O Spagnoletta, O Cascarda, or, A Word Concerning Similarities

[ This article appeared in volume 3 of the Letter of Dance. ]

by Messer Sion Andreas o Wynedd

Unto the gentle readers, my greetings and apologies.

I am sorry to have to impose any background material on you before you get to the meat of these articles, but before you read any further, I need to drop a bombshell on you, an observation which is central to my reconstructions. The spagnolette in Fabritio Caroso's two books, although they appear to be discrete dances unto themselves, are in reality cascarde, even though Caroso does not designate them as such in his titles.

I have a paper in process in which the various cascarde in Il Ballarino are being examined in order to establish choreographic patterns which define the cascarda. In this paper I describe the cascarde in simple terms much as does Dr. Julia Sutton, as discrete, quick, triple-time dances usually several movements long.

In more complex observations, however, I note that the cascarde are danced by two (or occasionally three and in one case four) people, and that they are usually either four- or five-movement dances (although one has as few as three movements and one has as many as seven). These movements are easily divisible into three distinct sections which I term:

• Intrada: The introductory figure of any given movement
• Mostra: A posing figure
• Ritornello: A teasing figure which usually takes the form of a backing or advancing chorus.

(The formula either falls apart completely or becomes more elaborately disguised, in the three-person cascarde.)

As there are gross similarities in the choreographic patterns, there are also recurrent step combinations, and almost stereotypical solutions to various situations with which the choreographer finds himself faced.

Because of these observations, I maintain that the cascarda was Caroso's signature dance, that one could look at a cascarda, recognize it as a Caroso dance, and sigh, "Ah, Messer Fabritio," or some such drivel.

But for one exception, and that one he publishes, only Caroso choreographs in this form, and if, as has been maintained, the dances in Il Ballarino and Nobiltá di Dame are "coming out" dances for young ladies of society, then this quick association of a dance with a master of the fame and stature of Caroso would be a status symbol par excellence.

As you look through these reconstructions, I think you will see where the spagnolette are following the same choreographic formula which Caroso uses for the cascarde. Why they do is uncertain and beside the point. It is important enough for understanding my reconstructions that they do so.

Even Dr. Julia Sutton in her introduction to the translation of Nobiltà di Dame notes the relationship between the cascarde and the spagnolette, although she identifies the ritornello as more of a canary-esque phrase than the cascarda's tease.

If you are interested in my paper, "Patterns in Chaos: an Examination of Recurrent Choreographic Themes in the Cascarde of Il Ballarino," please feel free to write me. I expect the paper to be in a publishable state by the end of this year. [Which, owing to the vagaries of publishing, was actually last year.] [1992 - ed.]

If you are simply interested in the dance equivalent of musicology - choreology - please also feel free to write me!

May Providence grant I remain at your service,

Messer Sion Andreas o Wynedd

mka Ian A. Engle
119 S. Park Ridge Rd. #1
Bloomington, IN 47408

A Brief Step Dictionary for the Spagnolette

Just to set the record straight, this is how I do these steps. It is not necessarily correct, it's just how I'm doing them right now.

Riverenza: In four equal sections of music, push the left foot forward so the left toes are about four inches in front of the right toes, pull it straight back so the heel is four inches behind the right heel, bend your knees, and straighten them as you bring the left foot up even again.

Riverenza minima (Caroso): does this in 4 measures of music.
Riverenza semiminima (Caroso): does this in 2 measures of music.
Riverenza breve in saltino (Negri): does this in one measure. As the name implies, there should be a little hop at the end of this step.

Meza Riverenza (Caroso): Use only the last two sections of the above Riverenza. You should be called on to use this step only when one foot needs to close, and Caroso wants the closure to be graceful.

Passo (Caroso and Negri): This is a step, a simple unadorned step.

Passo grave: takes two measures of music in Caroso and two beats of music in Negri.
Passo presto: takes one measure of music in Caroso.

Passo trangato (Caroso): This is a step like the Puntata, in two equal sections. In the first, the first foot steps forward, but in the second the second foot, which is supposed to join the first, does not glide into place as it would for the Puntata; rather, it is pulled, as though it had been glued down and had to be pried or forced loose. The step takes four measures of music.

Seguito spezzato (Caroso): This step is done in two measures of music. In the first measure, the first foot is put forward, and the second foot cuts in behind the first. In the second measure, the first foot steps forward again, carrying the impetus of the undercut by the second foot.

Seguito Ordinario (Negri): This is Caroso's Seguito semidoppio, and is in proper amounts of time two Passi followed by a Seguito spezzato.

Seguito battuto di Canario (Caroso): This is a series of strikes to the ground with one foot, and it takes one measure of music (which in the spagnolette is rather nicely sectioned into proper canario time.)

On the first note (a dotted quarter) the heel of the foot brushes the ground while the foot goes forward, on the second (eighth) the toes of that foot brush the ground as the foot is drawn back, and on the last (quarter) the whole foot is brought down in a stamp.

This step is guaranteed to make noise.

Ripresa (Caroso): This is a step to one side that takes one measure of music. The first foot leads to one side about four inches landing on the toes of that foot, then the second foot joins the first and the dancers sinks from his toes.

Sottopiede (Negri): This is a type of Ripresa, which takes two beats of music. The difference between this and the Ripresa is that the second foot does not join the first; rather, its toes are placed under the heel of the first foot.

Trabucchetto (Caroso and Negri): This step takes one measure of music in Caroso and two beats in Negri. It is a little hop to one side, landing on the toes of the foot on that side. Whether this takes the guise of a trebuchet shot going up, or one starting to come down, is up to the reconstructor.

Fioretto spezzato (Negri): Negri says his abbreviation .SP. is for Fioretto spezzato, not for Seguito spezzato, but then he gives directions for the second and none for the first. My best guess is that the step is like a Fioretto, but with a step (Passo) at the end of it.

In four beats of music, the first foot is brought behind the second, with the first's toes under the second's heel (dancers are on toes at this point); the first foot now cuts under into the place previously occupied by the second foot; the second foot now takes a step forward.

In many ways this is like a Seguito spezzato, but more ornamented.

Cadenza (Caroso): This is a jump. It is usually done from a stance where one foot is behind the other. In the cadenza, this back foot comes forward, and in then brought back again for the landing. It usually takes two measures of the music.

La Spagnoletta

Recorded by Messer Fabritio Caroso da Sermoneta, Il Ballarino, 1581
Transcribed, translated, and reconstructed by Messer Sion Andreas o Wynedd

I. Transcription

Spagnoletta.

SENZA pigliar mano, la Dama starà da vu capo della Sala, & l'Huomo dall'altro: oue insieme faranno la Riuerenza, poi in ruota faranno quattro Seguiti spezzati, con due Passi presti innanzi, & la Cadenza à piedi pari, & alla sinistra faranno due Riprese, due Trabuchetti, & vn Seguito spezzato volto alla sinistra, principiando col sinistro, con la Cadenza col destro; poi faranno le medesime Riprese, Trabuchetti, & Seguito spezzato in volta alla destra, principiando col piè deestro, & la Cadenza col sinistro: dopo ciò faranno due Passi trangati indietro fiancheggiati à modo di Barriera, con due Passi presti innanzi, & la Cadenza, principiando col sinistro; il medesimo faranno per contrario, principiando col destro.

Nel secondo tempo faranno in ruota sei Seguiti spezzati, con due Passi presti innanzi, & la Cadenza à piedi pari: faranno il medesimo che haranno fatto nella prima mutanza, principiando dalle Riprese con l'altre cose che seguono, sì alla sinistra, come alla destra.

