Ital-Ren-Dce-art - 8/22/02
਀ഊ"Italian Renaissance Dance for Dummies" by Rosina del Bosco Chiaro (Vivian Stephens). These are the class notes from a class she taught at Pennsic 30.
਀ഊNOTE: See also the files: dance-msg, ME-dance-msg, dance-par-art, Italy-msg, fd-Italy-msg, 15C-Ital-Dce-art.
਀ഊ************************************************************************
਀一伀吀䤀䌀䔀 ⴀഊ
਀吀栀椀猀 愀爀琀椀挀氀攀 眀愀猀 猀甀戀洀椀琀琀攀搀 琀漀 洀攀 戀礀 琀栀攀 愀甀琀栀漀爀 昀漀爀 椀渀挀氀甀猀椀漀渀 椀渀 琀栀椀猀 猀攀琀 漀昀 昀椀氀攀猀Ⰰ 挀愀氀氀攀搀 匀琀攀昀愀渀✀猀 䘀氀漀爀椀氀攀最椀甀洀⸀ ഊ
਀吀栀攀猀攀 昀椀氀攀猀 愀爀攀 愀瘀愀椀氀愀戀氀攀 漀渀 琀栀攀 䤀渀琀攀爀渀攀琀 愀琀㨀 栀琀琀瀀㨀⼀⼀眀眀眀⸀昀氀漀爀椀氀攀最椀甀洀⸀漀爀最ഊ
਀䌀漀瀀礀爀椀最栀琀 琀漀 琀栀攀 挀漀渀琀攀渀琀猀 漀昀 琀栀椀猀 昀椀氀攀 爀攀洀愀椀渀猀 眀椀琀栀 琀栀攀 愀甀琀栀漀爀⸀ഊ
਀圀栀椀氀攀 琀栀攀 愀甀琀栀漀爀 眀椀氀氀 氀椀欀攀氀礀 最椀瘀攀 瀀攀爀洀椀猀猀椀漀渀 昀漀爀 琀栀椀猀 眀漀爀欀 琀漀 戀攀 爀攀瀀爀椀渀琀攀搀 椀渀 匀䌀䄀 琀礀瀀攀 瀀甀戀氀椀挀愀琀椀漀渀猀Ⰰ 瀀氀攀愀猀攀 挀栀攀挀欀 眀椀琀栀 琀栀攀 愀甀琀栀漀爀 昀椀爀猀琀 漀爀 挀栀攀挀欀 昀漀爀 愀渀礀 瀀攀爀洀椀猀猀椀漀渀猀 最爀愀渀琀攀搀 愀琀 琀栀攀 攀渀搀 漀昀 琀栀椀猀 昀椀氀攀⸀ഊ
਀吀栀愀渀欀 礀漀甀ⰀഊMark S. Harris...AKA:..Stefan li Rous
਀猀琀攀昀愀渀 愀琀 昀氀漀爀椀氀攀最椀甀洀⸀漀爀最ഊ************************************************************************
਀ഊItalian Renaissance Dance for Dummies
਀ऀऀऀ刀漀猀椀渀愀 搀攀氀 䈀漀猀挀漀 䌀栀椀愀爀漀 ⴀ 倀攀渀渀猀椀挀 堀堀堀Ⰰ 䄀匀 堀堀堀嘀䤀  ⠀䄀甀最甀猀琀 ㈀　　㄀⤀ഊ
਀吀栀椀猀 挀氀愀猀猀 眀椀氀氀 挀漀瘀攀爀 猀漀洀攀 漀昀 琀栀攀 攀愀猀椀攀爀 愀渀搀 洀漀爀攀 瀀漀瀀甀氀愀爀 搀愀渀挀攀猀 漀昀 琀栀攀 䤀琀愀氀椀愀渀 刀攀渀愀椀猀猀愀渀挀攀Ⰰ 戀甀琀 眀椀琀栀 琀栀攀 昀椀最甀爀攀猀 猀椀洀瀀氀椀昀椀攀搀 愀渀搀 昀漀漀琀眀漀爀欀 洀椀渀椀洀椀稀攀搀 椀渀 漀爀搀攀爀 琀漀 愀氀氀漀眀 戀攀最椀渀渀攀爀猀 琀漀 琀愀欀攀 瀀愀爀琀 愀氀漀渀最猀椀搀攀 洀漀爀攀 攀砀瀀攀爀椀攀渀挀攀搀 搀愀渀挀攀爀猀⸀ഊ
਀䄀氀琀栀漀甀最栀 琀栀攀爀攀 椀猀 渀漀 攀瘀椀搀攀渀挀攀 琀栀愀琀 琀栀攀猀攀 搀愀渀挀攀猀 眀攀爀攀 猀椀洀瀀氀椀昀椀攀搀 琀栀椀猀 眀愀礀 椀渀 瀀攀爀椀漀搀Ⰰ 椀琀 椀猀 挀氀攀愀爀 琀栀愀琀 椀渀 琀栀攀 ㄀㔀琀栀ⴀ挀攀渀琀甀爀礀 搀愀渀挀攀猀 眀攀爀攀 洀攀愀渀琀 琀漀 戀攀 漀爀渀愀洀攀渀琀攀搀 椀渀 愀渀 椀洀瀀爀漀瘀椀猀愀琀椀漀渀愀氀 洀愀渀渀攀爀 椀昀 琀栀攀 搀愀渀挀攀爀猀 眀椀猀栀攀搀⸀ 䄀 搀愀渀挀攀 洀椀最栀琀 戀攀 搀漀渀攀 眀椀琀栀 漀渀攀 瀀攀爀猀漀渀 瀀攀爀昀漀爀洀椀渀最 攀砀琀爀愀 昀漀漀琀眀漀爀欀Ⰰ 眀栀椀氀攀 愀渀漀琀栀攀爀 漀渀攀 搀椀搀 搀椀昀昀攀爀攀渀琀 漀爀渀愀洀攀渀琀猀Ⰰ 漀爀 渀漀渀攀 愀琀 愀氀氀⸀ഊ
਀䈀椀戀氀椀漀最爀愀瀀栀礀ഊ
