By Giovaninno
trans. | meas. | man 1 | lady | man 2 | notes | end position |
---|---|---|---|---|---|---|
Introduction | ||||||
9:18:4-5 | 1 | RL | RL | RL | triangle | |
Section 1 | ||||||
9:18:5 | 2 | PxL | PxL | PxL | "And always in a triangle" - presumably circling around one direction | |
3 | PxL | PxL | PxL | |||
4 | PxL | PxL | PxL | |||
9:18:5-7 | 5 | rL rL rL | rL rL rL | rL rL rL | Volta di Tromboni - see note, initial riprese left are suspect. | |
6 | vR | vR | vR | |||
7 | rR rR rR | rR rR rR | rR rR rR | |||
9:18:7-9 | 8 | sL sR | sL sR | sL sR | towards one another | line |
9 | RL | RL | RL | |||
9:18:9-10 | 10 | sL sR | sL sR | sL sR | away from one another | triangle |
11 | vL | vL | vL | |||
9:18:10-11 | 12 | tL tR | tL tR | tL tR | Around in a circle | |
13 | tL PR | tL PR | tL PR | |||
14 | RL | RL | RL | |||
Section 2 | ||||||
9:18:12-17 | 15 | PxL | PxL | PxL | Lady passing through the men | |
16 | PxL | PxL | PxL | |||
17 | PxL | PxL | PxL | turning back to face one another | triangle | |
9:18:17-19 | 18 | rL rL rL | rL rL rL | rL rL rL | Volta di Tromboni - see note, initial riprese left are suspect. | |
19 | vR | vR | vR | |||
20 | rR rR rR | rR rR rR | rR rR rR | |||
9:18:19-22 | 21 | R_L R_L | R_L R_L | R_L R_L | first forwards, second back (probably on the left?) | |
22 | dL | dL | dL | turning to the left | ||
9:18:22-24 | 23 | R_R R_R | R_R R_R | R_R R_R | first forwards, second back | |
24 | dR | dR | dR | turning to the right | ||
9:18:24-25 | 25 | tL tR | tL tR | tL tR | Around in a circle | |
26 | tL PR | tL PR | tL PR | |||
27 | RL | RL | RL |
trans. | meas. | man 1 | lady | man 2 | notes | end position |
---|---|---|---|---|---|---|
Section 3 | ||||||
9:18:26 - 10:19:3 | 28 | PxL | PxL | PxL | Straight through | reverse triangle |
29 | PxL | PxL | PxL | |||
30 | PxL | PxL | PxL | turn around to face inwards | triangle | |
10:19:3-4 | 31 | rL rL rL | rL rL rL | rL rL rL | Volta di Tromboni - see note, initial riprese left are suspect. | |
32 | vR | vR | vR | |||
33 | rR rR rR | rR rR rR | rR rR rR | |||
10:19:5-6 | 34 | sL sR | sL sR | sL sR | passing through one another (maybe jousting?), touching hands as they pass | reverse triangle |
10:19:6-8 | 35 | pL pR pL pR | pL pR pL pR | pL pR pL pR | ||
10:19:8-10 | 36 | sL sR | sL sR | sL sR | passing through one another (maybe jousting?), touching hands as they pass | reverse triangle again |
37 | pL pR pL pR | pL pR pL pR | pL pR pL pR | |||
10:19:10-11 | 38 | tL tR | tL tR | tL tR | "as above" - the same way section 2 ends | |
39 | tL PR | tL PR | tL PR | |||
40 | RL | RL | RL | |||
Section 4 | ||||||
10:19:12-15 | 41 | tL tR | tL tR | Giving right hands, turning 360° | ||
42 | tL PR | tL PR | triangle | |||
10:19:15-18 | 43 | tL tR | tL tR | Giving left hands, turning 360° | ||
44 | tL PR | tL PR | triangle | |||
10:19:18-20 | 45 | sL sR | sL sR | sL sR | Approaches the opposite gender, and taking hands | line |
10:19:20-21 | 46 | RL | RL | RL | ||
10:19:21-22 | 47 | sL sR | sL sR | sL sR | Recedes from the opposite gender, and taking hands | triangle |
48 | ½rL ½rR vLR | ½rL ½rR vLR | ½rL ½rR vLR | Volta di Lasso | ||
10:19:22-24 | 49 | PL PR | PL PR | PL PR | joining the opposite gender, placing the lady in the center | line |
This dance, when mentioning a Volta di Tromboni, mentions the volta with its ripresa on the right - there is no mention of the initial riprese left. Perhaps we are misunderstanding the Volta di Tromboni - perhaps the inital riprese are specific to that dance, not to that turn?
Plus, if we do consider a Volta di Trombini to be a volta followed by three riprese (or, as he sometimes puts it in this dance, "the long ripresa") right, then our figures are a more normal 12 measures, instead of 13. This is a mild "issue" of no real import - odd figure lengths do appear elsewhere in the repertoire.
More importantly - we believe, from evidence in other dances, that a passo in traverso switches feet, so three of them should be left, right, left, followed by a step on the right. Switch feet in the passi in traverso here, however, leads to the wrong foot for the volta di Tromboni - but only if we assume those initial three riprese are unstated but present. If we take the manuscript at its word, and omit the initial three riprese from how we have more generally reconstructed the volta di Tromboni, then strict foot sequencing works out fine assuming passi in traverso switch feet.