Nel terzo tempo, l'Huomo solo farà due Seguiti spezzati volti alla sinistra, con due Passi presti innanzi, & la Cadenza à piedi pari, principiando col piè sinistro. Il medesimo farà vu'altra volta voltando à man destra, & principiando col destro; poi farà due Riprese, due Trabuchetti, & vu Seguito spezzato uolto alla sinistra, principiando col piè sinistro, con la Cadenza col destro; poi farà l istesso vn'altra volta per contrario, principiando col destro. Dopò insieme faranno due Passi trangati indietro fiancheggiati, con due altri Passi presti innanzi, & la Cadenza, Principiando col sinistro: & il medesimo tornaranno à fare per contrario, principiando col destro.

Nel quarto tempo, la Dama sola farà la medesima Mutanza, che harà fatta l'Huomo; poi insieme faranno li Passi trangati indietro, & innanzi, come s'è detto nella sopradetta Mutanza.

Nel quinto tempo, faranno similmente insieme due Passi presti alla sinistra, con la Cadenza, principiandoli col piè sinistro, & quattro Trabuchetti, principiandoli col destro; poi faranno due altri Passi presti, con la Cadenza alla destra, principiando col destro, & quattro Trabuchetti, principiandoli col sinistro. Doppò faranno le predette Riprese & Trabuchetti alla sinistra, con il Seguito spezzato volto pur'alla sinistra, & la Cadenza: il medesimo faranno vn'altra volta per contrario. Vltimamente farano due Passi trangati indietro, & due Passi presti innanzi, con la Cadenza, principiando col piè sinistro; & il medesimo faranno principiando col destro: all'incontro poi finiranno il Ballo con la Riuerenza.

II. Translation

Spagnoletta

Without taking hands, the lady will be at one end of the room, and the man at the other(1): where together they will do the Riverenza, then in a wheel they will do four Seguiti spezzati(2), and(3) two Passi presti forwards and the Cadenza on equal feet, and to the left they will do two Riprese, two Trabucchetti(4), and a Seguito spezzato turning to the left, beginning with the left, and the Cadenza with the right; then they will do the same Riprese, Trabucchetti and a Seguito spezzato turning to the right, beginning with the right foot, and the Cadenza with the left: after that they will do two Passi trangati flankingly backwards in the style of the Barriera,(5) and two Passi presti forward and the Cadenza, beginning with the left; they will do the same to the other side beginning with the right.

In the second part they will do six Seguiti spezzati in a wheel,(6) and two Passi presti forward and the Cadenza on equal feet: they will then do the same things that they have done in the first variation, beginning with the Riprese with those other things which follow as much to the left as to the right.

In the third part, the man alone will do two Seguiti spezzati turning to the left, and two Passi presti forwards, and the Cadenza on even feet, beginning with the left foot. He will do the same another time turning to the right hand, and beginning with the right;(7) then he will do two Riprese, two Trabucchetti, and a Seguito spezzato turning to the left, beginning with the left foot, and the Cadenza with the right; then he will do the same(8) another time to the other side, beginning with the right. Then together they will do two Passi trangati flankingly backwards, and two other Passi presti forwards, and the Cadenza, beginning with the left: and they will do the same to the other side, beginning with the right.

In the fourth part, the lady alone will do the same variation, which the man has done; then together they will do the Passi trangati backwards, and forwards, as has been seen in the above mentioned variation.

In the fifth part, they will do together at the same time two Passi presti to the left, and the Cadenza, beginning with the left foot, and four Trabucchetti facing,(9) beginning with the right; then they will do two other Passi presti, and the Cadenza to the right, beginning with the right, and four Trabucchetti beginning with the left. Afterwards they will do the aforesaid Riprese and Trabucchetti to the left, and the Seguito spezzato also turning to the left, and the Cadenza: and they will do the same another time to the other side. Ultimately they will do(10) two Passi trangati backwards, and two Passi presti forwards, and the Cadenza, beginning with the left foot; and they will do the same beginning with the right; facing then they will finish the dance with the Riverenza.(11)

III. Reconstruction

Two dancers face one another

I.

1-4	Riverenza
5-12	4 Seguiti spezzati	Around a circle to the left.
13-14	2 Passi presti Forwards.
15-16	Cadenza
17-18	2 Riprese	To the left.
19-20	2 Trabucchetti	Left and right.
21-22	Seguito spezzato	Turning over the left shoulder.
23-24	Cadenza
25-26	2 Riprese	To the right.
27-28	2 Trabucchetti	Right and left.
29-30	Seguito spezzato	Turning over the right shoulder.
31-32	Cadenza
33-36	2 Passi trangati	Flankingly backwards.
37-38	2 Passi presti	Forwards.
39-40	Cadenza
41-44	2 Passi trangati	Flankingly backwards.
45-46	2 Passi presti	Forwards.
47-48	Cadenza

II.

1-12	6 Seguiti spezzati	Around in a circle to the left.
13-14	2 Passi presti	Forwards.
15-16	Cadenza
17-18	2 Riprese	To the left.
19-20	2 Trabucchetti	Left and right.
21-22	Seguito spezzato	Turning over the left shoulder.
23-24	Cadenza
25-26	2 Riprese	To the right.
27-28	2 Trabucchetti	Right and left.
29-30	Seguito spezzato	Turning over the right shoulder.
31-32	Cadenza
33-36	2 Passi trangati	Flankingly backwards.
37-38	2 Passi presti	Forwards.
39-40	Cadenza
41-44	2 Passi trangati	Flankingly backwards.
45-46	2 Passi presti	Forwards.
47-48	Cadenza

III. Lord's solo

1-4	2 Seguiti spezzati	Turning over the left shoulder.
5-6	2 Passi presti	Forwards.
7-8	Cadenza
9-12	2 Seguiti spezzati	Turning over the right shoulder.
13-14	2 Passi presti	Forwards.
15-16	Cadenza
17-18	2 Riprese	To the left.
19-20	2 Trabucchetti	Left and right.
21-22	Seguito spezzato	Turning over the left shoulder.
23-24	Cadenza
25-26	2 Riprese	To the right.
27-28	2 Trabucchetti	Right and left.
29-30	Seguito spezzato	Turning over the right shoulder.
31-32	Cadenza
33-36	2 Passi trangati	Together: Flankingly backwards.
37-38	2 Passi presti	Forwards.
39-40	Cadenza
41-44	2 Passi trangati	Flankingly backwards.
45-46	2 Passi presti	Forwards.
47-48	Cadenza

IV. Lady's solo

1-4	2 Seguiti spezzati	Turning over the left shoulder.
5-6	2 Passi presti Forwards.
7-8	Cadenza
9-12	2 Seguiti spezzati	Turning over the right shoulder.
13-14	2 Passi presti	Forwards.
15-16	Cadenza
17-18	2 Riprese	To the left.
19-20	2 Trabucchetti	Left and right.
21-22	Seguito spezzato	Turning over the left shoulder.
23-24	Cadenza
25-26	2 Riprese	To the right.
27-28	2 Trabucchetti	Right and left.
29-30	Seguito spezzato	Turning over the right shoulder.
31-32	Cadenza
33-36	2 Passi trangati	Together: Flankingly backwards.
37-38	2 Passi presti	Forwards.
39-40	Cadenza
41-44	2 Passi trangati	Flankingly backwards.
45-46	2 Passi presti	Forwards.
47-48	Cadenza

V.