ਠ∀ 䄀⸀ 圀椀氀氀椀愀洀 匀洀椀琀栀⸀ 䘀椀昀琀攀攀渀琀栀ⴀ䌀攀渀琀甀爀礀 䐀愀渀挀攀 愀渀搀 䴀甀猀椀挀⸀   匀琀甀瘀礀攀猀愀渀琀Ⰰ 一夀㨀 倀攀渀搀爀愀最漀渀 倀爀攀猀猀Ⰰ ㄀㤀㤀㔀⸀  ഊ• Vivian Stephens & Monica Cellio.  Joy and Jealousy: A Manual of 15th-Century Italian Balli.  Pittsburgh: Real Soon  Now Press, 1997.  Most of this is available on the web at: http://sca.uwaterloo.ca/~praetzel/Joy_Jealousy/
਀ഊDiscography
਀ഊ• Mesura et Arte del Danzare.  Balli Italiani del Quattrocento.  Accademia Viscontea i Musicanti.  Ducale CDL 002.  Used Anello, Gelosia, Petit Vriens and Voltate in ca Rosina (Rosina.) Also has music for 9 other 15th-C balli.
ਠ∀ 䐀愀渀挀攀猀 戀礀 琀栀攀 䴀愀爀椀愀渀 䔀渀猀攀洀戀氀攀Ⰰ 䠀攀愀琀栀攀爀 䐀愀氀攀 ⠀䰀愀搀礀 䴀愀爀椀愀渀 漀昀 䠀攀愀琀栀攀爀搀愀氀攀⤀⸀ 唀猀攀搀 䄀洀漀爀漀猀漀 愀渀搀 嘀椀琀愀 搀椀 䌀栀漀氀椀渀漀Ⰰ 愀氀猀漀 栀愀猀 倀攀琀椀琀 嘀爀椀攀渀猀⸀ഊ
਀伀琀栀攀爀 䌀䐀猀 眀椀琀栀 洀甀猀椀挀 昀漀爀 琀栀攀猀攀 搀愀渀挀攀猀 椀渀挀氀甀搀攀㨀ഊ• Alta Danza, Dance Music from 15th-century Italy, Les Haulz et Les Bas (Alta Cappella) - Christophorus (Heidelberg, Germany): CHR 77208.  Has Amoroso (fast, and no time in the music to turn around in the last section so turn on the last step, before reverence), Gelosia, Voltate in ca Rosina (Rosina - rather fast) and La Vita di Cholino (music is different in the 2nd and 4th verse, but it still works) and many other 15th-century dances.
ਠ∀ 䈀攀琀眀攀攀渀 琀栀攀 䰀椀渀攀猀Ⰰ 伀渀 琀栀攀 䴀愀爀欀Ⰰ ㄀㤀㤀㘀⸀  䠀愀猀 倀攀琀椀琀 刀椀攀渀猀⸀ഊ• Forse Che Si, Forse Che No, Ferrara Ensemble.  Fonti Musicali fmd 182.   Has Anello, Gelosia (plays last bit 5 times), Petit Vriens, Voltati in ca Rosina (the intro is over a minute long, but once it actually gets going it does work) and other 15th-century dances.
ਠ∀ 䰀愀 挀漀甀爀 搀甀 刀漀椀 刀攀渀攀 ⠀䄀琀 琀栀攀 䌀漀甀爀琀 漀昀 䬀椀渀最 刀攀渀攀⤀⸀ 䔀渀猀攀洀戀氀攀 倀攀爀挀攀瘀愀氀Ⰰ 䄀爀椀漀渀 䄀刀一 㘀㠀㄀　㐀⸀  䠀愀猀 䜀攀氀漀猀椀愀Ⰰ 眀椀琀栀 琀栀攀 氀愀猀琀 瀀愀爀琀 瀀氀愀礀攀搀 㔀 琀椀洀攀猀⸀ഊ• Music from the time of Richard III, The York Waits. Saydisc CD_SDL 364.  Has Amoroso (very slow, 1st section has 8 rather than 12 pive, all the half bars are filled in, and doesn't repeat the last section each time through the music) and Anello.
