Steps:	Sempio (in 4 and in 6), Doppio (in 4 and in 6), Piva (in 4), Saltarello Tedesco, Ripresa (in 6), Reverenza, Movimento, Mezavolta.	Starting Position
Start:	One couple, side by side, facing up the hall, Woman on the right.
Section I (4 bars in 4/4, played twice)
	[Two-bar introduction on accompanying tape.]
Bar 4 (1st time)
	1-3	3 Saltarelli Tedesci on Left, Right, Left.
	4	Man Doppio Right, around front of Woman to her right side, ending with a Mezavolta Right. (They end side by side, still facing up the hall, but Man on the right.)
	1-3 (2nd time)	3 Saltarelli Tedesci on Left, Right, Left.
4 (2nd time)	Woman Doppio Right around Man, ending with a Mezavolta Right. (They are side by side, Man on the left, again, as they started.)
Section II (4 bars in 4/4, played twice)		Bars 9-11 (1st time)
5-6	Man Saltarello Tedesco Left and Right.
7-8	Man Sempio Left and Right, Doppio Left, and Step Right on the last beat.
5-8 (2nd time)	Woman does same steps to catch up.
Section III (6 bars in 6/4, played twice)
9	Both Sempio Left and Right.
10-11	Man Doppio Left and Right, ending with a Mezavolta Right,
as	Woman Doppio Left, Doppio Right, turning to the right (clockwise), and moving down the hall away from her partner, ending with a Mezavolta Right. (They are 9 or 10 steps apart, Man facing down the hall, Woman up.)	Bars 9-11 (2nd time)
12-13	Ripresa Left, Ripresa Right.
14	Reverenza Left.
9 (2nd time)	Sempio Left and Right.
10-11 (2nd time)	Woman Doppio Left and Right,
as	Man Doppio Left, Doppio Right, turning to the left (counterclockwise) to join the woman on her left side, and moving beside her. Take hands. (They are now side by side holding hands, Man on the left, facing up the hall.)
12-13 (2nd time)	Ripresa Left and Right.
14 (2nd time)	Reverenza Left.
Section IV (3 bars in 2/4, played twice)		Bar 20
15-17	Take right hands and circle with Piva Left, Right, Left.
15-17 (2nd time)	Take left hands and circle with Piva Right, Left, Right. (They end facing each other, in the same place as they started this section.)
Section V (3 bars in 4/4)
18	Man Movimento, then Woman Movimento.
19	Doppio Right backing away from each other.
20	Four steps, starting Left, moving forward and doing a quarter turn to face down the hall (Man turns clockwise, Woman counterclockwise.) (End side by side, facing down the hall, Woman on the left.)
	Repeat the dance, exchanging roles.

Recordings

Danzare - Drum introduction. Works with this reconstruction. The dance is repeated.

Mesura - Four-bar introduction. Works with this reconstruction. The dance is repeated.

Sonare - Two-bar introduction. Works with this reconstruction. The dance is repeated, with a short pause between the two playings of the dance.

To Celebrate - One-bar introduction; where to start may be a little unclear at first, but it should work after listening to it a time or two. Works with this reconstruction. The dance is repeated.

Dance Notes

There is also a three-person version of this dance.

The choreographer of the dance is a little unclear. Three of the sources (PnA, PnG and NYp) attribute it to Guglielmo Ebreo (or Giovanni Ambrosio), but Fn says that it is by Domenico.

Hands: Except where holding hands is specified, our reconstruction does not have the dancers do so. Quite possibly the dancers were expected to take hands when they move together, and dancers who find it more natural to do so should.

Bar 4: No mezavolta is specified in the manuscripts, but without it the dance will not work.

Bar 8: NYp is the only source to specify that at the end of the doppio the dancer "mandi la punta del pie ritto imnanzi", translated by A. William Smith as "sends the point of the right foot forward". Since the next step taken is on the left, we interpreted this as meaning that the weight should be shifted forward onto the right foot, basically equivalent to a step.

Bar 20: All sources (except NYp which does not include this) call for a doppio starting on the left, either done turning, or referring to it as a voltatonda. We changed the doppio to four steps as, if the dance is repeated, the next step is done on the left foot.

Where the dancers move and how much they turn is unclear. If they do the literal voltatonda that some sources require, they will end facing each other, about six steps apart. This doesn't work well if the dance is to be repeated, and, indeed, the sources that specify a voltatonda here (PnD, PnG) do not say to repeat the dance. Other sources (Fn, Fl) say that they do the doppio coming together, and we used this in our reconstruction.

Sc has a slightly different ending. In Bar 19 the dancers take a passo (which might mean a passo doppio, or a single step) backwards starting on the right, and then the woman does a ripresa, presumably to the left, while the man does a doppio in volta. One possible interpretation of this is that the dancers separate with a step, and then the woman moves to the left while the man comes forward to meet her, turning so that he faces the same way as she does. This results in the woman being on the left, but the dancers seem to be facing perpendicular to their starting direction, which is perfectly plausible.

Because we decided to have the woman end on the left side for this dance, we have the dancers do a simple quarter turn; however, different interpretations are very valid.

This figure is very similar to the one found at the end of Colonnese.

Repeat: Having a repeat for this dance is an arbitrary choice. NYp, Fn, and Fl specify one, (Fn and Fl saying that the woman "vadia innanzi", which we here interpreted as leading from the left) while PnA, PnG, and Sc do not. The direction they move in (back down the hall) is also arbitrary. Depending on the exact movements decided on for Bars 19-20, they could as easily end up moving up the hall or in a new direction.

Music Notes

We worked primarily from PnG, using PnA (as reported in A. William Smith) to resolve certain ambiguities.

PnG does not generally indicate time signatures for this music (except in the bassadanza section); we have been guided by PnA and the choreography.

In Bars 4, 8, and 20, PnG and (according to Smith) PnA indicate longs where breves were probably intended. (We could not make the music fit any sensible barring with longs.) We have changed them to breves.