|Steps:||Sempio (in 6), Doppio (in 6), Saltarello (in 6), Saltarello Tedesco, Reverenza, Piva (in 6), Volta del Gioioso, Mezavolta, Hey.||
|Start:||Single file, facing up the hall, Man 1 in front, Woman behind him, Man 2 behind her, each three steps apart.|
|[Introduction of two bars on accompanying tape]|
|1-3||3 Saltarelli Tedesci Left, Right, Left.|
|4-5||Volta del Gioioso.|
|1-5 (2nd time)||Repeat. Man 1 and Woman end by switching weight to left foot.|
|6-8||Doppio Right, Doppio Left, Doppio Right, in a half Hey, Man 1 and Woman starting by passing right. This is described in detail as follows:|
|6||Man 1 and Woman Doppio Right past each other (Man 1 starting by turning to the right), taking and then dropping right hands.|
|7||Man 1 and Man 2 Doppio Left past each other, taking and then dropping left hands, as Woman Mezavolta (Doppio Left, clockwise).|
|8||Man 2 and Woman Doppio Right past each other, taking and then dropping right hands, Woman ending with a Mezavolta Right,|
|as||Man 1 Mezavolta (Doppio Right, counterclockwise).|
|(All are facing up the hall again, Man 2 now in front, Woman in the center, and Man 1 at the back.)|
Bar 6, Bar 7, and Bar 8 (1st time)
|9-10||Sempio Left, Sempio Right, Doppio Left, all moving forward.|
|6-10 (2nd time)||Repeat, Man 1 and Man 2 reversing roles and changing places again in the hey. (All are facing up the hall, Man 1 in the lead again.)|
Bars 11-13 (1st time)
|(This section is basically a hey, but done slightly differently.)|
|11-13||Woman and Man 2 Piva Right, Piva Left, Piva Right straight forward,|
|as||Man 1 Piva Right, Piva Left, Piva Right, turning to the right, going between the other two, and ending at the bottom of the line. (Woman is in front, Man 2 in the middle, and Man 1 at the end, all facing up the hall.)|
|11-13 (2nd time)||Piva Left, Piva Right, Piva Left, Men straight forward, Woman weaving as Man 1 did. (Man 2 is in front, then Man 1, then Woman, all facing up the hall.)|
|11-13 (3rd time)||Piva Right, Piva Left, Piva Right, Man 1 and Woman straight forward, Man 2 weaving as the others did. (Man 1 is again in front, all facing up the hall.)|
Bars 16-17 (1st time)
|14-15||Saltarello Left, Saltarello Right, Man 1 ending with a Mezavolta Right.|
|16-17||Men Saltarello Left, Saltarello Right, changing places, moving clockwise, Man 1 ending with a Mezavolta Right. (Man 2 is in front, Man 1 at the back, all three facing up the hall.)|
|18-19||Woman Volta del Gioioso.|
|14-19||(2nd time) Repeat, Man 1 and Man 2 reversing roles. Man 1 ends with a Mezavolta Right (Man 1 is in front, facing down the hall, while the other two are facing up.)|
|20||Man 1 and Woman Reverenza Left, touching right hands, Woman ending with a Mezavolta Right. (Man 1 and Woman are facing down the hall, Man 2 is facing up.)|
|21||Woman and Man 2 Reverenza Left, touching right hands. Man 1 and Woman end with a Mezavolta Right. (The dancers are as they were in the beginning, Man 1 in front, all facing up the hall.)|
Bel Danzare ("Giove") - Two bars of introduction. Works with this reconstruction. Dance is repeated.
Dances Courts 2 - Two-bar drum introduction. Played quite slowly, and works with this reconstruction. Section V has three bars, so the last can be used for everyone to do a reverenza. No repeat.
Forse ("Jove") - Two-bar introduction. Dance is repeated, but Section V is only played the second time.
The dance is called Jupiter in PnD, but is referred to as Giove in the other sources.