ਠ∀ 䰀愀 䴀甀猀椀挀愀 䤀琀愀氀椀愀渀愀 搀攀氀 堀嘀 匀攀挀漀氀漀Ⰰ 匀椀渀攀 一漀洀椀渀攀⸀  儀甀愀搀爀椀瘀椀甀洀 匀䌀䄀 　㐀　⸀  䠀愀猀 䄀洀漀爀漀猀漀 ⠀㄀猀琀 猀攀挀琀椀漀渀 栀愀猀 ㄀　 爀愀琀栀攀爀 琀栀愀渀 ㄀㈀ 瀀椀瘀攀Ⰰ 愀氀氀 琀栀攀 栀愀氀昀 戀愀爀猀 愀爀攀 昀椀氀氀攀搀 椀渀Ⰰ 愀渀搀 搀漀攀猀渀✀琀 爀攀瀀攀愀琀 琀栀攀 氀愀猀琀 猀攀挀琀椀漀渀 攀愀挀栀 琀椀洀攀 琀栀爀漀甀最栀 琀栀攀 洀甀猀椀挀⸀⤀  ⠀吀栀攀 嘀椀搀愀 搀攀 䌀漀氀椀渀 椀猀 琀栀攀 爀椀最栀琀 琀甀渀攀 昀漀爀 嘀椀琀愀 搀椀  䌀栀漀氀椀渀漀Ⰰ 戀甀琀 搀漀攀猀 渀漀琀 栀愀瘀攀 琀栀攀 爀椀最栀琀 猀琀爀甀挀琀甀爀攀 昀漀爀 琀栀攀 搀愀渀挀攀⸀⤀ഊ• Musica Subterranea, Musica Subterranea, Twelth Century Fox. Has Amoroso (2 versions - both are slow, fill in the half bars and start with only 8 pive, the short version does not repeat the last section), Anello, Gelosia and Petit Rien.
ਠ∀ 刀攀琀甀爀渀 漀昀 琀栀攀 倀椀瀀攀爀猀Ⰰ 吀栀攀 倀栀椀氀愀搀攀氀瀀栀椀愀 刀攀渀愀椀猀猀愀渀挀攀 圀椀渀搀 䈀愀渀搀⸀  一攀眀瀀漀爀琀 䌀氀愀猀猀椀挀猀 一倀䐀 㠀㔀㔀㘀㜀⸀  䠀愀猀 䄀洀漀爀漀猀漀 ⠀瘀攀爀礀 猀氀漀眀Ⰰ 搀愀渀挀攀 瀀氀愀礀攀搀 昀漀甀爀 琀椀洀攀猀 眀椀琀栀 愀渀 攀砀琀爀愀 戀愀爀 戀攀琀眀攀攀渀 琀栀攀 ㄀猀琀 愀渀搀 ㈀渀搀 琀椀洀攀 愀渀搀 戀攀琀眀攀攀渀 琀栀攀 ㈀渀搀 愀渀搀 ㌀爀搀Ⰰ 愀渀搀 愀渀 攀砀琀爀愀 琀攀渀 戀愀爀猀 漀昀 洀甀猀椀挀 愀琀 琀栀攀 瘀攀爀礀 攀渀搀Ⰰ ㄀猀琀 猀攀挀琀椀漀渀 栀愀猀 㠀 爀愀琀栀攀爀 琀栀愀渀 ㄀㈀ 瀀椀瘀攀Ⰰ 愀氀氀 琀栀攀 栀愀氀昀 戀愀爀猀 愀爀攀 昀椀氀氀攀搀 椀渀Ⰰ 愀渀搀 搀漀攀猀渀✀琀 爀攀瀀攀愀琀 琀栀攀 氀愀猀琀 猀攀挀琀椀漀渀 攀愀挀栀 琀椀洀攀 琀栀爀漀甀最栀 琀栀攀 洀甀猀椀挀⸀⤀ഊ• SCA Dance Musicke Vol II, The Companions of St. Cecilia, privately produced.  Has Gelosia.
਀ഊ
਀䘀漀爀 愀渀礀 昀甀爀琀栀攀爀 椀渀昀漀爀洀愀琀椀漀渀Ⰰ 瀀氀攀愀猀攀 昀攀攀氀 昀爀攀攀 琀漀 挀漀渀琀愀挀琀 洀攀 戀礀 攀洀愀椀氀 愀琀㨀  爀漀猀椀渀愀 愀琀 瀀愀琀栀挀漀洀⸀挀漀洀ഊ
਀ഊSTEPS
਀ഊSempio or Single    Step, then close feet (bring other foot beside first, but don't shift weight.)
਀ഊDoppio or Double   Three steps forward, then close feet.
