Pavaniglia (Ballarino)

This Pavaniglia is described in sixteen sections ("verses", below), each of which takes one repetition of the music. However, we learning and rehearsing it, we found it easier to consider slightly larger groupings: "structural" sections (where you're primarily going from one place to another, setting up for mutanze), and "mutanze" (where you're showing off intricate footwork).

We learned the "structural verses" first, then the mutanze, one at a time, then put the whole choreography together.

Opening section

• First verse (opening honours)
• Second verse (advance)
• Third verse (retreat)

First Mutanza

• Fourth verse (advance): man's mutanza, woman's mutanza
• Fifth verse (retreat): man's mutanza, woman's mutanza

Second Mutanza

• sixth verse
• seventh verse (repeat of second mutanza on the other side)

Change Ends (eighth verse)

Third Mutanza

• ninth verse
• tenth verse (repeat of third mutanza on the other side)

Fourth Mutanza

• eleventh verse: man's mutanza, woman's mutanza
• twelfth verse: man's mutanza, woman's mutanza

Fifth Mutanza

• thirteenth verse: man's mutanza, woman's mutanza
• fourteenth verse: man's mutanza, woman's mutanza

Finale

• Fifteenth verse (coming together again)
• Sixteenth verse (finale)

 

STRUCTURAL VERSES

 

1. Opening honours

This Pavaniglia is done in 16 tempi, and always together. So, at the beginning they take hands as usual, as shown [in the picture], and they do a Riverenza grave together, and two Continenze minime, one with the left foot and one with the right foot. Feigning to put the left a little in the air in front, they suddenly do a Riverenza preste with that foot. Then they do a Zoppetto with the left, in the air, and a Passo with the right, as in the galliard, and a Cadenza with even feet, and with straight legs and body.

Each repeat of the music - and each verse - is 16 measures long. Both man and woman dance throughout - there are no breaks while your partner dances their mutanze.

Begin holding ordinary hands, facing front but with attention on partner.

1-8     Riverenza (very slow)

9-12   Continenze (faster than you'd expect, after a slow riverenza)

13-14 raise your L foot a little in front, then do a very short riverenza L instead

15-16 Zoppetto L (hop on left, right raised in front)

Passo in aria R (step on right, raising left in front)

Cadenza (land with straight legs, feet even)

Bars 15-16 are the characteristic conclusion of a verse. Sometimes you'll do it on the other side. Sometimes the woman will do three trabuchetti instead, but this but will almost always be there. The passage is called the "coda" or "conclusione".

 

2. Advance

In the second tempo they will do together a puntata with the left foot, and a passo grave with the right. Then making a feint with the left raised a little in front, they suddenly draw it back, as in a meza Riverenza, bending the knees a little, and doing a Sottopiede to the right. Then beginning with the same foot they do eight fioretti forwards, and the cadenza, finishing with the right foot behind, separating the knees a bit. Then, with the same foot, they do a Zoppetto in the air in front, a Passo witht the left, as in the galliard, and the Cadenza with even feet, as above.

This passage is takes you most of the way to the other end of the room.

Start with ordinary hands.

1-2 Puntata L forwards

3-4 passo R, then raise L in front a little (at end of bar)

5 draw L back, bending knees, sottopiede raising R in front

6-13 8 fioretti forwards, starting on R

14 cadenza with R behind, bending knees

15-16 Coda: Zopetto R (left raised), passo L, Cadenza (even feet, straight legs)

 

Bars 1-5 are the classic opening for verses in the pavaniglia (on either side, with small changes).

 

3. Retreat to centre

In the third tempo they will do together a puntata grave with the right foot, and a passo grave with the left, or in place of the Passo grave a seguito finto likewise, backwards. Then they will feint with the right foot a little in front, then do a meza riverenza with the same foot, and a sottopiede to the left, and beginning with the foot do eight fioretti a piedi pari fiancheggiati in dietro [fioretti with even feet flankingly backwards]. At the end of this they do the Cadenza with uneven feet, with the left foot behind. Then with the same foot the man does a Zoppetto, a Passo in gagliarda with the right, and the Cadenza with even feet, as above. The woman does three trabuchetti presti in place of the Zoppetto and passo in gagliarda, doing the last one with feet even.

 

The beginning and end are (almost) the same as verse two, but starting on the right foot. The fioretti go backwards, but you won't cover the distance you did in verse 2, so you should end near the centre of the room.