1-2	2 Passi presti	To the left.
3-4	Cadenza	To face.
5-8	4 Trabucchetti	Left, right, left and right
9-10	2 Passi presti	To the right.
11-12	Cadenza	To face.
13-16	4 Trabucchetti	Right, left, right and left.
17-18	2 Riprese	To the left.
19-20	2 Trabucchetti	Left and right.
21-22	Seguito spezzato	Turning over the left shoulder.
23-24	Cadenza
25-26	2 Riprese	To the right.
27-28	2 Trabucchetti	Right and left.
29-30	Seguito spezzato	Turning over the right shoulder.
31-32	Cadenza
33-36	2 Passi trangati	Flankingly backwards.
37-38	2 passi presti	Forwards.
39-40	Cadenza
41-44	2 Passi trangati	Flankingly backwards.
45-46	2 Passi presti	Forwards.
47-48	Cadenza

Riverenza

Lo Spagnoletto

After the use of Messer Cesare Negri, Le Gratie d'Amore, 1602

Transcribed, translated, and reconstructed by Messer Sion Andreas o Wynedd

I. Transcription

BALLETTO A QVATTRO DELL'AVTTORE

detto lo Spagnoletto, ballano due caualieri, & due dame.

In gratia dell'Illustrissima, & Eccelentizzima Signora patrona mia sempre osseruandissima, la Signora Donna Giouanna della Lama, Duchessa Dalborquerque Gouernatrice di Milano.

PRIMA PARTE.

TVtti quattro si fermano in mezo del ballo in quadrangolo come si vede nella presente figura; fanno insieme la .Rx. beue in saltino, vn .S. due fioretti .SP. vu .S. andando attorno à man sinistra, e voltandosi à faccia à faccia fanno insieme tre sottopiedi per fianco alla sinistra, e la cadenza sopra esso piede, vno .T. sopra il destro, vno .S. in volta alla sinistra; tre sottopiedi vno .T. e vno .S. per fianco intorno alla destra con esso piede; fanno insieme due .P. indietro co'l destro, come prima. vno .S. co'l detto, stando tutti al suo luogo.

Questi sottopiedi per fianco e .T. e .S. intorno si fanno in tutte le parti del ballo, con le due passi in dietro , e il seguito innanzi come dispora.

SECONDA PARTE.

LE dame solo fanno due Passi graui e vno .S. innanzi col sinistro due .SP. vno .S. intorno alla destra; tre sottopiedi per fianco, vno .S. intorno alla sinistra, si fa altre tanto alla destra; tutti insieme fanno li .P. indietro vno .S. innanzi, come disopra con vn piede, & con l'altro il medesimo che hanno fatto le dame, fanno i caualieri soli eccetto li .P. indietro, & .S. innanzi che si fanno tutti insieme.

TERZA PARTE.

TVtti insieme fanno due .SP. vno .S. con il sinistro, e due .SP. vno .S. co'l destro andando attorno alla sinistra, e voltandosi à faccia à faccia fanno insieme li sottopiedi, & il .S. intorno alla sinistra, & alla destra fanno insieme li .P. indietro, & il .S. innanzi le due volte, come disopra.

QVARTA PARTE.

LE dame sole fanno, alla sinistra, voltandosi il fianco destro due .P. due .T. vno .S. co'l sinistro fanno li .P. & il .S. co'l destro riuolgendo'l fianco sinistro, e tornando al suo luogo fanno i sottopiedi, & il .S. intorno alla sinistra; & il medesimo alla destra. Fanno tutti insieme li .P. indietro e'l .S. innanzi due volte, come prima; li caualieri soli fanno la medesima parte, c'hanno fatto le dame, & insieme li duoi .P. indietro, & il .S. innanzi due volte come prima.

QVINTA PARTE.

I Caualieri pigliano le lor dame per il braccio destro, è fanno due .SP. & vno .S. co'l sinistro in volta alla destra e voltando à faccia à faccia pigliand'il braccio sinistro dell'altra dama, è fanno due .SP. è vno .S. in volta alla sinistra, e tornando al suo luogo fanno insieme i sottopiedi, & li .S. intorno, & li .P. indietro, & .S. innanzi due volte, come disopra. doppò fanno insieme la .Rx. & si finisce gratiosamente'l ballo.

II. Translation

DANCE FOR FOUR BY THE AUTHOR

which is called the Spagnoletto, danced by two lords and two ladies.

In thanks of the Most Illustrious and Most Excellent lady, my patron, always observant, the Lady Giovanna della Lama, Duchess of Alborquerque, Governor of Milan.

FIRST PART

All four close the middle of the dance like a square as is seen in the given figure; they do together the Riverenza breve in saltino, a Seguito (ordinario)(12) two Fioretti spezzati(13) a Seguito (ordinario) going around to the left hand side, and turning themselves to face once more they do together three Sottopiedi to the left side, and the Cadenza(14) on that foot, a Trabucchetto on the right, a Seguito (ordinario) turning to the left; three Sottopiedi a Trabucchetto and a Seguito (ordinario) with the side turned to the right with that foot; they do together two Passi backwards(15) turning the right side and the left,(16) a Seguito (ordinario) forwards with the left two Passi backwards with the right, as the first. a Seguito (ordinario) with the said foot, everyone standing in his place.

They do these Sottopiedi to one side and Trabucchetto and turning Seguito (ordinario) in all parts of the dance, with the two Passi backwards, and the Seguito (ordinario) as above.

SECOND PART

The ladies alone do two Passi gravi and a Seguito (ordinario) forwards with the left(17) two (Fioretti) spezzati a Seguito (ordinario) turning to the right, three Sottopiedi to the side, a Seguito (ordinario) turning to the left, as much again to the right; all together do the Passi backwards a Seguito (ordinario) forwards, as above with one foot, and with the other(18) the same which the ladies have done, the lords do alone except the Passi backwards and Seguito (ordinario) forwards which they all do together.

THIRD PART

All together do two (Fioretti) spezzati a Seguito (ordinario) with the left, and two (Fioretti) spezzati a Seguito (ordinario) with the right going around to the left,(19) and turning themselves to face again they do the Sottopiedi, and the Seguito (ordinario) around to the left, and to the right they do the same the Passi backwards, and the Seguito (ordinario) forwards the two times through, as above.

FOURTH PART

The ladies alone do, to the left, turning themselves by the right side two Passi two Trabucchetti a Seguito (ordinario) with the left they do the Passi(20) and the Seguito (ordinario) with the right turning the left side,(21) and returning to their places they do the Sottopiedi, and the Seguito (ordinario) turning to the left; and the same to the right. They do all together the Passi backwards and the Seguito (ordinario) twice through, as at first; the lords alone to the same part, which the ladies have done, and together the two(22) Passi backwards, and the Seguito (ordinario) forwards twice through as at first.

FIFTH PART

The lords take their ladies by the right arm, and(23) they do two (Fioretti) spezzati and a Seguito (ordinario) with the left around to the right and turning to face again taking the left arm of the other lady, and they do two (Fioretti) spezzati and a Seguito (ordinario) around to the left, and returning to their places they do together the Sottopiedi, and the Seguito (ordinario) turning, and the Passi backwards, and the Seguito (ordinario) forwards twice through as above. afterwards they do together the Riverenza and the dance graciously ends.

III. Reconstruction

Four dancers set themselves in a square, dancers of the same sex across from one another, partners on their proper sides.

I. First tutti section, all facing the center:

A1	1-2	Riverenza breve in Saltino
	3-4	Seguito (ordinario)	Going around in a circle to the left, ending once more where one began, facing across the square...

A2	1-2	2 Fioretti spezzati ...
	3-4	Seguito (ordinario) ...

B1	1-2	3 Sottopiedi	To the left.
		Trabucchetto	To the right.
	3-4	Seguito (ordinario)	Turning over the left shoulder.

B2	1-2	3 Sottopiedi	To the right.
		Trabucchetto	To the left.
	3-4	Seguito (ordinario)	Turning over the right shoulder.

C1	1-2	2 Passi grave	Flankingly backwards, leading with the left shoulder.
	3-4	Seguito (ordinario)	Forwards.

C2	1-2	2 Passi grave	Flankingly backwards, leading with the right shoulder.
	3-4	Seguito (ordinario)	Forwards.

II. Solos -- Ladies' solo:

A1	1-2	2 Passi grave	Forwards to the middle of the dance.
	3-4	Seguito (ordinario)

A2	1-2	2 Fioretti spezzati	Turning out to the right.
	3-4	Seguito (ordinario)

B1	1-2	3 Sottopiedi	To the left.
		Trabucchetto	To the right.
	3-4	Seguito (ordinario)	Turning over the left shoulder.

B2	1-2	3 Sottopiedi	To the right.
		Trabucchetto	To the left.
	3-4	Seguito (ordinario)	Turning over the right shoulder.

C1	1-2	2 Passi grave	Flankingly backwards, leading with the left shoulder.
	3-4	Seguito (ordinario)	Forwards.

C2	1-2	2 Passi grave	Flankingly backwards, leading with the right shoulder.
	3-4	Seguito (ordinario)	Forwards.

Lords' solo:

A1	1-2	2 Passi grave	Forwards to the middle of the dance.
	3-4	Seguito (ordinario)

A2	1-2	2 Fioretti spezzati	Turning out to the right.
	3-4	Seguito (ordinario)

B1	1-2	3 Sottopiedi	To the left
		Trabucchetto	To the right.
	3-4	Seguito(ordinario)	Turning over the left shoulder.

B2	1-2	3 Sottopiedi	To the right.
		Trabucchetto	To the left.
	3-4	Seguito (ordinario)	Turning over the right shoulder.

C1	1-2	2 Passi grave	Flankingly backwards, leading with the left shoulder.
	3-4	Seguito (ordinario)	Forwards.

C2	1-2	2 Passi grave	Flankingly backwards, leading with the right shoulder.
	3-4	Seguito (ordinario)	Forwards.

III. Second tutti section:

A1	1-2	2 Fioretti spezzati	Going around the circle to the left, ending facing the middle of the dance once more.
	3-4	Seguito (ordinario)	...

A2	1-2	2 Fioretti spezzati	...
	3-4	Seguito (ordinario)	...

B1	1-2	3 Sottopiedi	To the left.
		Trabucchetto	To the right.
	3-4	Seguito (ordinario)	Turning over the left shoulder.

B2	1-2	3 Sottopiedi	To the right.
		Trabucchetto	To the left.
	3-4	Seguito (ordinario)	Turning over the right shoulder.

C1	1-2	2 Passi grave	Flankingly backwards, leading with the left shoulder.
	3-4	Seguito (ordinario)	Forwards.

C2	1-2	2 Passi grave	Flankingly backwards, leading with the right shoulder.
	3-4	Seguito (ordinario)	Forwards.

IV. Solos -- Ladies' solo:

A1	1	2 Passi	First half of a "figure 8", beginning by turning out to the left...
	2	2 Trabucchetti	...
	3-4	Seguito (ordinario)	...

A2	1	2 Passi	Second half of the "figure 8", beginning by turning out to the right...
	2	2 Trabucchetti	...
	3-4	Seguito (ordinario)	...

B1	1-2	3 Sottopiedi	To the left.
		Trabucchetto	To the right.
	3-4	Seguito (ordinario)	Turning over the left shoulder.

B2	1-2	3 Sottopiedi	To the right.
		Trabucchetto	To the left.
	3-4	Seguito (ordinario)	Turning over the right shoulder.

C1	1-2	2 Passi grave	Flankingly backwards, leading with the left shoulder.
	3-4	Seguito (ordinario)	Forwards.

C2	1-2	2 Passi grave	Flankingly backwards, leading with the right shoulder.
	3-4	Seguito (ordinario)	Forwards.

Lords' solo:

A1	1	2 Passi	First half of a "figure 8", beginning by turning out to the left...
	2	2 Trabucchetti	...
	3-4	Seguito (ordinario)	...

A2	1	2 Passi	Second half of the "figure 8", beginning by turning out to the right...
	2	2 Trabucchetti	...
	3-4	Seguito (ordinario)	...

B1	1-2	3 Sottopiedi	To the left.
		Trabucchetto	To the right.
	3-4	Seguito (ordinario)	Turning over the left shoulder.

B2	1-2	3 Sottopiedi	To the right.
		Trabucchetto	To the left.
	3-4	Seguito (ordinario)	Turning over the right shoulder.

C1	1-2	2 Passi grave	Flankingly backwards, leading with the left shoulder.
	3-4	Seguito (ordinario)	Forwards.

C2	1-2	2 Passi grave	Flankingly backwards, leading with the right shoulder.
	3-4	Seguito (ordinario)	Forwards.

V. Last tutti section:

A1	1-2	2 Fioretti spezzati	Partners take one another by the right arms and turn around, coming	back to place...
	3-4	Seguito (ordinario)	...

A2	1-2	2 Fioretti spezzati	Corners take one another by the left arms and turn around, coming	back to place...
	3-4	Seguito (ordinario)	...

B1	1-2	3 Sottopiedi	To the left.
		Trabucchetto	To the right.
	3-4	Seguito (ordinario)	Turning over the left shoulder.

B2	1-2	3 Sottopiedi	To the right.
		Trabucchetto	To the left.
	3-4	Seguito (ordinario)	Turning over the right shoulder.

C1	1-2	2 Passi grave	Flankingly backwards, leading with the left shoulder.
	3-4	Seguito (ordinario)	Forwards.

C2	1-2	2 Passi grave	Flankingly backwards, leading with the right shoulder.
	3-4	Seguito (ordinario)	Forwards.

End the dance with all dancers making a Riverenza.

Spagnoletta Nuova

by Messer Fabritio Caroso da Sermoneta, Il Ballarino, 1581

Transcription, translation, and reconstruction by Messer Sion Andreas o Wynedd

I. Trancription

SPAGNOLETTA NVOVA,

Da farsi in terzo;

IN LODE DELLA MOLTO MAG.ca MADONNA GIVLIA PAVLINA DE' ROSSI.

Le persone staranno in triangolo, cioè, due Dame, & vu'Huomo, ouero due Homini, & vna Dama, & insieme faranno la Riuerenza minima, & Quattro Trabuchetti; poi faranno quattro Seguiti spezzati, due in ruota, & due volti alla sinistra. Dopò voltando tutti il fianco sinistro in fuori, faranno due Riprese, due Trabuchetti, & vn Seguito spezzato in prsopettiua alla sinistra, principiando ogni cosa col piè sinistro, & facendo la Riuerenza minima col destro. Poi voltando il fienco destro, faranno le medesime Riprese, Trabuchetti, & Seguito spezzato in prospettiua alla sinistra, principiando col piè destro, & la Riuerenza minima col piè sinistro: dopo faranno due Seguiti spezzati fiancheggiati indietro, con quattro Seguiti battuti di Canario, principiandoli col piè sinistro: li medesimi Seguiti spezzati, & Seguiti battuti faranno per contrario, principiandoli col piè destro.

Nel secondo tempo, faranno sei Seguiti spezzati, quattro in ruota, & due volti alla sinistra, con quattro Trabuchetti incontro: poi principiannndo dal voltare il fianco sinistro in fuori, faranno tutte l'attioni che si sono dette nel primo tempo.