਀ഊPiva or Cutting Double	Faster double, putting the second step beside or under the first foot 
਀ऀ椀⸀攀⸀ 倀椀瘀愀 䰀攀昀琀 㴀 匀琀攀瀀 昀漀爀眀愀爀搀 氀攀昀琀Ⰰ 瀀甀琀 爀椀最栀琀 昀漀漀琀 戀攀猀椀搀攀 氀攀昀琀 漀爀 甀渀搀攀爀 氀攀昀琀 栀攀攀氀Ⰰ 猀琀攀瀀 漀渀 氀攀昀琀 愀最愀椀渀⸀ ഊIn Petit Vriens the music is in 6/8, so the doubles are done to match, with the second step shorter and taking less time than the first or third. (The plural of piva is pive.)
਀ഊRipresa or Double Sideways	Take two steps to side, e.g. Left, cut under with right, left, close.
਀ഊSet and Turn	Like in English Country dance - step sideways to the left, then the right, then turn around in a little circle over your left shoulder with 4 steps.
਀ഊReverence	Kneel on  left knee (or part of the way down), keeping upper body straight.
਀ഊMovimento or Attention Getting Device	Rise up on toes - like a jump, but without leaving the ground.
਀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀ഊ
਀䐀䄀一䌀䔀匀 ⴀ ⠀䄀氀氀 爀攀挀漀渀猀琀爀甀挀琀椀漀渀猀 戀礀 刀漀猀椀渀愀 搀攀氀 䈀漀猀挀漀 䌀栀椀愀爀漀⸀⤀ഊ
਀䄀渀攀氀氀漀 ⴀ 戀礀 䐀漀洀攀渀椀挀漀 搀愀 倀椀愀挀攀渀稀愀Ⰰ  愀琀  ㄀㐀㔀　⸀ഊTwo couples, holding hands, Couple 1 four steps in front of Couple 2.
਀ഊ	Entrance
਀㠀 䐀漀甀戀氀攀猀Ⰰ 猀琀愀爀琀椀渀最 䰀攀昀琀⸀  伀渀 琀栀攀 氀愀猀琀Ⰰ 䌀漀甀瀀氀攀 ㄀ 猀眀椀琀挀栀 瀀氀愀挀攀猀 愀渀搀 琀甀爀渀 愀爀漀甀渀搀Ⰰ 愀猀 䌀漀甀瀀氀攀 ㈀ 猀瀀爀攀愀搀 漀甀琀Ⰰ 猀漀 㐀 搀愀渀挀攀爀猀 攀渀搀 椀渀 愀 眀椀搀攀 挀椀爀挀氀攀Ⰰ 眀椀琀栀 愀氀琀攀爀渀愀琀椀渀最 最攀渀搀攀爀猀⸀ഊ	Switch inside
਀䴀攀渀 䴀漀瘀椀洀攀渀琀漀Ⰰ 琀栀攀渀 圀漀洀攀渀 䴀漀瘀椀洀攀渀琀漀⸀ഊMen switch places, passing right shoulders, with 2 Doubles.
਀圀漀洀攀渀 䴀漀瘀椀洀攀渀琀漀Ⰰ 琀栀攀渀 䴀攀渀 䴀漀瘀椀洀攀渀琀漀⸀ऀ   圀漀洀攀渀 猀眀椀琀挀栀 瀀氀愀挀攀猀Ⰰ 愀猀 洀攀渀 搀椀搀⸀ഊ	Turn in place
਀䴀攀渀 䴀漀瘀椀洀攀渀琀漀Ⰰ 琀栀攀渀 圀漀洀攀渀 䴀漀瘀椀洀攀渀琀漀⸀  䴀攀渀 琀甀爀渀 椀渀 愀 氀椀琀琀氀攀 挀椀爀挀氀攀Ⰰ 琀愀欀椀渀最 㐀 猀琀攀瀀猀⸀ഊRepeat, roles reversed.
਀ऀ匀眀椀琀挀栀 漀甀琀猀椀搀攀ഊMen switch places, each going behind his partner to the other man's place with 4 Pive.
਀圀漀洀攀渀 搀漀 琀栀攀 猀愀洀攀Ⰰ 愀氀猀漀 最漀椀渀最 戀攀栀椀渀搀 栀攀爀 瀀愀爀琀渀攀爀 ⠀栀椀渀琀㨀 䠀攀✀猀 洀漀瘀攀搀℀⤀⸀ഊ	Flirt
਀䴀攀渀 䴀漀瘀椀洀攀渀琀漀Ⰰ 琀栀攀渀 圀漀洀攀渀 䴀漀瘀椀洀攀渀琀漀⸀  䴀攀渀 䴀漀瘀椀洀攀渀琀漀Ⰰ 琀栀攀渀 圀漀洀攀渀 䴀漀瘀椀洀攀渀琀漀Ⰰ 愀最愀椀渀⸀ഊReverence
਀ഊRepeat dance, Couple 1 still leading, (Couple 2 wheels in behind them) but Women do everything first.
਀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀ഊ
਀倀攀琀椀琀 刀椀攀渀猀 ⴀ 愀渀漀渀礀洀漀甀猀Ⰰ  愀琀  ㄀㐀㜀　⸀ഊFor three dancers, Dancer A (on left), Dancer B and Dancer C (on right), holding hands.
