Steps:	Doppio (in 4), Piva (in 4 and 6), Voltatonda, Movimento.	Starting Position
Start:	Man 1 on left, Woman in middle, Man 2 on right, all holding hands, facing up the hall.
Section I(4 bars of 4/4, played three times)
	[Two-bar introduction on accompanying tape]
1-4	(three times) 12 Pive, starting left. Drop hands. (These pive are slower than usual, taking the same time as the doppii that follow.)
Section II (1 bar in 4/4, played three times)
5	Man 1 Doppio Left, and bring right foot beside left.
5 (2nd time)	Woman the same, ending beside Man 1.
5 (3rd time)	Man 2 the same, ending beside Woman. (End lined up as at the beginning.)
Section III (1 bar in 2/4, played three times)		Bars 8-10 (1st time)
6	Man 1 Movimento.
6 (2nd time)	Woman Movimento.
6 (3rd time)	Man 2 Movimento.
Section IV (1 bar in 4/4, played three times)		Bars 11-12
7	Man 1 Voltatonda (4 Steps, starting Left, counterclockwise.)
7 (2nd time)	Woman the same.
7 (3rd time)	Man 2 the same.
Section V (3 bars in 6/8, played three times)
8-10	Man 1 Piva Left, Piva Right, Piva Left, going behind the others, and ending to the right of Man 2. (The pive are at their regular speed, so they may seem fast after doing them slowly in Section I.) (End side-by-side, facing up the hall, Woman on the left and Man 1 on the right.)
8-10 (2nd time)	Woman does the same, ending beside Man 1.	Bars 13-16
8-10 (3rd time)	Man 2 does the same. (End facing up the hall, Man 1 on the left, as at the beginning)
Section VI (6 bars in 6/8)
11-12	Men Doppio Right, changing places, Man 2 going in front of Woman, Man 1 going behind. (End in a line, Man 2 facing down the hall, but the others facing up. Man 2 is to the left of Woman, Man 1 is to her right. The dancers are much closer than usual, nearly touching shoulders.) The Doppio is done in 2 bars of 6/8 as if they were one bar of 4/4.
13-16	Woman 4 Pive starting Left, going to her right, behind Man 1. She circles him counterclockwise, then goes behind Man 2, stopping to his left,
as	Man 2 turns to face up the hall again. All take hands at end. (End facing up the hall, Woman on the left, Man 1 on the right, holding hands.)
Repeat the dance twice more, rotating roles.

Recordings

Bel Danzare - One-note introduction. In Sections V and VI each bar has three beats in it, so the pive should be done with just three steps, leaving out the pause at the end. The doppio of Bars 11-12 only has one bar, of the same length, so it should also be done with three steps and no pause. The dance is played three times.

Dance Notes

In this reconstruction we presumed that "ahead" and "behind" are also used to mean "beside to the left" and "beside to the right". (Using these terms may have been due to the person on the left being slightly ahead - see Leading in the Introduction.) However, a reconstruction where "ahead" always means "directly in front of" is also possible, producing a dance that is done entirely, or mostly, in single file. In particular support of such an alternate reconstruction is the instruction in PnD, at the end of Section II, saying that the dancers should "vadino sempre a drito filo l'uno drieto l'altro" (always go in a straight line, one behind the other.) The phrase "a drito filo" is used in PnD to describe the initial setup for the dance Jupiter, where we take it to mean that the dancers are one behind the other.

Start: None of the sources say to hold hands, but PnD says to take hands at the end, when they are ready to start the dance over.

Section IV: PnD describes the voltatonda as being four small sempii, which we took as meaning steps. (See Volta in Piva, in the Voltatonda section of the Steps chapter.)

Section V: This section has been simplified. PnD calls for three contrapassi (literally "dupii tri sul pe sinistro"), most of the other sources have two contrapassi and a sempio, and Sc merely requires seven pive, probably in total between the three repeats. It is notable that the music starts identically in Bars 13-16, where PnD does specify pive.

Bars 11-12: PnD calls for Man 2 to use a doppio on the left, but since our adaptation has him doing a piva left immediately before, we changed this to a doppio right, matching the one that Man 1 is doing.

This doppio may have been meant to be a contrapasso. However, the men are expected to cover in this one "doppio" much the same territory as they just covered in three "doppii" (in our reconstruction changed to pive), so we decided on a normal doppio. This, being slower, allows the dancer to cover more territory.This affected our decision regarding the length of the music, as we lengthened it to make sure it would fit a full doppio.

Bars 13-16: The music for this section is only three and a half bars, and all the sources except PnD specify three pive and sempio, which, presuming that this sempio is done in half a bar of piva, fits exactly. PnD, however, says four pive (despite being the only source with the music). We chose to elongate the music and go with four pive, as the woman needs to cover a lot of ground with these steps.

No turn is specified for Man 2. He may be expected to do a mezavolta on the end of his doppio in bars 11-12.

Repeat: None of the sources specify more than one repeat. We presumed that a third would be appropriate in order that each dancer has a turn leading.

Music Notes

There is no time signature in the music, but the choreography calls for quadernaria time for the first part (Section I and II). In terms of the choreography, Bars 8-16 work better in 6/8. In addition, the last four bars are very similar to bars 8-10 and the choreography refers to tempi of piva there.

We needed to make several small changes to the music in order to fit the choreography.

First, in Bars 1 and 3, a literal transcription (see below) would have resulted in incomplete bars. We doubled the values of two notes in each of these bars in order to address this. (We felt this was the minimum change.) A literal transcription of the first section follows.

Second, as noted above, in Bar 11 we lengthened the note to produce a complete bar.

Third, in Bars 8 through 10 (and similarly in Bars 13 through 15), we were guided by the choreography in our interpretation of the placement of rests and pickup notes. Additionally, we have interpreted the first minima after each semibrevis in these sections as shortening the preceding brevis; that is why those ones are transcribed as sixteenth notes while the pairs that follow are transcribed as eighth notes. We are certain that there are other valid interpretations; this is but one hypothesis.

PnD calls for the final four bars to be played three times, but the choreography only calls for four bars of music here. We have dropped the repeat marker.

Finally, in the last measure, we doubled the brevis to provide for a full bar of music. (There's probably a more elegant solution, but this was the least-destructive change.)

To facilitate other interpretations, the music from PnD follows.