Lioncello Vecchio

(Old Lioncello)

Ballo

Domenico, De Arte [Pd]

Couples

Intermediate


I	A1	1-8	6 Saltarelli starting on left	Lioncello Vecchio, a ballo for one man with the woman. ¶ First they do, both taking hands, six tempi of saltarello beginning with the left foot in quadernaria misura and they stand to.	Lionzello vechio a ballo e in uno homo cum la dona. ¶ Mprima fano tutti dui a mano tempi sei de saltarello comenzando cum lo pe sinistro in mexura quadernaria e aferma se
	A2	1-8
	A3	1-8
	B1	1-2	Man: Movimento	Then the man does a movimento	poi lo homo fa uno movimento
		3-4	Woman: Movimento	and the woman responds to him with another	e la dona li risponde cum uno altro
		5-8	Man: Saltarello on right, passing in front of partner to right side; Face up	and the man then passes ahead of the woman with one tempo of saltarello largo beginning with the correct foot and going equal to the woman's right hand doing a mezavolta and stands to.	et l'homo poi passa denanti ala dona cum uno tempo de saltarello largo comenzando cum lo pe drito andagando equale ala dona dala sua mano drita dagando una mezavolta e afferma se
	B2	1-8	Repeat B1 reversing gender	Then the woman reponds with that same tempo of saltarello and mezavolta returning herself equal to the right hand of her man and all this written above is in quadernaria misura and this other part following. ¶	poi la donna ge risponde cum quello medemo tempo di saltarello et mezavolta ritrovando se equale ala man drita del suo homo et e tucto questo soprasscripto mexura quadernaria e quest' altra parte seguente. ¶
	C1	1-12	Man: 4 Sempii and 1 Doppio starting on left (running away from partner)	Note that the man parts from the woman doing four sempi forward and one doppio beginning with the left foot and stands to.	Nota che l'homo se parte dala dona fazando passi quatro sempii inanti e uno dopio comenzando cum lo pe sinistro e afferma se
	C2	1-12	Repeat C1 reversing gender (the woman catches up)	Then the woman follows him doing the same passi and doppio and stands to. ¶	poi la dona el siegue facendo li simili passi e dupii e aferma se. ¶
	D1	1-8	Man: 4 Contrapassi starting on left (fast Doubles, quickly running away from partner)	Next note that the man parts from the woman and goes forward with three doppi on the left foot in quadernaria misura and stands to.	Apresso nota che l'homo se parte dala dona e va inanti cum dupii tri sul pe sinistro pur in mexura quadernaria e afermas se
	D2	1-8	Repeat D1 reversing gender (the woman catches up again)	and the woman then follows him with the same three doubles and stands to. ¶	e la dona poi lo siegue cum li simili tri dupii e aferma se. ¶
	E1	1-18	Man: 2 Sempii and 2 Doppii starting on left (slowly running away from partner)	Note that the man parts from the woman with three tempi in bassadanza misura doing two sempi and two doppi beginning with the left foot	Nota che l'home se parte dala dona cum tempi tri in mexura bassadanza fazando sempii dui e dupii dui comenzando cum lo pede sinistro
		19-36	Woman: 2 Sempii and 2 Doppii starting on left (catching up one last time)	and then the woman follows behind the man with those same sempi and doppi and stands to. ¶	e poi la dona siegue dicto homo cum quilli medemi sempii e dupii afirmando se. ¶
	F1	1-12	Riprese left and right (join hands; together at last)	Note further that the man takes the woman by the hand doing together seven tempi of bassadanza that are first two riprese beginning with the left foot	Ancora nota che l'homo piglia la dona per mano fazando insieme tempi septi di bassadanza cio prima represe due comenzando col pede sinistro
		13-30	2 Sempii and 2 Doppii, starting on left	and two doppi	e dupii dui
		31-42	Riprese left and right	and two riprese	e represe dui
	G1	1-3	Man: Movimento	and standing to, the man does a movimento	et aferma se fazando l'homo uno movimento
		4-6	Woman: Movimento	and the woman responding to him with another; which movimenti are two tempi of quadernaria misura	e la dona respondendo ge cum un altro li quali movimenti sono tempi dui in mexura quadernaria

II			Repeat I, reversing gender (so the woman runs away, and the man catches up)	end	fine

Reconstruction by Peter and Janelle Durham. Text from Smith's transcription of Pd. Translation by Peter Durham.

Notes

Reconstruction. At B2 many of the descriptions of Lioncello in other manuscripts describe the woman's response as beginning with the movimento, so we have chosen that path here, as this lines up better with the music.

Reconstruction. At D1 the manuscripts vary on what step should be done here; we have chosen to follow PG which calls for four contrapassi on the left. Other sources call for four contrapassi on the right, or three contrapassi on the left.

Reconstruction. At F1 where this source calls for two doppi, all the other sources call for two sempi and two doppi. Without adding these sempi we only have enough steps for six tempi of bassadanza, yet this manuscript calls for seven. We have therefore chosen to insert the sempi.

Reconstruction. At the end of the dance, three of the other manuscripts call for a repeat of the dance with the woman starting each figure. We have chosen to do this here.