la Figlia di Guglielmino

(the Daughter of Little William)

Ballo

Domenico, De Arte [Pd]

Couples

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I	A1	1-4	Saltarello Tedesco on left (left, right, left, sideways-right-left)	The other Fia Guielmina goes for two, that is a man with the woman. First they move, in company with hands, doing in quadernaria measure three sempii and two continenzas beginning with the left foot in the first time	L’altra fia guielmina e va in dui çioe homo uno con la dona. Mprima se moveno de compagnia a mano fazando in mexura quadernaria passi tri sempii e due continentie començando col pe sinistro in lo primo tempo
		5-8	Saltarello Tedesco on right (right, left, right, sideways-left-right)	and in the second, three other passi sempii and two continenzas beginning with the right foot	e in lo segondo tri altri passi sempii e due continentie comenzando dal pe dritto
		9-12	Woman: Mezavolta to left; Both: Passi left and right (to separate)	Letting go of the hands and walking the man forward with two passi sempii and one ripresa in hip on the left side and beginning the said steps on the left foot, and in the same time the lady returns to the behind with these same that the man has done.	Lasciandosse per la mano et andagando l’homo inanti cum dui passi sempii e una represa in galono sul canto sinistro e comenzando dicti passi sul pe sinistro, et in instante la doma torna indriedo cum quello medemo ha facto l’homo
		13-16	Ripresa flanking forward on left (moving further away from partner)
		17-20	Doppio on right, turning right (Man: end with Mezavolta to left) (end in original place, facing forward)	then the said man and woman return into their own place with three passi sempii beginning on the right foot keeping then the man does a mezavolta to his right side	poi dicto homo e dona tornano neli luogi suoi cum passi tri sempii comenzando al pe dritto riservando che l’homo da una mezavolta sul lado drito
	A2	1-20	Repeat A1 (Man: end with Voltatonda) (end facing partner)	taking the woman by the hand to make another repeat all that is written above together with the woman and in the end of the said part the said man does a voltatonda over the right side by leading in the turn to the lady and the above written part is all measure quadernaria	pigliando la dona per mano per fare un’altra volta tutto lo soprascripto inseme cum la dona e nel fine de dicta parte dicto homo da una voltatonda suso lo lato drito per guardare nel volto ala dona et e tutta mexura quadernaria la soprascripta parte.
	B1	1-6	Take right hands; Sempii left, right (trading places)	Now note that they do two tempi of bassadanza holding by the right hand and making two passi sempii beginning on the left foot with a riverenza on the said foot passing each one of them to the side of the other and facing the man backward and the woman forward	Or nota che fano tempi dui de bassadanza pigliandose per la mano drita e fazando passi dui sempii començando dal pe sinistro como una riverentia sul dicto pede passando cadauno di loro dal canto dil’altro e riguardando l’homo indriedo e la dona inanti.
		7-12	Riverenza on left
	C1	1-6	Sempii left, right (Man going to the back, Woman going to the front; take small steps while separating)	Next note that they do eight tempi of bassadanze: at the same time both go the man to the back and the woman to the front with two sempii and two dopii beginning with the left foot	Apresso nota che fano tempi octo de bassadanza in instante tutti dui andagando l’homo indrieto e la dona inanti cum passi dui sempii e dupii dui comenzando dal pe sinistro
		7-18	Doppii left, right
		19-24	Mezavolta to right; Ripresa to left (Turn to face partner at a distance, catching weight with the ripresa)	turning both on the right side with a mezavolta and a ripresa on the left foot, facing each other in the turn	voltandose tutti dui sul canto drito como una mezavolta e una ripresa sul pe sinistro guardandose nel volto
		25-30	Mezavolta to left; Ripresa to right (Face away from partner again)	Then they turn to the left side with a mezavolta and a ripresa on the right	Poi se rivoltando sul canto sinistro como una mezavolta e una ripresa sul pe drito
		31-42	Dopii left, right	going both with two dopii that is the man to the back and the woman to the front and beginning them on the left foot	andagando tutti dui cum dui dupii çioe l’homo indireto e la dona inanti y comenzando li dal pe sinistro
		43-48	Mezavolta to right; Riverenza on left	and turning themselves then to the right side with a mezavolta they do a riverenza on the left foot and facing each other in the turn	e rivoltandose poi sul canto drito cum una mezavolta fazando una riverentia sul pe sinistro e guardandose nel volto
	D1	1-4	Woman: Doppio on left with quick Movimento (toward Man, ending on both feet)	Next note that all this part written below is done in mesura quadernaria that is the woman moves and the man stops, the said woman doing one doppio with a little movimento beginning on the left foot proceeding toward the man and she stops.	Apresso nota che tutta questa parte soptoscripta se fa in mexura quadernaria çeio la dona se move et l’homo sta fermo façando dicta dona uno dopio como un poco de movimento comenzando dal pe sinistro andagando alo incontro del homo e fermase
		5-8	Man: Doppio on left with quick Movimento	The man responds to this with this same and he stops	L’homo li responde cum quello medemo e fermase
		9-12	Woman: Doppio on left with quick Movimento	then the woman responds to him with another similar doppio and stops	poi La dona li responde como un altro dopio simele a quello afirmandose
		13-14	Man: Sempio on left with quick Movimento	and the man responds to her with a sempio beginning on the left foot drawing it back near the right and he stops.	et l’homo ge risponde como uno passo sempio comenzando col pe sinistro retirandose apresso el drito e afermase.
		15-16	Woman: Sempio on left with quick Movimento	The woman responds to him with that same	La dona li risponde cum quello medemo (afir)
		17-20	Man: Voltatonda to left doing Saltarello left (end a couple of steps apart)	then the man moves doing a voltatonda in his own place in the which it consists of three sempii with a salteto beginning on the left foot and he stops.	poi l’homo se move fazando una voltatonda in lo luogo suo in La quale li consiste passi tri sempii cum uno salteto començando dal pe sinistro afirmandose
	E1	1-6	Woman: Voltatonda to left doing 3 Pive on left	The woman responds to him with three tempi of piva doing a voltatonda somewhat large returning to her place and stops.	La dona li responde cum tempi tri de piva façando una voltatonda alquanto grande ritornando nel luogo suo e fermase
		7-8	Man: Jump	then the man does a salteto	tanto che l’homo habi preso uno salteto
		9-10	Piva on right	then they both move at the same time coming to the other with one tempo of piva beginning on the right foot	poi se moveno tutti due in instante venendosi alo incontro como uno tempo de piva comenzando dal pe dritto
		11-12	Sempio on left (closing feet)	and one sempio with the left foot drawing it next to the right	e uno passo sempio col pe sinistro retirandose apresso del drito
		13-14	Woman: Movimento	then the man stops then the woman does a movimento	poi l’homo se aferma tanto che la dona habi facto uno movimento
		15-18	Pive on right, left circling partner to right	moving then both at the same time with two tempi of piva beginning on the right foot and one sempio going around, the man to the right hand of the woman and the woman to the right hand to of man finding both equal at their places as at the beginning of the dance and it ends.	movandose poi tutti dui in instante cum tempi dui de piva comenzando dal pe drito e uno passo sempio anagando intorno l’homo dala mane drita dela dona e la dona dala mane drita del homo trovandose tutti dui equali ali logi soi como nel principio dela danza et e fine.
		19-20	Sempio on right (to end circling at original place)

