Amoroso

(Lover)

Ballo

Guglielmo, De Pratica [NY]

Couples

Beginning


I	A1	1-8	12 Pive starting on left		Balleto called Amoroso for two ¶ First twelve tempi of piva, both two together, beginning with the left foot and they stop	Baleto chiamato amoroso in dua ¶ Inprima dodici tenpi di piva tuta dua insieme chomincando chol pie manco e fermin si
	A2	1-8
	A3	1-8
	B1	1-2	Man: Sempii on left, right	(This is the first pattern)	then the man alone goes forward with two passi di natura	poi l'uomo solo vadia imnanzi chon dua passi di natura
		3-4	Man: Piva on left		and one tempo of piva	e uno tenpo di piva
		5-7	Man: Sempii on right, left, right		and three passi di natura beginning with the left foot and he stops	e tre pasi di natura chomincando chol pie mancho e fermi si
	B2	1-7	Repeat B1 reversing gender (the woman catches up to her partner)		then the woman goes to find him with those same steps he made	poi la domna lo vadi a trovare chon quelo medesimo che a fato lui
	C1	1-6	Man: Pive on left, right, left	(This is the second pattern)	then the man again alone goes forward with three tempi of piva	poi l'umo pure solo vadi imnazi chon tre tenpi di piva
		7	Man: Sempio on right	(This is the second pattern)	and one paso di natura beginning with the left foot and he stops	e uno paso di natura chomincando chol pie mancho e fermi si
	C2	1-7	Repeat C1 reversing gender (the woman catches up to her partner)		then the woman goes to find him with those same steps he made	poi la domna lo vadi a trovare chon quelo medesimo che a fato lui
	D1	1-2	Man: Sempii on left, right	(This is the first pattern again)	then the man again alone goes forward with two passi di natura	poi l'umo pure solo vadi imnazi chon dua passi di natura
		3-4	Man: Piva on left		and one tempo of piva	e uno tenpo di piva
		5-7	Man: Sempii on right, left, right; Face partner		and three passi di natura beginning with the left foot and at the end of this last step he turns toward the woman	e tre pasi di natura chomincando chol pie mancho e nela fine del utimo paso si volti verso la domna
		8-9	Both: Riverenza		and does a riverenza with the left foot and the woman responds to him	e faca le una riverenzia chol pie mancho e la domna gli risponda
		10-15	Man: Pive on left, right, left	(This is the second pattern again, used to return to partner)	and also the man goes to find the woman with three tempi of piva	e pure l'umo vadi a trovare la domna chon tre tenpi di piva
		16	Man: Sempio on right; Face up		and one passo di natura beginning with the left foot	e uno passo di natura chomincando chol pie mancho
	D2	1-16	Repeat D1 reversing gender		then the woman goes forward to make the riverenza to the man with two passi di natura and one tempo of piva and three passi di natura and in the end of the third step she turns to the man and does to him a riverenza with the left foot and the man responds to her and also the woman goes to find the man with three tempi of piva and a passo di natura beginning with the left foot and the man when the woman has done two tempi goes towards her with one tempo of piva and one passo di natura turning to even up with the woman placing her before	poi la domna vadi imnanzi a fare la riverenzia al uomo chon dua passi di natura e uno tenpo di piva e tre pasi di natura e nela fine del terzo paso si volti al uomo e faci gli una riverenzia chol pie mancho e l'uomo le rispondo e pure la domna vadia a trovare l'uomo chon tre tenpi di piva e uno paso di natura chomincando chol pie mancho e l'uomo quando la domna a fato i dua tenpi le vadia inchontro chon un tenpo di piva e uno paso di natura voltando il deto paso al pari dela domna metendo la imnanzi

II			Repeat if desired, reversing gender throughout		End ¶	FINIS ¶

Reconstruction by Peter and Janelle Durham, informed by that of Vivian Stephens and Monica Cellio. Original text from Smith's transcription of NY. Translation by Peter Durham.

Notes

Recordings. In the B and C sections, the Courtly Dances CD adds an 8th count to have the music line up with full measures; similarly, an 8th and 18th count are inserted in the D section.

Reconstruction. The dance makes reference to "passi de natura" or natural steps; we have chosen to call these sempi since these are natural walking steps as well.

Reconstruction. In D2 NY has the man meet the woman as she returns to place her on his left; Pa does not have this instruction, so we chose to follow Stephens and Cellio and not include that in our reconstruction.

Reconstruction. Neither of the sources for this dance calls for a repeat with the woman leading, but since this is a common pattern in the repertoire, we have chosen to include a repeat here.