 

1-2 Puntata R forwards

3-4 passo L, then raise R foot in front a little (at end of bar)

5 draw R back, bending knees, sottopiede raising L in front

6-13 8 fioretti flankingly backwards, starting on L

14 cadenza with L behind, bending knees

Coda:

15-16 Man: Zopetto L (right raised), passo R, Cadenza (even feet, straight legs)

Woman: 3 trabucchetti, (LRL?): last trab is more like a balzetto: land on both feet

 

4&5: first pair of mutanze

6&7: second pair of mutanze

 

8. Separate

In the eighth tempo, they will do together the puntate grave with the left foot, and a passo grave with the right, feinting somewhat with the left foot in front, and suddenly drawing drawing it backwards, they do a meza riverenza, with a sottopiede to the right. Then, releasing hands, and kissing them, they do eight fioretti, beginning with the right foot. Note that when they release hands the woman turns to the left hand, going to the head of the hall, and the man turns to his left hand, returning to the place where they started the dance. They do a Cadenza together, facing, and the man then does a Zopetto, a passo in gagliarda, and two fast Capriole, and the woman does three trabuchetti, the last with even feet.

 

Begin side by side, holding ordinary hands.

 

1-2 Puntata forwards, on L

3-4 passo R, then raise L foot in front a little (at end of bar)

5 draw L back, bending knees, sottopiede raising R in front

*release hands, kissing them, facing briefly*

6-13 8 fioretti, starting on R, turning to your left

*man goes back to where he started, woman goes to other end of dancing-space*

14 cadenza with R behind, bending knees, facing

 

Coda:

15-16 Man: Zopetto R (left raised), passo L, 2 capriole preste

Woman: 3 trabucchetti, (LRL?): last trab with even feet

 

End verse facing each other from opposite ends of the hall.

 

9&10: third pair of mutanze

11&12: fourth pair of mutanze

13&14: fifth pair of mutanze

 

15: Man joins woman

In the fifteenth tempo, they do together a Puntata with the left, and a passo grave with the right, meza Riverenza with the left, and a sottopiede to the right. They begin, doing the eight fioretti.Note that the woman begins this turning to her left, and turning around, and the man does it going forward to meet her, taking her by the usual hand. Then at the end of the fioretti they do the Cadenza and the conclusione as above.

 

Begin facing each other from opposite ends of the room.

 

1-2 Puntata forwards, on L

3-4 passo R, then raise L foot in front a little (at end of bar)

5 draw L back, bending knees, sottopiede raising R in front

6-13 8 fioretti, starting on R

*man goes back forwards to intercept the woman, woman circles forwards and to left, ending in same spot, facing other way(?); man takes woman by ordinary hand at end*

14 cadenza with R behind, bending knees, facing

 

Coda: usual coda (not clear if man does cadenza or capriole - optional?)

 

Finish holding ordinary hands, side by side, (facing the same way as at the start of the dance?), but at the other end of the hall.

 

16: Conclusion

In the last tempo, without releasing hands, they will once again do a Puntata forwards with the right foot, and a passo grave with the left, and meza Riverenza with the right, and a sottopiede to the left, with the Cadenza, as in a galliard with the left foot behind. Then with the same [foot] they do three passi gravi forwards, and another three with the right backwards, feinting with the right foot in front in the beginning, and and the end of the three passi, they will find themselves once more with the left foot in front, and they will do the Riverenza grave in time with the music, and with as much grace and beauty as they can, they will finish this Pavaniglia.

 

Begin holding ordinary hands.

 

1-2 Puntata R forwards

3-4 passo L, then raise R in front a little (at end of bar)

5 draw R back, bending knees, sottopiede raising L in front

6 Cadenza, left foot behind

6-9 3 passi forwards, LRL, end raising R in front

10-12 3 passi backwards, RLR, end with left in front on ground

13-16 Riverenza grave

 

4-5: FIRST MUTANZE

Balzetti and costatetti; facing, mirror-image

 

4: first mutanza - up the hall

In the fourth tempo the man will first do a puntata grave with the left foot, and a passo grave with the right, with a meza riverenza presta with the left foot, and a sottopiede to the right, and the cadenza with the left in front, as in the galliard, turning to face the woman. Then he will do two balzetti minuti with even feet to the left flank, and two costatetti, one with the right foot and the other with the left; and he will do the same balzetti and costatetti another time. Then he will do another balzetto and a costatetto with the right foot, with two ricacciate, one with the left foot and the other with the right, turning to face in prospettiua, as they were at the beginning.