Nel terzo tempo, se sono vu Huomo, & due Dame, l'Huomo principiarà à far la catena, ò intrecciata che vogliana dirrle, passando in mezo d'esse, et voltarà alla sinistra di quella Dama che le starà alla sinistra; poi tornarà à passar', & voltarà alla destra, & faranno sei Seguiti spezzati, al fine de' quali, (che ogn'vno farà tornato al suo luogo) faranno due Passi presti innanzi, & la Cadenza; Poi voltando il fianco sinistro in fuori, faranno tutte le medesime attioni fatte sì alla prima, come alla seconda Mutanza, come dispora.

Nel quarto tempo, la Dama che starà à man destra dell'Huomo, principiarà à fare la medesima Catena, passando in mezo, ma voltando à man sinistra verso l'Huomo, & cosi seguiranno tutti insieme à fare quello che fecero nel terzo tempo.

Nel quinto tempo, l'altra Dama principiarà à far la medesima catena, ritrouanndosi perè sempre ogn'vno al suo luogo, facendo tutte l'atre attioni dette dispora.

Nel sesto tempo, tutti insieme faranno due Fioretti à peidi pari, due Trabuchetti, due Passi presti, & vn Seguito spezzato alla sinistra, principiandoli col piè sinistro, Il medesimo faranno alla destra, principiando col destro. poi voltando il fianco sinistro in fuori, faranno tutte le attioni dette ne gli altri tempi; & nel fine ritrouandosi in triangolo come principiarono, contra il tempo del suono faranno la Riuerenza, & finiranno il Ballo.

II. Translation

THE NEW SPAGNOLETTA

Done by three

IN PRAISE OF THE MOST MAGNIFICENT

LADY GIVLIA PAVLINA DE' ROSSI

The people will be in a triangle, which is to say, two women, and a man, or else two men, and a woman,(24) and together they will do the Riverenza minima, and four Trabucchetti; then they will do four Seguiti spezzati, two in a wheel,(25) and two turning to the left. Next everyone turning to the left side outwards, they will do two Riprese, two Trabucchetti, and a Seguito spezzato in perspective to the left,(26) beginning each part with the left foot, and making the Riverenza minima(27) with the right. Then turning the right side, they will do the same Riprese, Trabucchetti, and Seguito spezzato in perspective to the left,(28) beginning with the right foot, and the Riverenza minima with the left foot: then they

will do two Seguiti spezzati flankingly backwards, with four Seguiti battuti di Canario, beginning them with the left foot:(29) they will do the same Seguiti spezzati, and Seguiti battuti to the other side, beginning with the right foot. In the second part, they will do six Seguiti spezzati, four in a circle,(30) and two turning to the left, with four Trabucchetti facing: then beginning to turn the left side outwards, they will do all the actions which were given in the first part.

In the third part, if there are one man, and two women, the man will begin to do a chain, or braid(31) as one should want to say, passing through the middle of them,(32) and turning to the left of that woman who is to the left of him then he will return to pass, and he will turn to the right; the women who will be found to the left and to the right will do the same, and they will do six Seguiti spezzati,(33) at the end of which (each one of which will bring him back to place) they will do two Passi presti forward, and the Cadenza:(34) then turning the left side outwards they will do the same actions done before, as in the second variation, as above.

In the fourth part, the woman who is at the right hand of the man will begin to do the same chain, passing through the middle, but turning to the left around the man, and thus they will follow all together to do that which they did in the third part.

In the fifth part, the other woman will begin to do the same chain,(35) finding themselves however after each one in place, doing all the other actions stated above.

In the sixth part, all together will do two Fioretti a piedi pari, two Trabucchetti, two Passi presti, and a Seguito spezzato to the left, beginning them with the left foot.(36) They will do the same to the right, beginning with the right. then turning the left side outwards, they will do all the actions stated in the other parts; and in the end they will find themselves again in a triangle, as they began, against the time of the tune(37) they will make the Riverenza, and they will finish the dance.

III. Reconstruction

The dancers begin facing one another in a triangle.

I. First movement

1-4	Riverenza minima
5-8	4 Trabucchetti	Left, right, left, and right.
9-12	2 Seguiti spezzati	Halfway around the circle.
13-16	2 Seguiti spezzati	Turning over the left shoulder.
17-18	2 Riprese	Left, turning the left shoulder outwards "in prospettiva", and right.
19-20	2 Trabucchetti	Left and right.
21-22	Seguito spezzato	Turning over the left shoulder so that the right shoulder ends up outwards "in prospettiva".
23-24	Riverenza
25-26	2 Riprese	Right and left.
27-28	2 Trabucchetti	Right and left.
29-30	Seguito spezzato	Turning over the right shoulder so that they end up facing one another.
31-32	Riverenza
33-36	2 Seguiti spezzati	Flankingly backwards, leading with the left shoulder.
37-40	4 Seguiti battuti	Forwards, left, left, right, left.
41-44	2 Seguiti spezzati	Flankingly backwards, leading with the right shoulder.
45-48	4 Seguiti battuti	Forwards, right, right, left, right.

II. Second movement

1-8	4 Seguiti spezzati	All the way around a circle.
9-12	2 Seguiti spezzati	Turning over the left shoulder to face.
13-16	4 Trabucchetti	Left, right, left and right.
17-18	2 Riprese	Left, turning the left shoulder outwards "in prospettiva", and right.
19-20	2 Trabucchetti	Left and right.
21-22	Seguito spezzato	Turning over the left shoulder so that the right shoulder ends up outwards "in		prospettiva".
23-24	Riverenza
25-26	2 Riprese	Right and left.
27-28	2 Trabucchetti	Right and left.
29-30	Seguito spezzato	Turning over the right shoulder so that they end up facing one another.
31-32	Riverenza
33-36	2 Seguiti spezzati	Flankingly backwards, leading with the left shoulder.
37-40	4 Seguiti battuti	Forwards, left, left, right, left.
41-44	2 Seguiti spezzati	Flankingly backwards, leading with the right shoulder.
45-48	4 Seguiti battuti	Forwards, right, right, left, right.

III. Haye, man leading

1-12	6 Seguiti spezzati	In a haye, the man leading.
13-14	2 Passi presti	Forward, to redefine the triangle
15-16	Cadenza	Facing once more.
17-18	2 Riprese	Left, turning the left shoulder outwards "in prospettiva", and right.
19-20	2 Trabucchetti	Left and right.
21-22	Seguito spezzato	Turning over the left shoulder so that the right shoulder ends up outwards "in
		prospettiva".
23-24	Riverenza
25-26	2 Riprese	Right and left.
27-28	2 Trabucchetti	Right and left.
29-30	Seguito spezzato	Turning over the right shoulder so that they end up facing one another.
31-32	Riverenza
33-36	2 Seguiti spezzati	Flankingly backwards, leading with the left shoulder.
37-40	4 Seguiti battuti	Forwards, left, left, right, left.
41-44	2 Seguiti spezzati	Flankingly backwards, leading with the right shoulder.
45-48	4 Seguiti battuti	Forwards, right, right, left, right.

IV. Haye, first woman leading

1-12	6 Seguiti spezzati	In a haye, the first woman (she to the right of the man) leading.
13-14	2 Passi presti	Forward, to redefine the triangle
15-16	Cadenza	Facing once more.
17-18	2 Riprese	Left, turning the left shoulder outwards "in prospettiva", and right.
19-20	2 Trabucchetti	Left and right.
21-22	Seguito spezzato	Turning over the left shoulder so that the right shoulder ends up outwards "in prospettiva".
23-24	Riverenza
25-26	2 Riprese	Right and left.
27-28	2 Trabucchetti	Right and left.
29-30	Seguito spezzato	Turning over the right shoulder so that they end up facing one another.
31-32	Riverenza
33-36	2 Seguiti spezzati	Flankingly backwards, leading with the left shoulder.
37-40	4 Seguiti battuti	Forwards, left, left, right, left.
41-44	2 Seguiti spezzati	Flankingly backwards, leading with the right shoulder.
45-48	4 Seguiti battuti	Forwards, right, right, left, right.