਀ഊ16 Pive.
਀䐀愀渀挀攀爀 䄀 㐀 倀椀瘀攀Ⰰ    ऀ䐀愀渀挀攀爀 䈀 猀愀洀攀 琀漀 挀愀琀挀栀 甀瀀Ⰰ    ऀ䐀愀渀挀攀爀 䌀 猀愀洀攀 琀漀 挀愀琀挀栀 甀瀀⸀ഊDancer A Double,    	Dancer B same to catch up,     	Dancer C same to catch up.
਀䐀愀渀挀攀爀 䄀 刀攀瘀攀爀攀渀挀攀Ⰰऀ䐀愀渀挀攀爀 䈀 猀愀洀攀Ⰰ ऀऀऀ䐀愀渀挀攀爀 䌀 猀愀洀攀⸀ഊDouble backwards, moving away from each other, 	Double together.
਀匀攀琀 ☀ 吀甀爀渀ഊ
਀嘀愀爀椀愀琀椀漀渀猀㨀  吀栀攀爀攀 愀爀攀 愀 氀漀琀 漀昀 瘀愀爀椀愀琀椀漀渀猀 椀渀 琀栀攀 爀攀瘀攀爀攀渀挀攀 猀攀挀琀椀漀渀⸀ 吀栀攀 洀漀猀琀 挀漀洀洀漀渀 椀猀 昀漀爀 䄀⬀䈀 琀漀 爀攀瘀攀爀攀渀挀攀 琀漀最攀琀栀攀爀Ⰰ 琀栀攀渀 䈀⬀䌀 爀攀瘀攀爀攀渀挀攀Ⰰ 琀栀攀渀 愀氀氀 ㌀ 爀攀瘀攀爀攀渀挀攀⤀ഊ===========================================================================
਀ഊAmoroso - anonymous,  at  1470	
਀䘀漀爀 漀渀攀 挀漀甀瀀氀攀Ⰰ 猀椀搀攀 戀礀 猀椀搀攀Ⰰ 栀漀氀搀椀渀最 栀愀渀搀猀Ⰰ 圀漀洀愀渀 漀渀 琀栀攀 爀椀最栀琀⸀ഊ
਀ ऀ   匀攀挀琀椀漀渀 䤀 㴀 䔀渀琀爀愀渀挀攀ഊ12 Pive, starting on Left foot.	(Some music may have 8 instead.)
਀ ऀ   匀攀挀琀椀漀渀 䤀䤀 㴀 匀攀焀甀攀渀挀攀 䄀ഊMan Step Left, Step Right, Piva Left, Step Right, Step Left, Step Right.	(Some music has time for a pause.)
਀圀漀洀愀渀 猀愀洀攀 琀漀 挀愀琀挀栀 甀瀀⸀ഊ 	   Section III = Sequence B
਀䴀愀渀 倀椀瘀愀 䰀攀昀琀Ⰰ 倀椀瘀愀 刀椀最栀琀Ⰰ 倀椀瘀愀 䰀攀昀琀Ⰰ 匀琀攀瀀 刀椀最栀琀⸀ऀ⠀匀漀洀攀 洀甀猀椀挀 栀愀猀 琀椀洀攀 昀漀爀 愀 瀀愀甀猀攀⸀⤀ഊWoman same to catch up.
਀ ऀ   匀攀挀琀椀漀渀 䤀嘀 㴀 匀攀焀甀攀渀挀攀 䄀 ⬀ 刀攀瘀攀爀攀渀挀攀 ⬀ 匀攀焀甀攀渀挀攀 䈀 ഊMan Sequence A (2 steps, piva, 3 steps) and pivot to face Woman,
਀䈀漀琀栀 刀攀瘀攀爀攀渀稀愀 䰀攀昀琀Ⰰ 昀愀挀椀渀最 攀愀挀栀 漀琀栀攀爀⸀ഊMan Sequence B (3 pive and a step), rejoining Woman, and turning to face up the hall.
਀ऀ⠀䔀渀搀 猀椀搀攀 戀礀 猀椀搀攀Ⰰ 昀愀挀椀渀最 甀瀀 琀栀攀 栀愀氀氀⸀⤀ഊRepeat, Woman leaving and returning as Man did.	(Some msuic does not have this repeat.)
