Il Papa - Che Faralla (reconstruction)
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steps La Vita Ippiter Lasso Non Mi Parto I Tromboni La Traditora Lucretia Che Faralla La Primavera La Reale La Franciosetta Lo Dimostra La Villanella Baramattio Fiammetta

Che Faralla

By il Lanzino

transcription and translation

trans. music meas. man 1 lady man 2 notes end position
Section 1
7:13:25-27-23 A 1 RL RL RL triangle
2
3 vL vL vL full turn, we presume in two or four steps to make the feet work out
4 RL RL RL
5
7:13:27- 7:14:1 B1 6 sL sR sL sR sL sR The lady going through the midst of the men reversed triangle
7 pL pR pL pR pL pR pL pR pL pR pL pR
7:14:2-5 B2 8 sL sR sL sR sL sR

The men change places, taking hands during the passetti.

The lady turns towards them with her volta
9 pL pR pL pR vL pL pR pL pR
7:14:5-6 C1 10 RL RL The lady and the man currently on her right, towards one another
7:14:6 C2 11 RL RR The lady and the other man, towards one another
7:14:8-10 D 12 ½rL ½rR vLR _pR _pL _pR _pL _pR ½rL ½rR vLR The men do a Volta di Lasso, while the lady turns into place between them. All hold hands at the end. line
Section 2
7:14:11-12 A 13 PxL PxL PxL

Holding hands
14
15 PxL PxL PxL
16
17 vLR vLR vLR

The manuscript says here that they "turn" ("voltisini", a verb), not "do a volta". We ordinarily treat this as meaning a turn in no time, rather than a separate step. In this one instance, we treat it as a step, because the dance is a little easier this way.
7:14:12-13 B1 18 sL sR Lady leaves, and turns to face the men at the end triangle
19 pL pR pL pR
7:14:13-14 B2 20 sL sR sL sR Presumably approaching the woman smaller triangle
21 vL vL
7:14:14-15 C1 22 RL RL The lady and the man currently on her right, towards one another
7:14:15-17 C2 23 RR RL The lady and the other man, towards one another
7:14:17-18 D 24 ½rL ½rR vLR _pR _pL _pR _pL _pR ½rL ½rR vLR

The manuscript only states a Volta for the men, but the parallelism with the last three measures of the first figure are undeniable, so we assume a Volta di Lasso (i.e., ½r ½r v) is what is meant.

 line
Section 3
7:14:19-20 A 25 ½rxL ½rxL ½rxL
26 pause
27 ½rxL ½rxL ½rxL
28 pause
29 ½rxL ½rxL ½rxL
7:14:20-23 B1 30 tL tR tL tR tL tR

Lady does a Volta di Lasso in the second measure

This separates them slightly into a triangle. To prepare for the treccia, the men have to turn around on the passo, though there is no mention of this.

 triangle
31 tL PR ½rL ½rR vLR tL PR
7:14:23-25 B2 32 tL tR tL tR tL tR

Treccia with the men changing places - probably a ½ hay.

Note this will put the men back in their original places
33 tL PR tL PR tL PR
7:14:25-27 C1 34 RL RL

On these reverenze, it specifically says to touch hands (it doesn't say not to on earlier ones, but doesn't say to, either).

Again, first R is with the man currently on the lady's right. One can come out of the treccia so this is either man; one way implies the men change places, the other doesn't. It doesn't matter all that much in the grand scheme of things, but we think it probably more correct to come out so that the second man is still on her right, as in the beginning of the dance.
7:14:27 C2 35 RL RR
D 36 ½rL ½rR vLR _pR _pL _pR _pL _pR ½rL ½rR vLR We are assuming a similar ending to figure 3 as ended figures 1 and 2 line

notes