Reconstruction by Peter Durham informed by that of Vivian Stephens. Text from Smith’s transcription of Pd. Translation by Peter Durham.

Notes

Music. The A part is in quadernaria time (4/4), with 4 counts/measure. The B part has music in quadernaria time (4/4) but the text calls for bassadanza time (6/4). C is in bassadanza time (6/4), with 6 counts/measure. D is in quadernaria time (4/4), with 4 counts/measure. E is in piva time (6/8), with 2 counts/measure.

Recordings. Recordings vary noticably, with different reconstructions of the music and different tempos. At this point I find the MIDI version on the Joy and Jealousy disc easiest to follow.

Reconstruction. At A1 1-8, I have followed the lead of Vivian Stephens to describe the three sempi plus two fast continenze as a Saltarello Tedescho.

Reconstruction. At A1 9-12, S and M call for passi backward “cum mezavolta sincopata.” I follow Stephens in doing the mezavolta first to highlight the direction change, making the rest of the figure symmetric.

Reconstruction. At D1 9-12, it is easy to expect the Doppio to start on the right. However, S and M both explicitly call for left. End the previous Movimento with weight on both feet to make this graceful.

Reconstruction. At D1 13-14, the sources vary on what is to be done. Pd is the only one to call out a backward movement; S and M both call for a sempio with movimento. Since that helps keep everyone moving closer together, I've chosen to follow those sources here.