By Giovannino
| trans. | meas. | man 1 | lady | man 2 | notes |
|---|---|---|---|---|---|
| Section 1 | |||||
| 6:12:21 | 1 | RL | RL | RL | with hands |
| 6:12:21-23 | 2 | tL r_R | tL r_R | tL r_R | letting go of hands, turning over their own left shoulder with the trapassino; though the ripresa is on the right foot, it is to the left |
| Section 2 | |||||
| 6:12:23-24 | 3 | tL tR | tL tR | tL tR | straight forward "through the middle of the hall", holding hands |
| 4 | tL PR | tL PR | tL PR | ||
| 6:12:24-26 | 5 | tL tR | tL tR | tL tR | turning around and doing the same the other direction |
| 6 | tL PR | tL PR | tL PR | ||
| 6:12:26- 7:13:1 | 7 | tL r_R | The lady does the "chorus" as before, turning with the trapassino over her left shoulder, then doing the ripresa "under the left foot" | ||
| 7:13:1-2 | 8 | tL r_R | tL r_R | The men respond with the same | |
| Section 3 | |||||
| 7:13:2-5 | 9 | tL tR | tL tR | taking right hands, and switching places | |
| 7:13:5-7 | 10 | tL tR | tL tR | tL tR | They all do a full hay, returning to their places. It doesn't mention hands here (and just did for the previous step), it is probably without hands, and with one trapassino per switch, is rather fast. |
| 11 | tL tR | tL tR | tL tR | ||
| 12 | tL PR | tL PR | tL PR | ||
| 7:13:7-8 | 13 | tL r_R |
The lady does the "chorus" as before The men respond with the same Note from here on, the ripresa-with-foot-under isn't mentioned, and is an assumption on our (the reconstructors') part |
||
| 7:13:8-9 | 14 | tL r_R | tL r_R | ||
| trans. | meas. | man 1 | lady | man 2 | notes |
|---|---|---|---|---|---|
| Section 4 | |||||
| 7:13:9-12 | 15 | tL tR | the lady wanders off ("through the middle of the hall") | ||
| 16 | tL PR | ||||
| 17 | t r_ | The lady does the "chorus" as before. | |||
| 7:13:12-15 | 18 | tL r_R | tL r_R | The men respond with the same | |
| Section 5 | |||||
| 19 | tL tR | tL tR | the men join her | ||
| 20 | tL PR | tL PR | |||
| 7:13:15-16 | 21 | tL r_R | tL r_R | For once, the men do the "chorus" first | |
| 7:13:16 | 22 | tL r_R | and the lady responds with the same | ||
| Section 6 | |||||
| 7:13:17-18 | 23 | PL PR tL | PL PR tL | PL PR tL | forwards, with a turn at the end |
| 7:13:18-19 | 24 | PR PL tR | PR PL tR | PR PL tR | back the other way, with a turn at the end |
| 7:13:19 | 25 | ½rL ½rR | ½rL ½rR | ½rL ½rR | taking hands |
| 7:13:20-21 | 26 | tL r_R | tL r_R | tL r_R | and for the last time, all together |
We have made a few assumptions with this reconstruction, each leading to the same conclusion. There is not obvious structure to this dance, despite some structure being fairly common in most of the dances in this manuscript. But there is a repeated "trapassino in volta" (trapassino turning) or "trapassino in volta come di sopra" (trapassino turning as above>. The first two times, it is immediated followed by "la ripresa sotto il pie mancho" (the ripresa under the left foot). If we assume parallelism here, that the ripresa is just omitted in later figures, we get some small logic to the dance as a whole.
Also, without this presumption, we are left with half-measures (a trapassino takes half the length of a double) scattered throughout the dance.
This is not a dehabilitating problem. The music could have a measure of half-time at the end of each section - we have examples of this both in music and dance (Amoroso for example>). Lacking dedicated music, however, we deemed our interpretation the simplest to use.