Gelosia

(Jealousy)

Ballo

Guglielmo, De Pratica [Pg]

Longways for three couples

Intermediate


I	A1	1-8	8 Saltarelli starting on left	Ballo called Gelosia for 6 by Master Domenico ¶ First everyone does eight tempi of saltarello done two by two, that is one man and one woman for each couple and they stop.	Ballo chiamato Gelosia in sei di Messer Domenico ¶ In prima faciano tutti otto tempi di saltarello facendo a doi a doi, cio e un huomo & una donna per coppia & fermansi.
	A2	1-8
	A3	1-8
	B1	1-8
	C1	1-6	1st man: 3 Contrapassi starting on left (going up and around outside of partner to stop by 2nd woman)	Next the man who is above departs from the woman who is his partner and goes to visit the second partner, that is the one in the middle, with three doppii on the left foot,	Apresso l’huomo ch’e di sopra si parta dalla donna sua compagna et vada a trovare la compagna secunda, cio e quella du mezo con tre passi doppij sul pie sinistro,
		7-8	1st man: Riverenza to 2nd woman (touching right hands)	and a riverenza touching the hand of that woman.	et una riverenza tocchando la mano a quella donna.
		9-12	2nd man: Doppio on left (to move up next to 1st woman)	And then the man who is her partner that is in the middle, departs with a doppio on the left foot, and goes to visit that woman that is remaining at the top.	et poi l’huomo suo compagno ch’e in mezo se parta con un passo doppio sul pie sinistro, et vada a trovare quella donna che e rimasta di sopra.
	C2	1-6	1st man: 3 Contrapassi starting on left (going down inside 2nd woman, to stop beside 3rd woman)	And then the first man continuing with two doppii on the left foot goes to visit the other woman that is lower in the third couple.	& poi l’huomo primo seguendo con doi passi vada a trovare sul pie sinistro l’altra donna che e di sotto alla terza coppia.
		7-8	1st man: Riverenza to 3rd woman (touching right hands)
		9-12	3rd man: Doppio on left (to move up next to 2nd woman)	and the man that is the partner of her at the bottom departs with a doppio on the left foot, and goes to visit her of the middle.	et l’huomo che e compagno a quella di sotto se parta con un passo doppio sul pie sinistro, & vada a trovare quella di mezo.
	D1	1-4	1st man: 2 Pive starting on left (going down and around below 3rd woman, to end at her left)	And then that first man goes behind that woman with two tempi of piva beginning with the left and goes to below the woman.	et poi quel primo huomo vada per di drieto da quella donna con doi tempi di piva cominciando col sinistro et vada di sotto alla donna.
	E1	1-8	8 Pive starting on left; Drop hands	And next they depart all together with four tempi of piva todescha, and they stop.	et apresso si partino tutti insieme con quattro tempi di piva todescha, et fermansi.
	E2	1-8	8 Pive starting on left; Drop hands
	F1	1-4	1st couple: Doppio on left, turning individually in place 360º	And next the top couple does a volta tonda.	et apresso la coppia di nanci dia una volta tonda.
	F2	1-4	2nd couple: Repeat F1	The second couple then responds.	ella coppia secunda poi responsa.
	F3	1-4	3rd couple: Repeat F1	And then the third does the same.	et poi il simile faccia la terza.
	G1	1-6	Face partner; Take right hands with partner; Sempii on left, right, left trading places	And then they do this, they take left hands and do two sempii on the left foot, changing place for place.	et poi fatto questo se piglino per la mano sinistra et facino doi passi sempij sul pie sinistro, cambiandosi posta per posta.
	G2	1-6	Take left hands; Sempii on right, left, right trading places (returning to proper side of partner)	And then they change hands, and do again the same.	et poi si cambino le mani, et faciano anchora il simile.

II			Repeat I with new partners	And next, he who had been first, is in back, and he who was in back is second, and he who was second is the first.	et apresso, quello ch’era el primo, sia drieto, et quello ch’era drieto sia il secundo. et quello ch’era il secundo sia il primo.

III			Repeat I with new partners (ending with original partners)

Reconstruction by Peter Durham, informed by that of Ingrid Brainard. Text from Smith transcription of Pg. Translation by Peter Durham.

Notes

Music. Because there are differences in the music tabulation between the manuscripts, commercial recordings vary in how they repeat the music. The recording I use for this dance is from the CD “Mesura et Arte del Danzare: Balli Italiani del Quattrocento” by Academia Viscontea i Musicanti, Ducale CDL 002. Its introduction is a quiet A and B section. The division of the music given above has been altered to match this recording. While I have given 3 measures to the C section and 1 to the D section, the Pg manuscript divides them as 2 and 2, with the D repeating twice. Pa has the same division, but C repeats twice instead of D. Pd repeats the entire C/D section twice.

Reconstruction. This reconstruction was done to match the above recording and the description of the dance in the source transcribed (Pg). The versions of the dance described by Domenico and Guglielmo have differences. For example, Domenico has the advancing men do saltarellos instead of doubles. The progression of the first man down the set is the section most variable between reconstructions; there is not enough time for the three full doubles and reverence given for C1 in the source transcribed, so I follow the lead of three other sources (NY, S, and M) which specify contrapassi instead of doubles; these with a quick reverence fit well into the music; I do this for C2 as well, for consistency with the other sources, though the 2 doubles and no reverence described would fit. Russell Almond suggests that the C and D melodies should repeat twice (C D C D); in this case 1st man should reverence during C1/C2 9-12 and the advance of the 2nd and 3rd man should take place during D1/D2 1-4. The Brainard reconstruction also calls for a third repeat of the G music during which the men turn ¾ to face forward; this is not described in the source given above and the recording being used only has two repeats anyway.

Reconstruction. At G1-G2 this source specifies left hands and two sempii. Most other sources specify right hands, which seems more natural when leading with the left foot. Other sources specify a variety of steps here: three sempii, three pive, or three gallopi. I've chosen three sempii here since that seems to fit best with the music, and two don't seem to be quite enough to trade places.

Reconstruction. This source only specifies one repeat of the dance, but others make it clear that the dance repeats until the men return to their original positions.

Recordings. Mesura et Arte: Nice sound and tempo, matches reconstruction given here. Danzare et Sonare: Two versions of Gelosia, one which matches this reconstruction, one for an alternate version with 5 couples (In Part C, the third gentleman progresses down the bottom half of the set at the same time the first gentleman weaves down from the top.) Forse Che Si: Nice sound and tempo. Music for F figure repeats 5 times. This can be used for 5 couples, or three if you want to fudge the extra F measures with some embellishment. Nonsuch: This version is difficult to follow.