Steps:	Sempio (in 6), Doppio (in 6), Piva (in 6), Saltarello (in 6), Saltarello Tedesco, Continenza (in 6), Ripresa (in 6), Movimento, Mezavolta, Voltatonda.	Starting position
Start:	Two couples, holding hands, facing up the hall, Couple 1 in front of Couple 2 by about four steps.
Section I (7 bars in 6/8, played twice, and 2 bars in 6/8)
	[Introduction of two bars on accompanying tape]	Bars 12-14 (1st time)
1-7	\
1-7 (2nd time)	} 16 Saltarelli, starting Left. Couple 1 end by
8-9	/ dropping hands and doing a Mezavolta Right.
Section II (7 bars in 6/4, played twice)
10-11	Couple 1 Ripresa Left, Ripresa Right,
as	Couple 2 Continenza Left, Right, Left, Right. (Couple 1, with Woman 1 now on the left, is facing down the hall, toward Couple 2. The four dancers form a rectangle.)
12-14	Sempio Left, Sempio Right, Doppio Left, Doppio Right ending with a Mezavolta Right, Couple 2 passing through the middle of Couple 1. (Couple 2 is now at the top of the hall, facing down the hall, while Couple 1 is at the bottom facing up.)	Bar 18 and Bar 19 (1st time)
15-16	Ripresa Left, Ripresa Right.
10-11 (2nd time)	Continenza Left, Right, Left, Right.
12-14 (2nd time)	Sempio Left, Sempio Right, Doppio Left, Doppio Right ending with a Mezavolta Right, Couple 1 passing through the middle of Couple 2. (Couple 1 is back at the top of the hall, facing down the hall toward Couple 2.)
15-16 (2nd time)	Ripresa Left, Ripresa Right.	Bar 22 (1st time)
Section III (3 bars in 4/4 and 4 bars in 6/4, played twice)
17 (in 4/4)	Couple 1 Movimento, then Couple 2 Movimento.
18 (in 4/4)	Man 1 Saltarello Tedesco Left towards Woman 2.
19 (in 4/4)	Woman 2 Saltarello Tedesco Left towards Man 1. (Man 1 and Woman 2 are in the center of the rectangle, facing each other, approximately perpendicular to their partners.)	Bar 23 (1st time)
20-22 (in 6/4)	Man 1 and Woman 2 Ripresa Right, Ripresa Left, Ripresa Right, doing them on a curve around a point between them. (Woman 2 is now facing down the hall, Man 1 up.)
23 (in 6/4)	Man 1 and Woman 2 Voltatonda (4 Steps starting Left, clockwise), moving back as they turn, into each other's starting place. (Man 1 is now to the right of Man 2, both looking up the hall, and Woman 2 is to the left of Woman 1, both looking down.)
17 (2nd time)	Couple 1 Movimento, then Couple 2 Movimento.
18-23 (2nd time)	Man 2 and Woman 1 do the same as Man 1 and Woman 2 did. (Couple 1 is at the bottom of the hall, Woman 1 on the left, while Couple 2 is at the top, with Woman 2 on the right.)
Section IV (2 bars in 6/8, played twice)
24-25	Men Piva Left, Piva Right, each circling his partner.	Alternate Section IV (Women move after men)
24-25 (2nd time)	Women the same.
Section V (2 bars in 4/4)
26	Couple 2 Movimento, then Couple 1 Movimento.
27	Voltatonda (4 Steps starting Left, counterclockwise).

Teaching Notes
If Section IV is difficult, the dancers can circle their partners halfway, instead of all the way around. (This means that the set will move to the side.) The tape accompanying this manual does not have a repeat, but if a repeat is done the women do everything first the second time, Couple 1 still leading.

Recordings

Dances Courts 9 - Two extra saltarelli for an introduction. The 4/4 part of Section III is only two bars long, so have Man 1 and Woman 2 do their saltarello tedesco at the same time. Section IV has three bars repeated, instead of two, so there are three pive for each dancer to get around his partner. The dance is repeated.

