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La figlia di Guglielmina (for four)

Also known as: 

la Fia Guielmina, Prima Figlia Guilielmino

Dance Type: 
Number of dancers: 
About this choreography: 
Reconstructed by Katherine Davies, March 2015, for Capriol. There may be more changes as we work the dance into our repertoire.

For two couples, one behind the other, with about four steps between them.

Each man should be to his partner's left, holding her left hand in his right.


Advancing as a group

  • 2 tempii of saltarelli in quadernaria misura (detail in Domenico: each is four steps, beignning with the left, giving the botto (beat, strike) on the right)
  • 3 contrapassi (LLL) (perform cambio at end of each one, including last, so left is free for riverentia following)
  • riverentia (one tempo) (moving L foot)

Repeat the advancing section.


There are two ambiguous tempi here. The dance texts say it's bassadanza, but separate it from the 8 tempi of bassadanza following. The best musical source we have seems to have this part still in quadernaria. Recordings vary.

Advancing together further:

  • 1 sempio (L) 
  • 1 doppio (R)
  • stop for half a tempo


  • all riverentia
  • men only: 2 sempii (LR), 4 doppii (LRLR). Each man goes in front of his own partner into the other man's place.

We have the front man pass in front of his own partner, then behind the other woman before coming up beside her; while the back man passes in front of his own partner, then all the way around behind her, before coming up beside the front woman. Each gets an elegant, sweeping curve, and their paths don't cross.

Each man takes hands with his new partner, and they continue forwards together:

  • 2 sempii (LR)
  • 2 doppio (L)



Parting and coming together again. (Cf. initial figure in La Figlia for two).

As the bassadanza ends, immediately change weight onto the right foot, so that the left foot is free to begin the first step of the figure. This may be done with some vigour: the phrase is se butano sul pe drito.

Drop hands. 

  • 2 sempii (LR) - men going forwards, woman turning and going backwards
  • ripresa in gallone (L) - all continue flankingly forwards and to the left, end facing each other
  • saltarello (L) - return to place; men: mezavolta (both right and left are specified: unclear

At the end women should be facing to front and men to rear

Then women:

  • woman at front: movimento (one tempo)
  • woman at rear: respond with movimento

Then men: one tempo of saltarello

  • front man moves into place of other man (perhaps further from woman), starts on right, ends by jumping (or beating the end) on left in mezavolta
  • and AT SAME TIME
  • rear man moves to other side of his parter, going behind her, starts on left, ends by jumping (or beating the end) on the right

At the end of this section all will be facing forwards. The woman at the front will be alone. The other three will be about four steps behind her, side by side (but with some distance between them), in a row: first man, second woman, second man.


The woman in front stands still while the three dancers behind do this figure:

  • woman at rear: 3 pive forwards (fleeing men), ending beside to the other woman, on her left 
  • men: 3 riprese towards each other (ending behind women, side by side)


  • woman on right (she who was alone in front): movimento, then saltarello in front of other woman, going to left side (I think she ends facing the men)
  • man on right (her original partner): passes behind other man, to stand on left side


  • man NOW on right (not the man who just moved): salto in half tempo

Then: original first woman and second man change places

  • woman NOW on left (she who moved most recently) and man on left (he who did the salto) face each other
  • 3 tempi of pive, changing places

The dancers should now be in their original positions, save that the original lead couple is now at the rear. They are all facing forwards and ready to repeat the dance, in their new roles, if desired.




I usually teach to the music on Eschewynge Of Ydelnesse by Misericordia and Gaita

Equally lovely, but more challenging to dance to, is the version on Forse che si, forse che non, by the Ferrara Ensemble.