V. Haye, second woman leading

1-12	6 Seguiti spezzati	In a haye, the first woman (she to the left of the man) leading.
13-14	2 Passi presti	Forward, to redefine the triangle
15-16	Cadenza	Facing once more.
17-18	2 Riprese	Left, turning the left shoulder outwards "in prospettiva", and right.
19-20	2 Trabucchetti	Left and right.
21-22	Seguito spezzato	Turning over the left shoulder so that the right shoulder ends up outwards "in prospettiva".
23-24	Riverenza
25-26	2 Riprese	Right and left.
27-28	2 Trabucchetti	Right and left.
29-30	Seguito spezzato	Turning over the right shoulder so that they end up facing one another.
31-32	Riverenza
33-36	2 Seguiti spezzati	Flankingly backwards, leading with the left shoulder.
37-40	4 Seguiti battuti	Forwards, left, left, right, left.
41-44	2 Seguiti spezzati	Flankingly backwards, leading with the right shoulder.
45-48	4 Seguiti battuti	Forwards, right, right, left, right.

VI. Finale

1-2	2 Fioretti a piedi pari	Forwards.
3-4	2 Trabucchetti	Left and right.
5-6	2 Passi presti	Backwards.
7-8	Seguito spezzato	Turning over the left shoulder.
9-10	2 Fioretti a piedi pari	Forwards.
11-12	2 Trabucchetti	Right and left.
13-14	2 Passi presti	Backwards.
15-16	Seguito spezzato	Turning over the right shoulder.
17-18	2 Riprese	Left, turning the left shoulder outwards "in prospettiva", and right.
19-20	2 Trabucchetti	Left and right.
21-22	Seguito spezzato	Turning over the left shoulder so that the right shoulder ends up outwards "in prospettiva".
23-24	Riverenza
25-26	2 Riprese	Right and left.
27-28	2 Trabucchetti	Right and left.
29-30	Seguito spezzato	Turning over the right shoulder so that they end up facing one another.
31-32	Riverenza
33-36	2 Seguiti spezzati	Flankingly backwards, leading with the left shoulder.
37-40	4 Seguiti battuti	Forwards, left, left, right, left.
41-44	2 Seguiti spezzati	Flankingly backwards, leading with the right shoulder.
45-48	4 Seguiti battuti	Forwards, right, right, left, right.

End the dance with all dancers making a Riverenza.

Spagnoletta di Madriglia

by Messer Fabritio Caroso da Sermoneta, Nobiltà di Dame, 1600

Transcription, translation, and reconstruction by Messer Sion Andreas o Wynedd

[This one's a bit sketchier; Sion's gotten busy with other projects lately. I figured it would still be rather useful for people to play with, though... - Justin]

I. Trancription

SPAGNOLETTA NVOVA AL MODO DI MADRIGLIA

IN LODE DELL'ILLVSTRISS. ET ECCELLENTISS. SIGNORA

Vice-Regina di Napoli.

PRINCIPIARASSI questa Spagnoletta stando le persone come dimostra il presente dissegno, facendo à tempo del suono la Riuerenza breue di quattro battute triple; poi passeggiaranno con la man pigliata, con far quattro Spezzati ordinaij, & due Saffici, con fare anco al lato sinistro due Riprese, due Fioretti innanzi, con due Passi minimi, & vn Saffice, principiando ogni cosa con il piè sinistro: al lato destro faranno le predette Riprese con gli altri Moti per contrario. Dopò ciò faranno due Spezzati fiancheggiati in dietro, cioè vno ordinario col piè sinistro. e vn'altro finto col destro; finalmente faranno vn Seguito battuto di Canario, col trito minuto, cioè, dopò il Seguito faranno tre battute di piede preste, principiandole, & finendole col destro, & subito faranno vn'altro Seguito battuto col sinistro, come dispora, concludendo con fare due altre battute di piedi, vna col piè destro, e l'altra col sinistro. Gli medesimi Spezzati con tutte l'altre attioni faranno per contrario.

Nel secondo tempo, passeggiando similmente faranno quattro altri Spezzati, due Fioretti, due Passi minimi, & due Saffici, un al lato sinistro, l'altro al lato destro; poi faranno vn Groppo, due Fioretti, due Passi minimi, & vn Saffice, principiandoli col piè sinistro: il medesimo faranno per contrario; finalmente faranno vna Ripresa sottopiè, & vn Fioretto al lato sinistro, il medesimo al lato destro, & vn Corinto al lato sinistro. Il medesimo faranno per contrario.

Nel terzo tempo si piglieranno per la man destra, facendo due Spezzati, due Trabucchetti, & vn Saffice, passeggiando però al lato sinistro; poi pigliando per la man sinistra, faranno il medesimo per contrario, & lasciandosi, faranno vn Groppo, due Fioretti in prospettiua, & vn Spezzato puntato al lato sinistro, principiando ogni cosa col piè sinistro; & al fine di detto Spezzato faranno mezza Riuerenza col destro: il medesimo faranno per contrario; poi faranno due Spezzati fiancheggiati innanzi, & due Passi minimi volti à man sinistra; & al fine faranno vn Saffice col fianco sinistro per dentro. Il medesimo faranno per contrario.

Nel quarto, & vltimo tempo, si piglieranno per le mani in ruota, & passeggieranno al lato sinistro, con far due Fioretti, due Trabucchetti, due Passi minimi & vn Spezzato, principiandoli col piè sinistro: il medesimo faranno per contrario; poi lasciandosi, faranno vn Groppo, due Fioretti, due Passi minimi volti à man sinistra, & vn Saffice col fianco sinistro per dentro: il medesimo faranno per contrario. Dopò ciò fatto, faranno due Spezzati fiancheggiati in dietro, vn'ordinario, & l'altro finto, come hò detto nel primo tempo, & con due Saffici fiancheggiati innanzi. Finalmente faranno due Passi puntati minimi, accostandosi innanzi; poi si piglieranno di nuouo per la mano ordinaria, con far le solite creaze Caualeresche; & con il far la Riuerenza come la prima à tempo della Sonata (che sia vnito il piè sinistro al pari del destro) finiranno gratiosamente questa bellissima Spagnoletta. Auertendo, ch'è fatta tutta Terminata.

II. Translation

A NEW SPAGNOLETTA IN THE STYLE OF MADRID

IN PRAISE OF THE MOST ILLUSTRIOUS AND MOST EXCELLENT LADY

The Vice-Regina of Naples

To begin this Spagnoletta the people stand as demonstrated in the given picture, doing to the tempo of the music the Riverenza breve in four triple-beats; then they will process with hands held, and will do four Spezzati ordinari, and two Saffici, doing also to the left hand side two Riprese, two Fioretti forwards, and two Passi minimi, and a Saffice, beginning each part with the left foot: to the right hand side they will do the aforementioned Riprese with the other motions to the opposite side. Then that done two Spezzati flanking backwards, which is to say one ordinary one with the left foot and another feigned with the right; finally they will do a Seguito battuto di Canario, with trioto minuto, that is to say, after the Seguito they will do three quick battute with the feet, beginning them and ending them with the right, and afterwards they will do another Seguito battuto with the left, as above, concluding by doing two more battute with the feet, one with the right foot, and the other with the left. The same Spezzati with all the other actions they will do to the other side.