਀ऀ⠀䔀渀搀 愀猀 猀琀愀爀琀攀搀 搀愀渀挀攀Ⰰ 猀椀搀攀 戀礀 猀椀搀攀Ⰰ 昀愀挀椀渀最 甀瀀 琀栀攀 栀愀氀氀Ⰰ 圀漀洀愀渀 漀渀 琀栀攀 爀椀最栀琀⸀⤀ഊ
਀刀攀瀀攀愀琀 琀栀攀 搀愀渀挀攀Ⰰ 圀漀洀愀渀 搀漀椀渀最 攀瘀攀爀礀琀栀椀渀最 昀椀爀猀琀 琀栀椀猀 琀椀洀攀⸀ഊ
਀嘀愀爀椀愀琀椀漀渀猀㨀  吀栀攀爀攀 椀猀 挀漀渀猀椀搀攀爀愀戀氀攀 搀椀瘀攀爀猀椀琀礀 椀渀 琀栀攀 爀攀挀漀爀搀椀渀最猀 愀瘀愀椀氀愀戀氀攀Ⰰ 眀栀椀挀栀 栀愀猀 氀攀搀 琀漀 愀 瀀爀漀氀椀昀攀爀愀琀椀漀渀 漀昀 瘀攀爀猀椀漀渀猀 漀昀 琀栀椀猀 搀愀渀挀攀⸀  伀渀攀 挀漀洀洀漀渀 搀椀昀昀攀爀攀渀挀攀 椀猀 昀漀爀 琀栀攀 搀愀渀挀攀 琀漀 戀攀 瀀氀愀礀攀搀 瘀攀爀礀 猀氀漀眀氀礀Ⰰ 椀渀猀琀攀愀搀 漀昀 椀渀 愀 昀愀猀琀Ⰰ 瀀椀瘀愀Ⰰ 猀瀀攀攀搀⸀  吀栀攀 攀渀琀爀愀渀挀攀 洀愀礀 栀愀瘀攀 㠀 漀爀 ㄀　 瀀椀瘀攀 椀渀猀琀攀愀搀 漀昀 ㄀㈀⸀  䄀琀 琀栀攀 攀渀搀 漀昀 戀漀琀栀 匀攀焀甀攀渀挀攀 䄀 愀渀搀 匀攀焀甀攀渀挀攀 䈀 琀栀攀爀攀 洀愀礀 戀攀 愀渀 攀砀琀爀愀 栀愀氀昀 戀愀爀 漀昀 洀甀猀椀挀 漀爀 渀漀琀⸀  匀攀挀琀椀漀渀 䤀嘀 椀猀 渀漀琀 爀攀瀀攀愀琀攀搀 椀渀 猀漀洀攀 瘀攀爀猀椀漀渀猀Ⰰ 猀漀 昀漀爀 琀栀攀猀攀 琀栀攀 洀愀渀 搀漀攀猀 琀栀椀猀 瀀愀爀琀 昀漀爀 琀栀攀 昀椀爀猀琀 爀攀瀀攀愀琀 漀昀 琀栀攀 搀愀渀挀攀Ⰰ 愀渀搀 琀栀攀 眀漀洀愀渀 昀漀爀 琀栀攀 猀攀挀漀渀搀⸀ഊ===========================================================================
਀ഊGelosia, by Domenico da Piacenza,   at  1450.
਀䘀漀爀 琀栀爀攀攀 挀漀甀瀀氀攀猀Ⰰ 漀渀攀 戀攀栀椀渀搀 琀栀攀 漀琀栀攀爀⸀ഊ
਀ऀ䔀渀琀爀愀渀挀攀ഊ8 Doubles.		(Some music may have 4 or 6 instead.)
਀ऀ䴀攀渀 猀眀愀瀀 瀀愀爀琀渀攀爀猀ഊMan 1 does 3 Pive clockwise 2/3rds of way around Woman 1, and a fast Reverence to Woman 2.
਀䴀愀渀 ㈀ 䐀漀甀戀氀攀 琀漀 樀漀椀渀 圀漀洀愀渀 ㄀⸀ഊMan 1 does 3 Pive, counterclockwise (i.e. he starts going in front of her) partly around Woman 2 stopping with a fast Reverence when he reaches the right hand side of Woman 3.
਀䴀愀渀 ㌀ 䐀漀甀戀氀攀 琀漀 樀漀椀渀 圀漀洀愀渀 ㈀⸀ഊMan 1 Double behind Woman 3, ending at her left.
਀ऀ吀爀愀瘀攀氀ഊ8 Pive
਀ऀ䜀爀攀攀琀 渀攀眀 瀀愀爀琀渀攀爀 ⠀瀀爀漀洀椀猀椀渀最 攀琀攀爀渀愀氀 昀愀椀琀栀昀甀氀渀攀猀猀 漀瀀琀椀漀渀愀氀⤀ഊEach Man in turn does a Reverence to his partner.
਀ऀ䐀愀渀挀攀 眀椀琀栀 渀攀眀 瀀愀爀琀渀攀爀ഊTake Right hands with partner, and circle with 3 Singles. Switch hands, and circle with 3 more Singles.
਀ഊRepeat dance twice more, until each man returns to his starting place.
਀ഊVariations:  	The reverences in the second to last section are sometimes replaced with some sort of turn around.  Give your partner plenty of room, and they should be able to spin to their heart's content, while you watch them, or reverence, politely.
਀ऀ吀栀攀 氀愀猀琀 猀攀挀琀椀漀渀 洀愀礀 戀攀 瀀氀愀礀攀搀 ㌀ 漀爀 㔀 琀椀洀攀猀Ⰰ 椀渀猀琀攀愀搀 漀昀 琀栀攀 ㈀ 琀椀洀攀猀 琀栀愀琀 琀栀椀猀 爀攀挀漀渀猀琀爀甀挀琀椀漀渀 昀椀琀猀⸀ഊ===========================================================================
਀ഊVita di Cholino, by Giovannino,  at  1500.
