This reconstruction was done by the Accademia della Danza on Tuesday, 12 March, 1996. Those members present (and therefore contributing to this reconstruction) were: Vladislav, Roselyne, Melissa, Leah-Anne, and Daniele.
As, in the past, our experience has shown that such reconciliations in ways unspecified by the author of the manuscripts with which we work tend to turn out wrong in the end, we tried another tack, and went searching for more music. We eventually found, in Ambrosio, a version of the music with an extra section between what we had been calling the A and B sections, of a length of 4 tempi. Also, the A section was notated as being repeated thrice, rather than four times, as the other manuscripts seem to do. A quick look at the choreography in Ambrosio, however, turned up a problem - the choreography he gives is a very good match for what Domenico and Cornazano call Leoncello Vecchio, rather than Leoncello Novo. Though we found no particular solution to this problem, we decided to some extent to ignore it, and use the music found in Ambrosio to go along with the choreographies in Domenico and Cornazano. We dearly wish we could justify it in a way more enlightening or faithful than simply, "It fit best," but in the end, that was the whole reason.
Here is the music we ended up using, from Ambrosio. Note that the bracketed note in section E seems to be smudged, or in some way altered in the manuscript. We assumed it was supposed to be erased, as that is what fit best. The repeat structure is (AAABBCCDDE)x2
According to Cornazano (V, fo. 10v) and the Siena treatise (fo. 30v), three contrapassi ('on one foot', S) were performed in two tempi (bars of music). What is significant for the transcription of the balli in De pratica is that the equivalent type of performance applies to what Guglielmo and Domenico both refer to as 'three doppii per foot', that is, sequences of doppii, each doppio beginning 'on [with, upon] the same foot', rather than with the usual alternating of left and right feet.This has a distinct problem, as our normal way of doing doubles does not involve closing the sequence. There are three ways of solving this problem: one can close the sequence, one can remove a step from it, or one can add one. Formerly, when reconstructing Verceppe, Accademia decided, in the sequence of two doubles on the same foot to use the second solution: remove a step from the sequence. This time, we found a way to close the sequence (which seemed to feel more 'right' to all of us at the time) in a manner that did not feel too awkward. It involved a specific timing over the course of two measures:
|Measure 1||Measure 2|
|Meas.||Starting Foot||Left Gentleman||Middle Lady||Right Gentleman|
|A||1||Left||All three do together three contrapassi|
|B||7||Left||-||3 pive, then 2 singles, circling counterclockwise around the left man||-|
|B||9||Left||-||3 pive, then 2 singles, circling clockwise around the right man||-|
|13||Left||3 Singles, Mezza Volta||-||3 Singles, Mezza Volta|
|D||17||Left||All three do together three contrapassi, the first two leading away from the lady/gentlemen, the last turning 180 degrees|
|D||19||Right||All three do together three contrapassi, the first two leading towards the lady/gentlemen, the last turning 180 degrees|
|25||Left||Ripressa, all turning 180 degrees to face the lady/gentlemen|
|27||Left||Continenza left, continenza right|
|34||Whatever||Lady does a movimento in half a measure, gentlemen respond|
At the end of this half-turn the men should be facing in the direction the dance began facing, and the lady should be facing the opposite direction.