Petit Riense

(Little Nothings)

Ballo

Ambrosio, De Pratica [Pa]

Triples

Beginning


I	A1	1-16	16 Pive starting on left	Ballo called Petit Riense, for three, French ¶ First sixteen tempi of piva & then stop	Ballo chiamato Petit Rinense in Tri Francese ¶ Imprima sedice tempi di piva & poi se Fermino
	A2	1-16	16 Pive starting on left
	B1	1-8	1st person: 4 Pive starting on left (moving ahead of the others)	& then the first parts with four tempi of piva & stops	& poi el primo se parta con qactro Tempi di piva & poi se ferme
	B2	1-8	2nd person: as much (to join the 1st person)	the second to him goes near doing the same	el secondo Gli e vada appresso facendo il simile
	B3	1-8	3rd person: as much (to join the others)	The third to him goes also near doing the same again	El terço gli e vada puro appresso facendo El simile Ancora
	C1	1-4	1st person: Doppio on left (again moving ahead)	The first parts with a doppio beginning on the left foot	el primo se parte con Un doppio cominciando col pe sinestro
	C2	1-4	2nd person: as much (again to join the 1st person)	The second does the same	El secondo faccia il simile
	C3	1-4	3rd person: as much (again to join the others)	The third also does the same	El terço faccia Puro il simile
	D1	1-4	1st and 2nd persons: Riverenza to each other	the first does a riverenza to the one in the middle & the one in the middle responds to him	el primo faccia una RiVerencia a quello di meço & quello di meço gli risponda
	D2	1-4	2nd and 3rd persons: Riverenza to each other	& the last one does a riverenza to the one in the middle	& quello ultimo Faccia una Riverencia a quello di Meço
	D3	1-4	All: Riverenza	& then all three together do a riverenza	& poi facciano tucti tre insieme Una Riverencia
	E	1-4	Doppio back (away from each other)	& then they pull back with a doppio to the opposite from one another	& poi se tireno inDirieto con un doppio al contrario l'uno Dil altro
		5-8	Doppio forward (returning to each other)	& then they come toward one another with a doppio beginning with the right foot	& poi vengano incontro L'uno all altro con un doppio comiciando CoL pe dricto
		9-12	Riprese left and right (this is twice as fast as normal)	& then they do two riprese, the one on the left and the other on the right	& poi facciano doe Rimprese l'una sul sinestro & L'altra sul dricto
		13-16	Doppio on left, turning a full circle	& then all three together do a volta tonda on the left foot	& poi dagano una Voltatonda tucti tre insieme In sul pe sinestro

			Repeat as desired	End ¶	FINIS ¶

Reconstruction by Peter Durham. Text from Smith's transcription of Pa. Translation by Peter Durham.

Notes

Reconstruction. The choreography arguably calls for four reverences but the music explicitly has three repeats of phrase D. We reconcile this by having the first two reverences be simultaneous, and adding a response reverence when 3rd reverences to 2nd. Another reconstruction compresses some of the reverences, but we prefer to keep all the reverences at their standard duration.

Reconstruction. Phrase E provides only 16 counts for steps that would normally take 24. We have chosen to compress the two ripresas into two counts each, and use a doppio for the volta tonda. A volta tonda in bassedanze is normally two singles followed by a ripresa, but there is no following ripresa called for here, and two singles are tricky for a full turn without the ripresa. In some other dances in quaternaria or piva rhythm, Ebreo calls for the volta tonda done with a doppio. We have chosen to make this substitution here.

Reconstruction. This dance is so quick that without repeats, it is truly a “little nothing.” I find that even with the four repeats on the CDWE recording, dancers are often left wanting more.