|Steps:||Sempio (in 6), Doppio (in 6), Saltarello (in 6), Ripresa (in 6),
Continenza (in 6), Contrapasso (in 6), Reverenza.
|Start:||Side by side, facing up the hall, holding hands, Woman on the right.|
|1||Introduction (no step).|
|1-4 (2nd time)||} 11 Saltarelli, beginning on Right.|
|9-12||Doppio Left, Doppio Right, Doppio Left, Doppio Right.|
|13-14||3 Contrapassi Left.|
|15||Sempio Right, Sempio Left.|
|16-17||3 Contrapassi Right.|
|18-19||Ripresa Left, Ripresa Right.|
|20-21||Saltarello Left, Saltarello Right (these are quite slow).|
|22-23||Ripresa Left, Ripresa Right.|
|20-23 (2nd time)||Repeat.|
|24||Sempio Left, Sempio Right.|
|25||Doppio Left ending with a two-beat Reverenza Right.|
|27||Continenza Left, Continenza Right.|
Bel Danzare - No extra introduction. Section I is 16 bars, so do 15 saltarelli starting on the right. Played twice.
Sonare - No extra introduction. Works with this reconstruction. Played twice.
There is also a three-person version of this dance called Berighuardo Nuovo in NYp.
Section I: PnD specifies eleven saltarelli, but the music provides for fifteen, consisting of the first four bars played three times, and then the last four bars of the saltarello section. We have reduced the three repeats to two to fit the choreography, but a fifteen-saltarello interpretation would be just as valid. As well, no foot is given to start on, but the next sequence starts on the left foot, so the right here is consistent. (NYp does specify starting on the right foot, but adds a ripresa which is not found in PnD.)
Bars 20-21: Most of the sources merely called for saltarelli, but PnD says "cu[n] uno movimento e tempi dui de saltarello largo" and "e fano uno movimento cu[n] tempi dui de saltarello largo". The saltarello largo may refer to saltarello done in bassadanza meter, while we presumed that the movimento is part of the performance of the saltarello. (See Bassadanza and Saltarello Tempi, in the Introduction.)
Neither PnD nor PnG includes an E-flat in the key signature, but we have added it to avoid melodic tritones. Sparti makes the same suggestion; A. William Smith hypothesizes that the F clef might have been an error and transcribes as if it were a C clef. Both are plausible interpretations. (Note that the flat in the key signature is not in the correct place regardless of which clef was intended.)
PnD and PnG both call for the first section to be played three times, but doing so results in too much music (according to the choreography). We have changed this from three times to two times.