Danzare - One extra saltarello at the beginning, which can be used as an introduction. The 4/4 part of Section III has four bars instead of three, so extend the two movimenti of Bar 17 into two bars, each movimento taking a bar (or have each of the four dancers do an individual movimento, each taking half a bar.) Section IV has three bars for each repeat, so circle with three pive instead of two. The dance is repeated.

Sonare - One extra saltarello at the beginning, which can be used as an introduction. The bassadanza sections are quite fast. The 4/4 part of Section III has four bars instead of three, so each movimenti of Bar 17 takes a full bar, (or each of the four dancers can do an individual movimento, each taking a half bar.) Section IV has three bars each repeat, so use three pive instead of two. The dance is repeated.

Dance Notes

Start: None of the sources say to hold hands, nor give the distance that the couples are spaced. Holding hands at the beginning, when moving together, is usual, and four steps apart is about right for the dance.

Bar 1: The starting foot is not given in the manuscripts.

Bar 12-14 (1st playing): The sources don't say which couple passes through the other, merely saying one couple passes through the middle of the other. NYp, however, states that the four continenze, just previously, are done by the middle couple, where the other sources say the couple behind. This suggests that the back couple are the ones who pass through the middle.

Bar 17 (2nd time): The sources only say that the other man and other woman repeat what was done before, so it is unclear who does the movimenti in what order. It could also be the dancers who are in the place of Couple 1 (the women), do the movimento first, or that the two who just moved do it first. Because nothing is explicitly stated, the exact same people doing it seemed most likely.

Bar 20-22: Most of the sources only say that three riprese on the right are to be done, but NYp clearly states that they are on alternate feet. Although no mention is made of them being done on a curve, doing so puts the dancers closer to the other dancers' starting positions.

Bar 23: No direction is given for the voltatonda. In practice clockwise seemed easier, but turning the other way is just as acceptable. It is stated to be a doppio left, but, as the next foot (for Man 2, at least) is on the left, we decided to use four steps, instead.

Section IV: It is quite difficult to get all the way around someone in only two pive, although if the dancer is reasonably athletic, knows the dance well enough to be prepared for the move, and the partner helps by moving out of the way, it can work. It is unusual that a complete circuit is expected in only two pive. The sources use 'intorno' or 'atorno', and this might mean going around without necessarily implying going all the way around. But if this were the case, the manuscripts probably would have made this clear. Compare to Graziosa and Leoncello, where the dancers clearly only circle halfway, and Pizocara, where the dancers circle their partners completely.

Bar 26: NYp specifies that the front couple do the movimenti first, presumably meaning Couple 2, as they are currently in front. It could also mean Couple 1, as they were the couple who started in front.

Bar 27: The sources either specify that the voltatonda is done with a doppio beginning on the left foot, or just say that the voltatonda begins with the left. We modified this to our standard four-step voltatonda. (See Steps - Voltatonda.) No direction of turn is given.

Repeat: NYp, Fn and Fl are the only sources to specify a repeat, with their usual formula that the men should send the women forward. We took this to mean that if the dance is to be repeated, the women should do everything first, but since it is not specified that Couple 2 should lead, Couple 1 should still do so. We chose not to include a repeat as the dance is one of the more complex ones.

Music Notes

The music for this dance required more drastic alteration than most in this book. The quadernaria section (Bars 17-19) corresponds to 3 bars of choreography; depending on how you interpret it, the music in PnG is somewhere between 4.5 and 5 bars. We did not see any way to stretch two movimenti and two saltarelli tedesci to use this amount of music (plausibly), so we edited the music down to 3 bars. Our transcription of the full section. as written in PnG, follows:

It was also necessary to lengthen the opening saltarello section; the choreography calls for 16 bars and the music only provides 15.5. We doubled the half-measure at the end to make a full 16 bars.

A much less drastic change in the music is the omission of one apparently-extraneous note in Bar 22.

Finally, the manuscript ends with three semibreves, which causes the last one to occupy a bar by itself. The choreography does not suggest a transcription with rests filling the rest of that bar; doing so makes the section one bar too long. We have followed Sparti's suggestion and treated the first two of these as minimae.

A literal transcription of the music in PnG follows: