|Steps:||Sempio (in 4 and 6), Doppio (in 4 and 6), Saltarello (in 4), Contrapasso (in 4), Ripresa (in 6), Movimento, Mezavolta.|
|Start:||Couple, side by side, Woman on the right, holding hands.|
|[Two-bar introduction on accompanying tape.]|
Bar 4 (1st time)
|1-2 (three times)||6 Saltarelli, starting Left.|
|3||Man Movimento, then Woman Movimento.|
|4||Man Saltarello Right ending with a Mezavolta Right, going in front of Woman, to her other side. (Man is now on right, both facing up the hall.)|
|3 (2nd time)||Woman Movimento, then Man Movimento.|
|4 (2nd time)||Woman Saltarello Right ending with a Mezavolta Right, around Man. (Both are back to their original places.)|
|5-7||Man Sempio Left, Sempio Right, Sempio Left, Sempio Right, Doppio Left.|
|5-7 (2nd time)||Woman does the same to catch up.|
|8-9||Man 3 Contrapassi Left.|
|8-9 (2nd time)||Woman does the same to catch up.|
|10-12||Man Sempio Left, Sempio Right, Doppio Left, Doppio Right.|
|13-15||Woman does the same to catch up.|
|16-17||Take hands and Ripresa Left, Ripresa Right.|
|18-20||Sempio Left, Sempio Right, Doppio Left, Doppio Right.|
|21-22||Ripresa Left, Ripresa Right.|
Cour - A short flute introduction. Works with this reconstruction. Repeats.
Dances Courts 9 - One-note introduction. Section I is eight instead of six bars, so do eight saltarelli. Section VI is repeated. The extra music could be used to repeat that section, but it is not one that repeats well, resulting in four riprese done in a row. Another possibility is to have the man do the section alone the first repeat, and the woman the same on the second repeat, but that is also uncomfortable. Does not repeat.
Forse - One-bar introduction. Works with this reconstruction. Repeats.
Mesura - Two-bar introduction. Works with this reconstruction. Repeats.
To Celebrate ("Leonzello Vechio & Novo") - Works with this reconstruction. Repeats.
There is also a version of Leoncello for three dancers, called Leoncello Novo.
Section II: PnD's description leaves out the second set of movimenti, but NYp includes them, and from the repetitive nature of the dance it can be presumed that PnD is in error.
Bar 18: Again, PnD leaves out the two sempii, but NYp calls for them, and PnD specifies seven bars of bassadanza music, while only giving steps for six.
The music does not indicate a change of time signature for the last section, but the choreography calls for two bars of quadernariarather than one of bassadanza. No other changes were made to the music.