | tL PR | tL PR | |||
6:11:2-4 | 46 | _RL _RL | _RL _RL | _RL _RL | As above | |
47 | pL pR pL pR | lady returning to between the men | line | |||
6:11:5-6 | 48 | rL rL rL | rL rL rL | rL rL rL | As above | |
49 | vR | vR | vR | |||
50 | rR rR rR | rR rR rR | rR rR rR | |||
Conclusion | ||||||
51 | RL | RL | RL |
The volta di Tromboni is also referenced in la Franciosetta. It explicitly states, when describing the turn, that one takes three riprese to the left, turn with the right foot, then take three more riprese to the right. It's remarkably clear and precise about that. It does not, however, state timing in any way. These could well be three full riprese in each direction - which would cover quite a bit of ground. Or they could be three strict meza-riprese, taking a measure and a half - which would result in a rather syncopated 4-measure phrase. While this would be quite interesting, especially with the right music, we suspect it beyond the capabilities of most SCA dancers to dance against the music like this. We have instead interpretted it much like a corinto from Caroso. While there is no evidence to favor this interpretation, we can find no evidence to favor any particular interpretation, and think this to be the easiest to promote in actual dancing.
Addendum: Lisa Koch turned us on to a possible source for music for this - a frattola entitled Canto di Lanzi, Che Suanano Tromboni . While we have not yet seen music for it, the verse structure implies a six-measure verse and a two-measure chorus (two measures for each in verse 1, what we have labeled 'Introduction' above). Our simplest reconstruction of the chorus to fit in two measures is as above, but turning in no time in between the pairs of triplets of riprese. We have not yet incorporated this into our reconstruction above, but we are still actively working on this to find more information.