Of
the manner of doing the Cambio (change), or Scambiata (nimble leap).
The
Cambio, or Scambiata, which we wish to tell, is done thus, finding the
body
with feet even, move the left foot, and push it as much forward of the
right,
which the heel of this would almost stand straight to the point of the
right;
but distant one half palm’s width from that, keeping the left foot well
flat on
the ground, and the legs straight; then moving the right foot, cross it
about
to the left, with the point of the right attached out of the heel of
the
left. Then raising the left foot 3
inches high of the ground, and that having pushed forward in a straight
line
three more inches from the point of the right, returning it back, has
of to
equal the right: and all at one time stooping the knees a little and
widening
them some, finish it gracefully with a Balzetto with feet even.
Reconstruction of the Scambiata
Of
the manner of doing the Trango.
One
does the Zoppetto (finding the person with feet even, or in other
manners after
the occurrences which are able to happen in the Gagliarde) finding both
the
feet, the one a little high from the ground, and the other passing it
forward:
doing as many as the Mutanza will command, and these are done thus,
keeping one
of the feet raised forward, as keeping it similarly raised by the flank. The which effects have taken the name of
Zoppetti, because keeping one of the feet raised forward, you go with
the other
raising it, and jumping, as is properly as if it were limping.
Of
the Molinello (Spinning Wheel).
This
Molinello will be done with doing the Cinque Passi twice, the one
turning to the
left, and the other to the right; finding one always opposite where one
started: and of these turns around of the Cinque Passi, these actions
have
taken the name of Spinning Wheel.
Of
the Sottopiede (under-foot).
One always does the Sottopiede by flank in this manner; first do a Trabuchetto to the left with the left foot: and in letting this left fall, raise the right back; the which putting it in the place where the left is found, this left is raised in the air: and with this of new the others are followed to be done. And of this effect of putting the one foot where you find the other, is derived the name of Sottopiede.
The Trito minuto is done finding oneself with the feet a little uneven now to the right, now to the left, as occurs in doing the changes: but starting it with that foot which is found forward, 3 Balzetti are done most quickly, and a little to the flank, with feet a little uneven, and straight: and if these are done to the left flank, the left foot is put a little more forward than the right; but which the points of said feet go in a straight line, and if it is done to the right, it is done by opposite; that is putting the right foot a little forward of the left: and by this moving of feed distinctly small and quickly, these acts go called Trito minuto.
Said
Balzetti are done standing the body with feet even, one inch distant
from each
other, with the raising of both feet about 2 inches from the ground,
and with
falling at one same time, similarly keeping them even, some distant of
the place
where they were finding: and thus jumping in Balzetto, now to the left,
now to
the right, doing the occurrences, are done as many as will occur in the
movement. And this effect, because it
is similar to those of the Balzi, has taken the name of Balzetto.
This is done, finding one with the body, and with the feet in the manner which one stands when you wish to do the Riverenza; first do a Trabuchetto to the left with the left foot: and in the same time which you diminish said left, cross in back the right: with the which do another Trabuchetto to the right, crossing the left behind to the right: then with the left do another Trabuchetto to the left, crossing the right behind this: with the which (putting it in the place of the left, which goes raised) do a Sottopiede, keeping the left foot climbed forward some: and that [titando – I believe this is a typo for ‘tirando,’ throwing] back, and pushing forward the right, do the Cadenza, and finish said Groppo: and by this crossing of feet in the manner of a knot, has taken such a name.
Of
the Pirlotto (twirl), or Zurlo in terra (whirling on the ground).
Standing
the body with feet even, push the left half a foot forward: then
advancing the
right foot to even of the left, one will be turned quickly to the left,
raising both the
heels, and keeping on the ground only the breast of the left foot: be
careful
in the turning to give it grace with the right arm, widening some that
elbow:
and turning yourself 2 or 3 times, or as many as you are able, and at
the end
of this you will find yourself in perspective in the same place, giving
it a
little grace in the finishing, with widening the knees some, and with
keeping
the body straight.
Of
the Tremolanti (Trembling).
This
Tremolanti can be used in any sort of Passi, and is done in the same
time which
is done a Passo grave, in this manner, that is; raising the left foot
move it
three times extremely quickly, gliding to the left, and to the right:
and at
the final time diminish this foot on the ground; then raising with the
right,
keep the same method with this, which is kept with the left. And of this effect of trembling the feet,
has taken the name of Tremolanti.
Of
the Costatetto (side-roof?)
Finding one with feet even, move the left, and separating it a half step by flank from the right, return it to diminish in the place of the right: the which right has to be raised together with the body, doing a Saltetto; then widening by flank the right, return that with the same method in the place of the left. Of the which beating of feet by side the one to the other, said act has taken the name of Costatetto.
Of
the Campanella (little bell).
Rule
48.
The Campanella starts throwing the left which you will find forward, back, and all at one time raising it, do a Zoppetto with the right; and this demands one beat of Campanella; then pushing the left forward, do with the right at one same time another Zoppetto, and this is another beat: thus following by course, will practice to do it with grace. And with the same method one is able to do it in turn. And of this manner of throwing back and pushing forward the foot by a straight line, in the fashion of the hammer which sounds a bell, this act has taken the name of Campanella: but in each other mode which we name it shall be false.
A beat of
Campanella is done with the left back: the which then diminishing,
giving a
beat, is thrust with this the right, the which at one same time is owed
to raise, and
push forward: and this is one Recacciata: then follow to do the same
with the
right; and of this effect of rechasing one foot with the other, this
act has
taken the name of Recacciata.
Of
the Punta e Calcagno (Point and Heel).
This
is done, with doing a Zoppetto with the right on the ground, and at one
same
time diminish the point of the left on the ground 4 inches distant of
the
right: then doing another Zoppetto also with the right, diminish the
heel of
the left on the ground, keeping the point of that raised 4 to 5 inches
from the
ground: finally leveling the left in the manner of a Zoppetto, start
with the
same method to do Point and Heel with the right. Of
the which effect of touching the ground with one of the feet
now with the point and now with the heel, this act has taken the name
of Punta
e Calcagno (point and heel).
Of
the Battuta di Piede. (Beat of feet).
This act is done easily, because there is not another endeavor, that in doing the step, a beat is given with that foot which you move, in the manner which you would do, if one were shoeing a slope: and this sort of beat is owed to use in the dance of Canario. And of this effect of beating at each step, has taken the name of Battuta di piede.
Of
the Schisciata (blurring) in the Canario.
This
is done throwing back, or pushing forward at each step one of the feet
blurring it, or dragging it as much forward as back: and of this
manner of dragging, or blurring of feet, has taken such a name.
Of
the Cadenza (falling) in Gagliarda.