਀䴀愀渀 ㄀ 漀渀 氀攀昀琀Ⰰ 圀漀洀愀渀 椀渀 洀椀搀搀氀攀Ⰰ 䴀愀渀 ㈀ 漀渀 爀椀最栀琀Ⰰ 栀漀氀搀椀渀最 栀愀渀搀猀Ⰰ 昀愀挀椀渀最 甀瀀 琀栀攀 栀愀氀氀⸀ഊ
਀嘀攀爀猀攀 ㄀ऀ刀攀瘀攀爀攀渀挀攀ഊ	Single Left, Single Right:  Men backwards, Woman forward and she turns around at end.
਀ऀ刀椀瀀爀攀猀愀 䰀攀昀琀Ⰰ 刀椀瀀爀攀猀愀 刀椀最栀琀⸀ഊ	(Men are facing up the hall and Woman is facing down, in a triangle.)
਀䌀栀漀爀甀猀ऀ圀漀洀愀渀 愀渀搀 琀栀攀 洀愀渀 琀漀 栀攀爀 爀椀最栀琀 ⠀䴀愀渀 ㄀ 琀栀椀猀 琀椀洀攀⤀ 刀攀瘀攀爀攀渀挀攀⸀ഊ	Woman and the man to her left (Man 2 this time) Reverence.
਀ऀ吀甀爀渀 挀氀漀挀欀眀椀猀攀 椀渀 愀 挀漀洀瀀氀攀琀攀 挀椀爀挀氀攀 眀椀琀栀 愀 䐀漀甀戀氀攀ഊ
਀嘀攀爀猀攀 ㈀ऀ圀漀洀愀渀 愀渀搀 䴀愀渀 ㄀ 琀愀欀攀 爀椀最栀琀 栀愀渀搀猀 愀渀搀 挀椀爀挀氀攀 攀愀挀栀 漀琀栀攀爀 眀椀琀栀 ㈀ 䐀漀甀戀氀攀猀⸀ഊ	Woman and Man 2 do the same, with left hands.
਀䌀栀漀爀甀猀  䄀猀 戀攀昀漀爀攀⸀ഊ
਀嘀攀爀猀攀 ㌀ऀ㈀ 䐀漀甀戀氀攀猀 昀漀爀眀愀爀搀Ⰰ 愀渀搀 琀甀爀渀 琀漀 昀愀挀攀⸀  ⠀吀爀椀愀渀最氀攀 栀愀猀 椀渀瘀攀爀琀攀搀⸀⤀ഊ	Ripresa Left, Ripresa Right.
਀䌀栀漀爀甀猀   䘀漀爀 琀栀椀猀 挀栀漀爀甀猀Ⰰ 䴀愀渀 ㈀ 眀椀氀氀 刀攀瘀攀爀攀渀挀攀 昀椀爀猀琀⸀ഊ
਀嘀攀爀猀攀 㐀ऀ㌀ 䐀漀甀戀氀攀猀 䰀攀昀琀Ⰰ 刀椀最栀琀Ⰰ 䰀攀昀琀 稀椀最稀愀最最椀渀最Ⰰ 愀渀搀 琀甀爀渀 琀漀 昀愀挀攀⸀ ⠀吀爀椀愀渀最氀攀 栀愀猀 椀渀瘀攀爀琀攀搀⸀⤀ഊ	Doppio Right, coming together.
਀䌀栀漀爀甀猀ऀ䘀漀爀 琀栀椀猀 挀栀漀爀甀猀Ⰰ 琀漀甀挀栀 栀愀渀搀猀 眀栀椀氀攀 爀攀瘀攀爀攀渀挀椀渀最⸀ഊ
਀嘀攀爀猀攀 㔀ऀ㠀 倀椀瘀攀Ⰰ 猀琀愀爀琀椀渀最 漀渀 䰀攀昀琀 昀漀漀琀Ⰰ 搀漀椀渀最 愀 䠀攀礀Ⰰ 圀漀洀愀渀 愀渀搀 䴀愀渀 ㄀ 猀琀愀爀琀 戀礀 瀀愀猀猀椀渀最 爀椀最栀琀 猀栀漀甀氀搀攀爀猀⸀ഊ	(The dancers are in a small triangle, Men facing up the hall, Woman down.)
਀䌀栀漀爀甀猀ऀ圀漀洀愀渀 愀渀搀 䴀愀渀 ㄀ 刀攀瘀攀爀攀渀挀攀⸀ഊ	Woman and Man 2 Reverence.
਀ऀ圀漀洀愀渀 琀甀爀渀猀 椀渀 愀 挀椀爀挀氀攀 眀椀琀栀 愀 䐀漀甀戀氀攀Ⰰ 愀猀 戀攀昀漀爀攀Ⰰऀऀഊ but     	Men Double to come beside her, turn to face same way.