In the second part, processing similarly they will do four other Spezzati, two Fioretti, two Passi minimi, & two Saffici, one to the left side, the other to the right side; then they will do a Groppo, two Fioretti, two Passi minimi, and a Saffice, beginning them with the left foot: the same they will do to the opposite side; finally they will do a Ripresa sottopiè, and a Fioretto to the left side, the same to the right side, and a Corinto to the left side. The same will be done to the opposite side.

In the third part they will take right hands, doing two Spezzati, two Trabuccheti, and a Saffice, processing however to the left side; then taking the left hand, they will do the same to the opposite side, and dropping hands they will do a Groppo, two Fioretti "in prospettiva", and a Spezzato puntato to the left side, beginning each part with the left foot; at the end of said Spezzato they will do a half Riverenza with the right: the same they will do to the opposite side; they will do two Spezzati flankingly forwards, and two Passi minimi turning to the left hand; and at the end they will do a Saffice with the left side in. They will do the same to the opposite [side].

In the fourth, and last past, they will take one another by the hands in a wheel, and will process to the left side, by doing two Fioretti, two Trabucchetti, two Passi minimi, and a Spezzato, beginning them with the left foot: they will do the same to the opposite [side]; then releasing one another, they will do a Groppo, two Fioretti, two Passi minimi turning to the left hand, and a Saffice with the left side in: they will do the same to the opposite [side]. After that is done, they will do two Spezzati flanking backwards, one ordinary, and the other feigned, as has been said in the first part, and two Safffici flanking forwards. Finally they will do two Passi minimi forwards; then they will take each other anew by the usual hand, and do the customary chivalric courtesies, and having done the Riverenza as in the first part of the song (which brought the left foot equal with the right foot) they will gracefully finish this most beautiful Spagnoletta. Noting that it is done entirely closed.

III. Reconstruction

I.

1-4	Riverenza breve
5-12	4 Spezzati ordinari	Processing.
13-16	2 Saffici	Left and right.
17-18	2 Riprese	To the left.
19-20	2 Fioretti	Forward.
21-22	2 Passi minimi
23-24	Saffice	To the left.
25-26	2 Riprese	To the right.
27-28	2 Fioretti	Forward.
29-30	2 Passi minimi
31-32	Saffice	To the right.
33-36	2 Spezzati	Flanking backward.
37	Seguito battuto di Canario	Forward.
38	3 Battute di piede
39	Seguito battuto di Canario
40	2 Battute di piede
41-44	2 Spezzati	Flanking backward.
45	Seguito battuto di Canario	Forward.
46	3 Battute di piede
47	Seguito battuto di Canario
48	2 Battute di piede

II.

1-8	4 Spezzati	Processing.
9-10	2 Fioretti	Forward.
11-12	Passi minimi
	Forward.
13-16	2 Saffici	Left and right.
17-18	Groppo
19-20	2 Fioretti	Forward.
21-22	2 Passi minimi	Backward.
23-24	Saffice	To the left.
25-26	Groppo
27-28	2 Fioretti	Forward.
29-30	2 Passi minimi	Backward.
31-32	Saffice	To the right.
33	Ripresa sottopiè	Flanking out.
34	Fioretto
35	Ripresa sottopiè
36	Fioretto
37-40	Corinto In.
41	Ripresa sottopiè	Flanking out.
42	Fioretto
43	Ripresa sottopiè
44	Fioretto
45-48	Corinto In.

III.

1-4	2 Spezzati	Round clockwise.
5-6	2 Trabucchetti
7-8	Saffice	To the left.
9-12	2 Spezzati	Round counter-clockwise.
13-14	2 Trabucchetti
15-16	Saffice	To the right.
17-18	Groppo
19-20	2 Fioretti "in prospettiva"
21 -	Spezzato puntato	To the left.
- 24	Mezza Riverenza
25-26	Groppo
27-28	2 Fioretti "in prospettiva"
29 -	Spezzato puntato	To the right.
- 32	Mezza Riverenza
33-36	2 Spezzati	Flanking forward (2nd finto?)
37-38	2 Passi	Turn to the left
39-40	Saffice
41-44	2 Spezzati	Flanking forward (2nd finto?)
45-46	2 Passi	Turn to the right.
47-48	Saffice

IV.

1-2	2 Fioretti	Round clockwise.
3-4	2 Trabucchetti
5-6	2 Passi
7-8	Spezzato
9-10	2 Fioretti	Round counter-clockwise.
11-12	2 Trabucchetti
13-14	2 Passi
15-16	Spezzato
17-18	Groppo
19-20	2 Fioretti	Forward.
21-22	2 Passi	Backward.
23-24	Saffice	To the left.
25-26	Groppo
27-28	2 Fioretti	Forward.
29-30	2 Passi	Backward.
31-32	Saffice	To the right.
33-34	Spezzato	Flanking backward.
35-36	Spezzato finto	Flanking backward.
37-40	2 Saffici	Flanking forward.
41-44	2 Passi puntati minimi	Forward.
45-48	Riverenza

Notes

1 When Caroso says that the dancers are at opposite "heads" of the room, he does not necessarily mean that they are far apart. In the case of this dance, the dancers need to be fairly close to interact within the wheel in which the dance is done, and what the term means in this context is that the dancers are at what we would call the head and foot of the room, rather than at the left- and right-hand sides of it.

2 In most cascarde, these four Spezzati in ruota would bring the dancers back to the places they just left, but in this dance I think that the step sequence should bring the dancers back to the side of the dance they just left, but about two Passi and a Cadenza further out.

3 Caroso often uses the term con instead of e or & when he is referring to the next set of steps within the same sequence. As a consequence, this usage might be better translated as "along with".

4 Caroso does not say that the Riprese and Trabucchetti travel to the left on the first three steps and to the right on the last, but due to the rather remarkable similarities between this archreprise and the one in Negri's Lo Spagnoletto, I feel that this is what is happening here.

5 Many of Caroso's dances have this "backing chorus". In this recurrent and therefore probably popular figure, the dancers back away from their partners, leading with the left shoulder on the first step. On the second step, the right shoulder gets a chance to lead and therefore the dancers end up rather even again. These two backing steps are then followed by a Seguito which leads the dancers both back to the places they just left. This figure is usually mirrored to the other side.

6 When the number of Spezzati in ruota is two or six, then the step sequence takes the dancer to the other side of the circle, in this case after passing the dancer's original place. As in the first tempo, these steps will bring the dancers about two Passi and a Cadenza outside from the place where their partner began the dance.

7 This figure, as best I can make out, is a figure 8, rather elaborate to be sure, but a figure 8 nonetheless.

8 Usually Caroso uses the word medesimo, but here he has used stesso, with the rather unusual ligature li. The type face makes it look like one word, when it is in fact two words.

9 The use of the term incontro here leads me to feel that this step sequence is rather more like a face off, like the matador and the bull (if the ladies will excuse the comparison), than a simple processional. I think there should be a lot of interaction at this point in the dance.

10 The text says farano, which I take to be a typographical error; what was meant here was faranno.

11 As is the case in most cascarde, the final Riverenza in the spagnolette takes place outside the music.

12 Negri does not specify which kind of Seguito this is to be. Judging from the time allotted it, I think it must be either a Seguito grave (what Caroso called a Seguito ordinario) or a Seguito ordinario (what Caroso called a Seguito semidoppio). If I were to make a decision as to which one I think belongs there, I would opt for the Seguito ordinario over the Seguito grave. Milanese dance at this time really seems to have preferred ornamented steps, and the Spezzato at the end of the Seguito ordinario just fits better into the music, the feel and the flow of the dance.

