Voltati in ca Rosina

This is a little unusual, in being for a single man and two women - it's far more common to have men outnumber women in 15thC Italian dance (see my blog post "Gender balance in 15thC Italian dances" for a breakdown of the numbers). 

Capriol's way of dancing this:

Style:

This dance can be wonderfully lively, and yet elegant. The sense of liveliness is much enhanced when we differntiate the steps somewhat. For instance, we usually: make a marked frappamento (tap or little stamp with the foot at the end of a double) in the first four doubles (where the group dances together), then keep the steps gentle and plain as the middle dancer advances and the others catch up, and again emphasise the jump in the saltarello as the dancers separate (doesn't need to be high, but get a rising-and-falling motion in the body, and move your leg or knee, to give a light, springy feel).

Figures:

We keep most of the dance linear. 

In the third time through the music, when the dancers approach one another with two singles and a double, they need to come quite close - almost into a line. The retreating double then doesn't take them too far apart. From this retreating double to the end of the dance, I treat it as three people in a triangle or circle. That mean everyone retreats from everyone else, and the ripresa right is around a circle, so rotates the whole set but keeps people facing each other. It's ok if the middle person ends up a bit closer to the first person they're going to circle with in the piva, of course. 

Repeating the dance:

Because the final figure is a hey, it's very easy to end back in a line facing either way. In a smaller space it's nice to do one time going one way, and the second time returning. That also swaps the roles of the outside people in the final hey, which is pleasing.