਀ഊ(Dancers end side by side, facing down the hall, Man 2 on the left and Woman in the middle.)
਀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀㴀ഊ
਀刀漀猀椀渀愀✀猀 瘀攀爀猀椀漀渀 漀昀 琀栀攀 搀愀渀挀攀 刀漀猀椀渀愀Ⰰ 愀氀猀漀 欀渀漀眀渀 漀昀 愀猀 嘀漀氀琀愀琀椀 椀渀 挀愀 刀漀猀椀渀愀Ⰰ 戀礀 䜀甀最氀椀攀氀洀漀Ⰰ  愀琀  ㄀㐀㜀　ഊFor three people, two Sides and one Center. 
਀ഊ          	  Section I 
਀㈀ 䐀漀甀戀氀攀猀 昀漀爀眀愀爀搀Ⰰ 琀栀攀渀 瀀椀瘀漀琀 愀渀搀 ㈀ 䐀漀甀戀氀攀猀 爀攀琀甀爀渀椀渀最 漀琀 眀栀攀爀攀 猀琀愀爀琀攀搀Ⰰ 愀渀搀 瀀椀瘀漀琀⸀ഊCenter Single Left, Single Right, Double Left, 
਀匀椀搀攀猀 匀椀渀最氀攀 刀椀最栀琀Ⰰ 匀椀渀最氀攀 䰀攀昀琀Ⰰ 䐀漀甀戀氀攀 刀椀最栀琀Ⰰ 愀渀搀ऀ䌀攀渀琀攀爀 瀀椀瘀漀琀猀 愀琀 攀渀搀⸀ഊ          	  Section II 
਀㈀ 䐀漀甀戀氀攀猀 昀漀爀眀愀爀搀Ⰰ 琀栀攀渀 瀀椀瘀漀琀 愀渀搀 搀漀 刀椀瀀爀攀猀愀 䰀攀昀琀Ⰰ 刀椀瀀爀攀猀愀 刀椀最栀琀⸀ഊ"Chorus" = Doppio Left in CCW half circle, pivot on Left, Ripresa Right.  4 Continenze starting Left.
਀          ऀ  匀攀挀琀椀漀渀 䤀䤀䤀 ഊSingle Left, Single Right, Double Left, coming together, Double Right back, Reverence.
਀䌀栀漀爀甀猀ഊ          	  Section IV 
਀䌀攀渀琀攀爀 愀渀搀 匀椀搀攀 琀漀 䌀攀渀琀攀爀✀猀 爀椀最栀琀 琀愀欀攀 爀椀最栀琀 栀愀渀搀猀 愀渀搀 挀椀爀挀氀攀 攀愀挀栀 漀琀栀攀爀 眀椀琀栀 㐀 倀椀瘀攀Ⰰ 猀琀愀爀琀椀渀最 䰀攀昀琀⸀ഊCenter and Other Side take Left hands, and circle each other with 4 Pive, starting Left.
਀䠀攀礀 搀漀渀攀 眀椀琀栀 㠀 倀椀瘀攀Ⰰ 猀琀愀爀琀椀渀最 䰀攀昀琀Ⰰ 䌀攀渀琀攀爀 愀渀搀 匀椀搀攀 ㈀ 猀琀愀爀琀椀渀最 戀礀 瀀愀猀猀椀渀最 爀椀最栀琀 猀栀漀甀氀搀攀爀猀⸀  ⠀䌀攀渀琀攀爀 攀渀搀猀 戀攀琀眀攀攀渀 匀椀搀攀猀Ⰰ 愀渀搀 琀甀爀渀猀 琀漀 昀愀挀攀 搀漀眀渀 琀栀攀 栀愀氀氀Ⰰ 猀漀 愀氀氀 昀愀挀椀渀最 漀瀀瀀漀猀椀琀攀 眀愀礀 猀琀愀爀琀攀搀 搀愀渀挀攀⸀⤀ഊ
਀刀攀瀀攀愀琀 搀愀渀挀攀Ⰰ 匀椀搀攀猀 挀栀愀渀最椀渀最 爀漀氀攀猀 ⠀琀栀攀 漀渀氀礀 搀椀昀昀攀爀攀渀挀攀 戀攀椀渀最 椀渀 匀攀挀琀椀漀渀 䤀嘀⤀⸀ഊ
਀ⴀⴀⴀⴀⴀⴀഊCopyright 2001 by Vivian Stephens. <rosina at pathcom.com>. Permission is granted for republication in SCA-related publications, provided the author is credited and receives a copy.
਀ഊIf this article is reprinted in a publication, I would appreciate a notice in the publication that you found this article in the Florilegium. I would also appreciate an email to myself, so that I can track which articles are being reprinted. Thanks. -Stefan.
਀ഊ<the end>
਀䔀搀椀琀攀搀 戀礀 䴀愀爀欀 匀⸀ 䠀愀爀爀椀猀ऀ䤀琀愀氀ⴀ刀攀渀ⴀ䐀挀攀ⴀ愀爀琀ऀ倀愀最攀 㔀 漀昀 㔀ഊ
ਊ