Having done the ricacciate, he will do a cadenza with the left foot behind, and a zoppetto with the left foot, in the air, and a passo with the right, in gagliarda, and the cadenza with even feet, and this is what the man does in the fourth tempo.

The woman then in beginning the same tempo does the same as the man, except that she begins on the right foot, and does everything on the other side to him, and in the place where the man does the costatetti, she will do two trabucchetti. Similarly, in place of the ricacciate, two passi gravi backwards, and the cadenza, with three trabucchetti, as above.

 

Begin the mutanza standing side by side, holding ordinary hands. (Hold hands throughout?)

The whole mutanza is done in mirror image: where the man moves left, the woman moves right. Since much of it is done facing, they move up the hall together, then back.

 

Man:

1-2 Puntata L forwards (separating a little from woman)

3-4 passo R, then raise L in front a little (at end of bar)

5 draw L back, bending knees, sottopiede raising R in front

6 Cadenza, L in front, turning to face woman

*facing parter, moving "up the hall"*

7 2 balzetti LL, with even feet - very small

8 2 costatetti, RL (raise R, kL, kR)

9 2 balzetti, LL

10 2 costatetti, RL

11 balzetto L, costatetto R (raise R kL)

12-13 2 ricacciate, LR, turning to face front, in prospettiva

14 cadenza, L behind

15-16 Coda: Zopetto L (R raised), passo R, Cadenza (even feet, straight legs)

 

Woman:

1-2 Puntata R forwards (separating a little from man)

3-4 passo L, then raise R in front a little (at end of bar)

5 draw R back, bending knees, sottopiede raising L in front

6 Cadenza, R in front, turning to face man

*facing parter, moving "up the hall"*

7 2 balzetti RR, with even feet - very small

8 2 trabuchetti, RL

9 2 balzetti RR, with even feet - very small

10 2 trabuchetti, RL

11 balzetto R, trabuchetto L

12-13 2 passi gravi backwards (RL?), turning to face front, in prospettiua

14 cadenza, R behind

15-16 Coda: 3 Trabucchetti, end pp

 

5: repeat - down the hall

In the fifth tempo they will both to the same mutanza another time, on the other side, backwards, with the man starting with the right foot, and the woman with the left.

 

Begin standing side by side, holding ordinary hands

 

Man:

1-2 Puntata R backwards (coming a little closer to woman)

3-4 passo L backwards, then raise R in front a little (at end of bar)

5 draw R back, bending knees, sottopiede raising L in front

6 Cadenza, R in front, turning to face woman

*facing parter, moving "down the hall"*

7 2 balzetti RR, with even feet - very small

8 2 costatetti, LR

9 2 balzetti, LL

10 2 costatetti, LR

11 balzetto R, costatetto L

12-13 2 ricacciate, RL, turning to face front, in prospettiva

14 cadenza, R behind

15-16 Coda: Zopetto R (L raised), passo L, Cadenza (even feet, straight legs)

 

Woman:

1-2 Puntata L backwards (coming a little closer to man)

3-4 passo R backwards, then raise L in front a little (at end of bar)

5 draw L back, bending knees, sottopiede raising R in front

6 Cadenza, L in front, turning to face man

*facing parter, moving "down the hall"*

7 2 balzetti LL, with even feet - very small

8 2 trabuchetti, LR

9 2 balzetti LL, with even feet - very small

10 2 trabuchetti, LR

11 balzetto L, trabuchetto R

12-13 2 passi gravi backwards (LR?), turning to face front, in prospettiua

14 cadenza, L behind

15-16 Coda: 3 Trabucchetti, end pp

 

6-7: SECOND MUTANZE

 

6: second mutanza

flanking balzetti and groppi, going up the hall together

In the sixth tempo, they will similarly do together a puntata grave with the left foot, and a passo grave with the right foot, feinting by with the left in front, and drawing it suddenly behind, doing a meza riverenza, with a sottopiede to the right, and the cadenza with the left foot in front and uneven. Then they do to the left flank a balzetto with even feet, and a sottopiede also to the left, with a groppo, and the cadenza with the right in front. They do the same to the right flank, per contrario, with a zoppetto with the left foot, and a passo with the right, in gagliarda,and the cadenza with even feet. And in place of the zoppetto and the passo that the man does, the woman will do three trabucchetti, making the last one with even feet.