Bars 1-5 (2nd time): The sources do not instruct Man 1 and Woman to change weight, but this helps make it easier to step next on the right foot.
Bar 7: No instruction is given for the woman in any of the sources, except to say that she stops after exchanging with Man 1. We inserted a mezavolta with a doppio, as this would get her on the correct foot and have her turn around.
Bar 8: PnD is the only source to specify a mezavolta for Man 1, but does not give a step, so it may have been a pivot turn at the end of Bar 7, followed by a pause for Bar 8. Again, we chose to have him turn with a doppio, in order that he should be on the correct foot for the step following. (This also flows better than a pivot followed by a pause would.)
Section III: The version in PnD has different, more complicated, footwork, but does describe the hey relatively clearly. Aside from Rvat, the other sources merely call for nine tempi of piva done in a hey. We used PnD to decide on the pattern of the hey, but chose nine pive for the footwork, in order to keep things simpler.
It seems clear that the dancer who is moving to the back is following either an S-shaped path (turning first to the left, cutting between the other two, and then turning right to join on at the bottom), or, as we chose, a reverse S, where the dancer first turns to the right. We decided on a reverse S in order to match the direction of the previous hey in Section II, but the other way is also possible, or even that the dancers do their weave in either direction.
The only source that gives any indication for the direction is PnD, which says that Man 2 does a mezavolta on the left side both when leaving the top and arriving at the bottom, and also specifies one on the left for Man 1 at the bottom, and Woman at the top. Performing all of the mezevolte on the left side is difficult with either an S-shaped or reverse S-shaped path, when the dancers are in single file, as the weaving dancer tends to end up too far to the right. It is more logical if the dancers' starting position is to be lined up in a slightly diagonal position, behind and slightly to the right of each other. (See Leading in the Introduction.) In this second case Man 1 does have to move quickly in order to avoid being run over by Man 2. The weave for Man 1, turning left both times, is shown in the diagrams below, first with a single-file position showing how his ending position tends to be out of place, and second with a more diagonal position.
Bars 11-13, Path of Man 1, Both Turns Done to the Left, Single-File
Bars 11-13, Path of Man 1, Both Turns Done to the Left, Diagonal Position.
Bar 17: The mezavolta is not mentioned in the sources, but can be easily inferred.
Bar 21: NYp is the only source that specifies which foot the reverenza is done on, and it says right. However, because the woman has just performed a mezavolta on the right we decided to have the reverenza done on the left, as she will have that foot free.
Repeat: A repeat is only mentioned in NYp, Fn, and Fl, and, as the dancers have returned to their starting positions and will not be doing anything differently in a repeat, we decided not to include one.
This is a best-guess transcription; we have, for reasons we believe sound, made changes to the clef and key signature.
The major issue with respect to the music for this dance is that of key. As can be seen from the facsimile below, PnD has a C clef and a B-flat in the key signature. Unfortunately, a literal transcription produces a fairly strange melody, with flatted Gs, As, and Ds in places. These are accidentals that do not tend to show up in this time period (especially not with the Es remaining natural!). PnD's clef, key signature, and accidentals are duplicated in PnG.
A. William Smith hypothesizes a mis-written clef, and suggests the alternative of an F clef (one line above the C clef, which is where one would expect an F clef). Our transcription below follows this interpretation.
If one follows that interpretation, however, one quickly encounters Bs in the music that have been explicitly flattened. Why would the writer flat a note that is already flat by virtue of the key signature? (While composers of other periods may use double-flat notations, this repertoire does not use such conventions.)
A transcription that omits the B-flat from the key signature (and includes it where explicitly indicated) makes some amount of sense and produces a melody similar in feel to others of this repertoire. We have chosen this interpretation, but certainly believe that other interpretations are possible. We have included our literal transcription and the facsimile of PnD for those who are interested in trying alternatives.
In addition to the matter of key, we made one other modification: we added a repeat marker for the penultimate section (four bars in saltarello and two in bassadanza) so there would be enough music for the dance. PnA includes this repetition, according to Smith.