Cadenze (Negri)

The second [note] is that there are five sorts of cadenza that are done in dancing the galliard, landing with both the feet on the ground, and the first is the cadenza ordinaria, and the other four are contratempo.

One does then the first cadenza ordinaria stopping to finish in time with the music, [whether] the cinquepassi or the mutanze, or other jumps. First the left foot is raised in front, and drawing it back and at the same time lifting yourself somewhat you land with both feet on the ground with the left behind, and at the same time thrusting the right foot forwards a little, while separating the knees somewhat to give it grace. And this note follows [applies to?] all the cadenza where one lands in passo.

In the second, which is done in time with the music, landing with both feet even, that is, to the capriole trecciate, and any jumps, and to the girate over one foot is done the same action, as the first cadenza, but one lands with feet even with the soles of the feet turned out a little.

The third is done as the first, but in the end of the tempo with the left foot, or with the right without stopping, one does a fioretto a pie pari, or passi, or salti, as it happens, and as this is done without stopping it is called contratempo.
[Negri has no rule for the fioretto a pie pari; try Caroso's from Il Ballarino.]

In the fourth one feigns to land in passo as in the first, but does not stop, throwing the foot up forwards and backwards, following which you will have begun the end that you will end in time with the music, and as this lands in passo with both feet, it is called the cadenza finta.

The fifth and last is one that is done contratempo with the botte to the cinquepasso, or to the mutanze, and to to the capriole spezzata in aria, and because in this cadenza one follows always dancing without stopping to the beat of the music with other sorts of step or jump by this effect this is called a cadenza contratempo.