 

Begin the mutanza standing side by side, holding ordinary hands (and keep hold throughout). This one is NOT in mirror-image: both start on the left foot.

 

1-2 Puntata L forwards

3-4 passo R, then raise L in front a little (at end of bar)

5 draw L back, bending knees, sottopiede raising R in front

6 Cadenza, L in front

to left:

7 balzetto L , sottopiede (raise L),

8-9 groppo L,

10 cadenza (R in front)

to right:

11 balzetto R, sottopiede (raise R)

12-13 groppo R

14 cadenza (L in front)

Coda:

15-16 Man: Zopetto L (R raised), passo R, Cadenza (even feet, straight legs)

Woman: three trabucchetti, last with even feet

 

7: repeat

In the seventh tempo they will do the same mutanza another time, on the other side, without releasing hands.

 

1-2 Puntata R forwards

3-4 passo L, then raise R in front a little (at end of bar)

5 draw R back, bending knees, sottopiede raising L in front

6 Cadenza, R in front

to right:

7 balzetto R, sottopiede (raise R)

8-9 groppo R

10 cadenza (L in front)

to left:

11 balzetto L , sottopiede (raise L),

12-13 groppo L,

14 cadenza (R in front)

Coda:

15-16 Man: Zopetto R (L raised), passo L, Cadenza (even feet, straight legs)

Woman: three trabucchetti, last with even feet

 

9-10: THIRD MUTANZE

Facing, from ends of hall

 

9: Facing, at ends of hall

In the ninth tempo they will do together a Puntata grave with the left foot, and a Passo grave with the right, and a meza Riverenza with a Sottopiede, without doing the Cadenza, as was done in the fourth tempo, but as soon as the sottopiede is done to the right, they will give the same lowering [it?], placing the left crossed in the manner of a soprapiede, a suddenly giving a sottopiede to the left, and a zoppetto with the same in the air. He will do the same to the left flank, returning to do it another time to the right, always flankingly, and doing two Campanelle, with the right and the left, that is, two beats per foot, one backwards and the other forwards, with the Cadenza in gagliarda. And if in place of the Campanelle, he will have done a Groppo, it will be better, noting [?] that it adorns the body more. After that they will do the previously mentioned conclusion, as explained in the other tempi.

This mutanza is done facing one another from opposite ends of the hall.

1-2 Puntata L forwards

3-4 passo R, then raise left L in front a little (at end of bar)

5 draw L back, bending knees, sottopiede raising R in front

*NOTE: NO CADENZA*

6 place R, cross L over (soprapiede), raising R behind a little

7 sottopiede to L (left raised), zoppetto L (left raised?)

[8-9 repeat 6-7 on other side]

8 place L, cross R over (soprapiede), raising L behind a little

9 sottopiede to R (right raised), zoppetto R (right raised?)

[10-11 repeat 6-7]

10 place R, cross L over (soprapiede), raising R behind a little

11 sottopiede to L (left raised), zoppetto L (left raised?)

 

12-13 Either: 2 campanelle (R back, forwards; L back forwards)

Or: Groppo L (trab L, R, L sottopiede)

14 cadenza, L behind

Coda:

15-16 Man: Zopetto L (R raised), passo R, Cadenza (even feet, straight legs)

Woman: three trabucchetti, last with even feet

 

10: repeat on the right

In the tenth tempo they will return to do the same mutanza as in the ninth, another time, on the other side, beginning with the right foot.

 

Begin standing side by side, holding ordinary hands

 

1-2 Puntata R forwards

3-4 passo L, then raise R in front a little (at end of bar)

5 draw R back, bending knees, sottopiede raising L in front

*NOTE: NO CADENZA*

6 place L, cross R over (soprapiede), raising L behind a little

7 sottopiede to R (right raised), zoppetto R (right raised?)

[8-9 repeat 6-7 on other side]

8 place R, cross L over (soprapiede), raising R behind a little

9 sottopiede to L (left raised), zoppetto L (left raised?)

[10-11 repeat 6-7]

10 place L, cross R over (soprapiede), raising L behind a little

11 sottopiede to R (right raised), zoppetto R (right raised?)

