Of the Riverenza, and first of the grave.

The Riverenza grave is done keeping the body and the legs well straight, with the middle of the left foot most in front of the right, and 4 inches distant from it, being careful that the point of both feet stand well straight.  And because in the major part of the Balletti happen 8 perfect beats of music, which are 16 ordinary beats; but have to know that in the first 4 beats begin and finish all the Riverenza: and in the last four, the 2 Continenze, as I will say to you later.  The first time, stand in perspective with the left foot forward, as was said, and with your facing turned towards that of the lady: and not as it is done by others, who keep turned towards the bystanders, who stand opposite: in that manner it seems that they despise the lady with whom they wish to dance: and that here with each effect whom they owe always to revere and to honor: In the second, draw back the left foot in a straight line, until the point of this is even with the right heel: keeping it level on the floor, and not elevating the heel: be careful in the drawing back the foot, of bowing a little with the head, and the body, accompanying this act with what grace which would better favor it, and having both the knees well extended.  The third, one owes to diminish down the legs together with the body, widening the knees some with beautiful grace.  The fourth and final, one must advance it, returning the left foot to even with the right, and raising the body and the head together.  We have started the Riverenza with the left foot, because the pattern of revering of the body of the heart; and also because the constancy, and stability of our body is the right foot: the which must not move ever before we have done the Riverenza, nor less in the dance.  Be careful now, which each act, or movement in the start of the Balli always must be done with the left foot.   Nor do I wish to let go of to say, which of the many ways this Riverenza will be diversely done, forsomuch as that some people finding themselves with feet even at the start, draw the left foot back flaking instead of in a straight line, and standing with the legs straight and with the point of said foot on the ground: others, drawing a little back, cross it around the right: others, drawing it purely back, rest with the point of that behind the heel of the right: and others pulling it turn their body, and keeping with the point behind on the ground: the which manners all, because they are extremely clumsy and foul, have resolved to note for caution everyone to avoid this, and to shun them.

Reconstruction of Riverenza grave


The Riverenza minima is done in four half times, that is in four beats of music; therefore when it begins the sounding, stand half a beat of time in perspective; in the other half beat push the left foot back, accompanying this as was done in the Riverenza grave diminishing some with the body; and in the third half beat bend the knees with grace; widening them a little; and in the fourth, and final, finish with bringing the feet together.

Of the Riverenza semiminima in Balzetto done in the Cascarde.

Rule 4.

This Riverenza Semiminima, as the elders were accustomed to do in the Balli of the Cascarde with standing in the start of this with feet even; letting 2 beats go past; then raising the left foot forward some, return it to feet even, then raise both feet some, in the fashion of doing a balzetto, diminishing it at the end of four beats.  And because this act has been done in a half minima, it demands to be called a semiminima.  But to my judgment, because this falls with feet even it seems more as if one had done a cadenza than a Riverenza; therefore in the happening I will call this act in truth Cadenza of the Cascarde.  Now in the start of said Riverenza, I exhort that it be done in this way, which is called above in the Riverenza minima; which thus shall come to be very graceful and close.


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