Steps: all done "in 6" = Reverenza, continenza, ripresa, sempio, doppio, passetino, saltarello, mezavolta, voltatonda, volta del gioioso, voltacia.
Start:  Two couples on each side of the hall, side by side, so four dancers facing four dancers. In each set Man 1 on the left, then Woman 1, then Man 2, and Woman 2 on the right. There should be 16 steps between the lines and 3 steps behind them.
 

      Section 1 - Meet (9 bars)
Continenza Left, Continenza Right,
Sempio Left, Sempio Right, Doppio Left, Doppio Right, Reverenza Left,
Passetino Left back, Passetino Right back, ending with Mezavolta Right,
Voltacia
(Everyone is now facing away from the other set.)

      Section 2 - Return (6 bars)
Continenza Left, Continenza Right,
Sempio Left, Sempio Right, Doppio Left, Doppio Right, ending with Mezavolta Right,
Ripresa Left, Ripresa Right.
(Sets are facing each other, in approximately their original places.)

      Section 3 - Circle and Switch (6 bars)
Continenza Left, Continenza Right,
Women circle, each doing a Voltatonda (Doppio Left, Doppio Right),
      as Men switch with Doppio Left, Doppio Right, both passing in front of Woman 1, Man 1 being closer to her,
Voltacia.
(The two sets are still facing.)

      Section 4 - Meet and Pass (13 bars)
Continenza Left, Continenza Right,
Sempio Left, Sempio Right, Doppio Left, Doppio Right, ending close enough to the person opposite that could take right hands
Continenza Left, Continenza Right, Reverenza Left touching right hands,
Passetino Left back, Passetino Right back,
Sempio Left, Sempio Right, Doppio Left, Doppio Right, the sets passing through each other's lines, ending with Mezavolta Right,
Voltacia
(The sets have switched sides, and are facing the other set.)

      Section 5 - Pass Through (7 bars)
Continenza Left, Continenza Right,
6 Saltarelli starting Left, the sets passing through each other, this time passing left shoulders with the person opposite,
Reverenza Left (note that sets are still facing out towards the walls),
Passetino Left back, Passetino Right back, ending with a Mezavolta Right,
Ripresa Left, Ripresa Right.
(Sets are facing each other, on their original sides.)

      Section 6 - Circle and Switch Again (6 bars)
Continenza Left, Continenza Right,
Women circle, each doing a Voltatonda (Doppio Left, Doppio Right),
      as Men switch with Doppio Left, Doppio Right, both passing in front of Woman 1, this time Man 2 being closer to her,
Voltacia.
(The two sets are still facing.)

      Section 7 - Visit (6 bars)
Continenza Left, Continenza Right,
Doppio Left, Doppio Right,
Women Voltacia,
      as Men Sempio Left, Sempio Right, Doppio Left, Doppio Right, to reach the Woman opposite,
(The men are now in the wrong set, facing the walls, the women are in their original set, facing the other set. (And they are facing their Opposite person, of course, who is so close, and making sheep eyes at them.))

      Section 8 - Arming (5 bars)
Continenza Left, Continenza Right,
(Don't forget these continenze! No arming untill you have done them!!!)
Take right hands with Opposite and circle with Sempio Left, Sempio Right, Doppio Left,
Take left hands and circle with Sempio Right, Sempio Left, Doppio Right.
(Women are now facing the walls, Men facing the other set.)

      Section 9 - Return (4 bars)
Continenza Left, Continenza Right,
Women Voltacia,
      as Men Sempio Left, Sempio Right, Doppio Left, Doppio Right,
All ending with a Mezavolta Right,
(The sets are facing each other.)

      Section 10 - Finale (10 bars)
Continenza Left, Continenza Right,
Sempio Left, Sempio Right approaching the other set,
Mezavolta Right into a Ripresa Left,
Doppio Right, Doppio Left, Doppio Right, ending with a Mezavolta Right,
Voltacia, Reverenza Left.
(Everyone is in their original position.)

Reconstruction Notes

Section 1: The source has three doppii, rather than two sempii and two doppii, and the Passetini start on the left foot. The changes were made in order to have regular alternation of feet.
Section 4: The passetini were again starting on the right foot in the original.
Section 5: There's no indication of how the lines pass through. In Section 4 it seems logical to have them pass right shoulders with their opposite, as they've just touched right hands. On the return trip in Section 5 I decided to make it the left shoulders, so the same track. It could, however, be right shoulders again, so the other side. It is important, however, that everyone is doing the same thing, in order to avoid unnecessary collisions.

Il Bel Danzare - 2 note introduction, no repeat. The musical phrases have the Continenze at the end, rather than at the beginning as I have them. Use this recording in class.

Last modified: Jun 27, 2008

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