 

12-13 Either: 2 campanelle (L back, forwards; R back forwards)

Or: Groppo R (trab R, L, R sottopiede)

14 cadenza, R behind

Coda:

15-16 Man: Zopetto R (L raised), passo L, Cadenza (even feet, straight legs)

Woman: three trabucchetti, last with even feet

 

11-12: FOURTH MUTANZE

 

11: fourth mutanza

In the eleventh tempo the man will do a puntata grave forwards with the left foot, and a passo grave with the right, feigning to put the left foot in front, but drawing it suddenly back, in the manner of a a meza riverenza, then with the same foot he will give a sottopiede to the right, and still with the same foot he will do a fioretto, turning himself with the body in prospettiua to the left flank, doing a sottopiede presto, and a zoppetto with the right foot, holding the left raised. Then lowering it suddenly, he will feign to put the right foot in front, and suddenly draw it making, and do in the manner of a meza Riverenza, as above. Then he will do a sottopiede with the right, and a trabucchetto with the left, and another sottopiede yet with the right, turning himself in prospettiua with the body to the right flank. Then doing a fioretto with the left foot, and a sottopiede presto, with a zoppetto, holding the right raised therefore, he will suddenly lower it, and feigning to place the left in front, he will draw it suddenly back, in the manner of a meza riverenza. After that he will do a sottopiede with the same left foot, and a trabucchetto with the right, and another sottopiede yet with the left, and the Cadenza with feet uneven, that is, with the right behind, and the left in front. Then he will do the conclusion, as described above.

In the same tempo, the woman will do a puntata forwards with the left foot, and a passo grave with the right, with two trabucchetti gravi, one with the left, and the other with the right. Then a passo preste with the left, and a meza riverenza with the right, pausing/stopping somewhat, doing another two trabucchetti with the same feet, and meza riverenza with the left foot, then a passo forwards with the same foot, joining the right, and bending the knees a little in the manner of a Cadenza, with three trabucchetti presti, beginning with the right foot, and doing the last one as said, with even feet.

 

Begin the mutanza facing, from opposite ends of the hall.

 

Man:

1-2 Puntata L forwards

3-4 passo R, then raise left L in front a little

5 draw L back, bending knees, sottopiede raising R in front

* Note: NO CADENZA*

6 fioretto R (end with left in air)

7 lower left, feign R in front

8 draw R back as in meza Riv. (as above), sottopiede with R, raising L

9 trabucchetto L, sottopiede R raising L

 

10 fioretto L (end with R in air)

11 lower right, feign left in air

12 draw L back as in meza Riv, sottopiede with L, raising R

13 trabucchetto R, sottopiede L, raising R

14 cadenza, R behind

15-16 Coda: Zopetto R (L raised), passo L, Cadenza (even feet, straight legs)

 

Woman:

1-2 Puntata L forwards

3-4 passo R, then raise left L in front a little (at end of bar)

*Note: NO SOTTOPIEDE or CADENZA*

5 trabucchetto grave L

6 trabucchetto grave R

7 passo L (a little in aria, bringing R to front)

8 meza rev R, pausing

9 trab R

10 trab L

11 (passo R) start mez rev

12 meza rev L

13 step L

14 join right, bending knees as in cadenza

15-16 Coda: 3 Trabucchetti RLR, end pp

 

12: repeat fourth mutanza

In the twelfth tempo, they will do the same mutanza another time on the other side, beginning with the right foot.

 

Begin facing, from opposite ends of the hall.

 

Man:

1-2 Puntata R forwards

3-4 passo L, then raise R in front a little

5 draw R back, bending knees, sottopiede raising L in front

* Note: NO CADENZA*

6 fioretto L

7 lower R, feign L in front

8 draw L back as in meza Riv, sottopiede with L, raising R

9 trabucchetto R, sottopiede L raising R

 

10 fioretto R

11 lower L, feign R in air

12 draw R back as in meza Riv, sottopiede with R, raising L

13 trabucchetto L, sottopiede R, raising L

14 cadenza, L behind

15-16 Coda: Zopetto L (R raised), passo R, Cadenza (even feet, straight legs)

 

Woman:

1-2 Puntata R forwards

3-4 passo L, then raise R in front a little (at end of bar)

*Note: NO SOTTOPIEDE or CADENZA*

5 trabucchetto grave R

6 trabucchetto grave L

7 passo R, start meza reverenza

8 meza rev L, pausing

9 trab L

10 trab R

11 passo L, start meza rev

12 meza rev R

13 step R

14 join L, bending knees as in cadenza

15-16 Coda: 3 Trabucchetti LRL, end pp

 

Reconstruction Notes:

The man's mutanza is a little confusing: does "& pur con l'istesso fara un Fioretto, voltandosi con la persona in prospettiva al fianco sinistro, facendo un Sottopiede presto, & un Zoppetto col pie destro, tenendo inarborato il sinistro" mean that he ought to do a fioretto, then a sottopiede, then a zoppetto, or only that he does one fioretto (consisting in the sottopiede and zoppetto). The constraints of the timing convince me that it is the latter: there body of the mutanza is clearly one section, danced twice, each half therefore having four measures, and "fioretto, step, meza riverenza, sottopiede, trabucchetto, sottopiede" is quite enough to fill it.

