I have not reconstructed Caroso's Il Canario in full (perhaps this will happen in a later edition of this book), however I have included some notes here.

The dance is basically similar in form and structure to Negri's Il Canario, however it is not as complex.

Opening Figure

Caroso's opening figure is very similar to Negri's: The dancers begin at the foot of the hall, in proper position, holding ordinary hands (the man holding the lady's left hand in his right hand). It begins with a riverenza minima, and two continenze , left then right. It then continues with 8 seguiti spezzati schisciati (sliding steps) in exactly the same pattern as Negri: 4 moving forwards, and then 4 turning to the left, the lady moving to one end of the hall and the man moving to the other. The introduction finishes with 2 passi presti, and a cadenza to finish in place.

Variations

Caroso's variations are done similarly to Negri's, with the man doing a variation moving forwards, and then a ritarata moving backwards. I have listed a few of Caroso's variations in the next section. Caroso lists a total of 6 canary variations.

All of Caroso's variations are done equally by the man and the woman, except for the third and sixth variation.

Conclusion

Caroso's Il Canario concludes at the end of the lady's 6^th variation, where the man and the lady come together after dancing a short scorsi passage together. The dance concludes with a simple riverenza.

Music

Caroso only gives 13 bars of Canary music, of which the 13^th bar is obviously meant to be played as a cadenza. There are no internal repeat markers in the music, although there is obviously meant to be some as none of his variations are as short as 12 or 13 bars, and neither is the introduction or conclusion section.

A 32 bar piece extrapolated from Caroso's canary music is given in The Music for Del's Dance Book, and is the same piece that the Lochac Il Canario is danced to.