13 In his list of abbreviations, Negri says that .SP. refers to a Fioretto spezzato, an ornamented version of the regular Spezzato. In this instance he has reinforced that he is specifically referring to the Fioretto spezzato, and as a consequence, I have been certain to render .SP. as Fioretto spezzato throughout this translation and reconstruction.

14 This Cadenza is mentioned no place else when referring to this archreprise nor when listing its steps; in fact it is not mentioned in the repetition of the archreprise to the right which immediately follows the first one. My feeling is that the Cadenza is no more than a quick weight change, so that the Trabucchetto to the right can be done more gracefully. To make sure that the Cadenza (or perhaps Cadenzetta is a better term for it) has room to be done, the Sottopiedi need to begin on the upbeat of the B phrase, not on the first note of the first fill measure.

15 Negri does not indicate that this Passo is to be in any way ornamented or distinguished, as opposed to Caroso who says that the step to be used should be the Passo trangato. The good reconstructor would assume that there is no ornamentation to the step, and so I have done in my reconstruction; however, I have a feeling that this step must have been ornamented in some way.

16 Flankingly

17 The Trabucchetto is not mentioned as being part of this archreprise, but I am assuming it it here.

18 Negri's typesetter is often annoying in the way he neglects to separate phrases of the dance with good punctuation. What is happening here is that the Passi and Seguito (ordinario) which were just done to one side are now done to the other. Then and only then the lords start their repetition of the solo section.

19 Since Negri says no more about this figure, I can only imagine that it is a simple circle to the left, the dancers turning to face across the dance at the end of the last Seguito. It is pure supposition, but I think that in this figure the dancers return to the place they left.

20 Again Negri fails to mention a step that he just included in the sequence a sentence earlier. I am assuming that the two Trabucchetti are in the repetition of the sequence, even as they are in the first time through.

21 This sounded all the world to me like a figure 8. The part about the dancers turning themselves around by one shoulder or the other only makes sense if the dancers begin the step sequence from the back of the figure 8, not turning back into it but leading forward into it.

22 There is no such word as duoi. Since every other time Negri has used the word due in this place, I am assuming that this is simply a typographical error.

23 Typographical error again. Instead of è, which means "is", I have assumed that what was meant was e, which means "and". The sentence makes no sense otherwise, and I think that even Negri dances should make some sense.

24 There is nothing given which tells how the dancers should align themselves in relationship to the hall. Since the dance is done in a circle, relating the dance to the long dimension of the room is unnecessary. When the dance is presented, therefore, the dancers will have to decide whether to dance with one or two dancers facing the Presence, or whether to dance facing the side walls. I prefer an arrangement where the odd man out faces the Presence, because in such a case the other two dancers will only have their sides to the Presence. This is better than having even one dancer turn his back.

25 In Cascarde and other two person dances, this sequence of steps would have the dancers exchanging places following a distinct circular path. In this reconstruction, I am assuming that the circle of the dance is approximately the same size as that of the two person dance, so the two Seguiti Spezzati will take the dancers to the far side of this circle.

26 This section is done with the bodies turned out slightly to the left, say at about a 45 degree angle. My feeling is that with these Riprese and Trabucchetti, the first one is done to the left and the second to the right, so that these steps keep the dancer in place. The Seguito spezzato then simply turns the dancer around so that the right side is turned outwards.

This passage is sufficiently ambiguous that I expect most reconstructors will come up with differing interpretations. I base the non-travelling aspect of this reconstruction upon similarities of construction between Caroso's cascarde and spagnolette. In the case of the cascarde, the second part of each movement is a posing figure. The typical step sequences for this pose, or mostra, are:

• 2 Scambiate, left and right;
• Passo to the left and a Riverenza, with the same steps mirrored to the right;
• 2 Riprese, 2 Trabucchetti, and a Seguito spezzato turning over the left shoulder, and a Riverenza, with same steps mirrored to the right;
• 2 Riprese and 2 Trabucchetti to one side, a Seguito spezzato turning over the left shoulder, and a Riverenza, with the same steps mirrored to the other side.

27 Caroso specifies a Riverenza minima in this place and in all other places the sequence occurs in the dance. Quite simply, it will not fit if all other steps are given the time values assigned them in the Regole at the beginning of Il Ballarino. I propose that this is an error, an that the step which is called for is a Riverenza Semiminima, or less likely a Meza Riverenza.

28 I believe that this is a typographical error and that the word should in fact be "destro". the rest of the description is that of a mirrored passage, and in that logical context as these steps were done to the left, so then they should be done to the right.

29 There is an intrinsic problem to these directions as written, to wit, that the repetition of the Spezzati and Seguiti Battute would be done again beginning with the left foot and not to the other side as Caroso demands in his text. I see two possible ways around this problem. In the first, and the easiest, one assumes an error in the typesetting and "corrects" to three Seguiti Battuti. This takes care of the problem, but compromises the text. In the second, one does the four Seguiti Battuti, but strikes the sequence twice with one foot. In such a circumstance, which is my preferred solution, it would be Seguiti Battuti with the left foot twice, and then with the right and left foot once each. My feeling is that these four Seguiti Battuti must travel forward the same distance that the two Seguiti spezzati go backwards. This backing chorus is to be seen in several Caroso dances, and the backward motion is always followed by a similar forwards motion.

30 If it can be taken as given that two Seguiti spezzati in ruota take a dancer to the opposite side of the circle traced by the dance, then four Seguiti spezzati should suffice to bring the dancer back to the place he has just left.

31 A Haye.

32 The two ladies.

33 I first thought that this was not the usual three-person haye that one finds in other Caroso dances, but upon reflection I believe that it is in fact the same.

34 I do not believe that these steps being the dancers in towards the middle of the dance; rather I believe that they are intended to help the dancers redefine the triangle. Innanzi is not necessarily the same thing as in mezo.

35 In this instance, I think that this second woman begins her haye be passing by the left shoulder into the other woman's place. The man began his haye by passing by the left shoulder the woman on his left (who I have just called the second woman). The first woman did the same, passing the man, who is on her left, by the left shoulder. To keep up this symmetry, this second woman would need to pass the first woman by the left shoulder.

36 It is very common in the last movement of dances like this for the step sequences to travel off to one side and then back the same. In this case, however, I think that the two Fioretti carry the dancers a little bit forward; that the Trabucchetti are done in place; that the two Passi presti carry the dancers back out; and that the Seguito spezzato is done turning over the left shoulder. In using six movements, Caroso has already abandoned the regular formula of progression which one finds in the first parts of the movements of cascarde. There is no reason to assume that this step sequence must lead the dancers to one side and then back the same distance, except that the Seguito spezzato is described as being done "to the left". Caroso knew and used the Seguito semidoppio (two Passi and a Seguito spezzato) in Il Ballarino, and I believe that if he had meant the dancers to be doing a step sequence that went all to one side, like a mutant pavana, that he would have used the term Seguito semidoppio, instead of "two Passi presti, and a Seguito spezzato". The possibility still would exist that Caroso meant for only the Spezzato to the done to the left side, but that is debateable at best. Other reconstructors will doubtlessly disagree with this interpretation and treat the step sequence as a processional figure, first to the left and then to the right, but my experience in the ways patterns alter in three-person versions of usually two-person dances gives me confidence that my version is valid.

37 It is usual in dances like this for the final Riverenza to be done outside of the dance, on a final chord, and in this case this is what I think Caroso is calling for.