 

13-14: FIFTH (and final) MUTANZE

Facing, from ends of hall

 

13: Facing, at ends of hall

In the thirteenth tempo, the man will do a Puntata grave forwards, a Passo grave, meza Riverenza, and a Sottopiede to the right, with the Cadenza with the left foot in front, as in the gagliarda. Then he will do a Zoppetto with the left on the ground, and the right raised behind, with two Seguiti finti fiancheggiati, and another Zopetto with the right, with the left raised. Then, lowering it, he will turn himself round by the left hand, doing three Passi presti, beginning with that foot. The he will do two Fioretti a piede pari, one with the right foot and the other with the left, with the Cadenza in gagliarda, with the conclusion, as shown above. The Lady, in place of the Zoppetto, and the the three turning Passi, and the two Fioretti, will do a beautiful scorsa to the left hand. Finding herself facing once again, with a meza Riverenza in time with the music, with three Trabucchetti, the last with even feet.

 

Begin facing each other, along hall, but fairly close to each other. Retreat somewhat during verse.

 

Man:

1-2 Puntata L forwards

3-4 passo R, then raise L in front a little

5 draw L back, bending knees, sottopiede raising R in front

6 Cadenza, L in front

[retreat slightly in 7-10]

7-8 Zoppetto L, raising R BEHIND; Finto backwards and to R

9-10 Finto backwards and to L; Zoppetto R, raising L IN FRONT

 

11-12 3 Passi presti, LRL, turning around to L

13 2 Fioretti a piedi pari, RL

14 Cadenza (R behind?)

15-16 Coda: Zopetto (raise L?), passo (L?), Cadenza (even feet, straight legs)

 

Woman:

1-2 Puntata L forwards

3-4 passo R, then raise L in front a little (at end of bar)

5 draw L back, bending knees, sottopiede raising R in front

6 Cadenza, L in front

[retreat slightly in 7-10]

7-8 Zoppetto L, raising R BEHIND; Finto backwards and to R

9-10 Finto backwards and to L [Note: NO second Zoppetto]

 

11-13 scorsa, in circle to left (moving away from man as required)

14 meza riverenza L

15-16 Coda: 3 Trabucchetti LRL, end pp

 

14: repeat

In the fourteenth tempo, they will do the same mutanza, on the other side, beginning it with the right foot behind/backwards.

 

Begin facing, along hall. Move backwards to ends of hall during verse.

 

Man:

1-2 Puntata R backwards

3-4 passo L backwards, then raise R in front a little

5 draw R back, bending knees, sottopiede raising L in front

6 Cadenza, R in front

7-8 Zoppetto R, raising L BEHIND; Finto backwards and to L

9-10 Finto backwards and to R; Zoppetto L, raising R IN FRONT

 

11-12 3 Passi presti, RLR, turning around to R

13 2 Fioretti a piedi pari, LR

14 Cadenza (L behind?)

15-16 Coda: Zopetto (raise R), passo (R), Cadenza (even feet, straight legs)

 

Woman:

1-2 Puntata R backwards

3-4 passo L backwards, then raise R in front

5 draw R back, bending knees, sottopiede raising L in front

6 Cadenza, R in front

7-8 Zoppetto R, raising L BEHIND; Finto backwards and to L

9-10 Finto backwards and to R [Note: NO second Zoppetto]

11-13 scorsa, in circle to right (moving away from man as required)

14 meza riverenza R

15-16 Coda: 3 Trabucchetti RLR, end pp

 

Reconstruction note:

"principiandola col il pie destro indietro": does this mean that it starts with the right foot behind, or that the whole verse is done retreating? Including the Puntate, etc? As verses 9-12 all advance, and the retreat in 13 will be balanced somewhat by the advancing Puntate, having the whole verse retreat here will be choroegraphically quite useful (and I think pleasing). Though locally asymmetric, it mimics the first pair of mutanza, which will maintain a pleasing sense of symmetry.