[SCA-Dance] l'Amoroso a la Thea

White, John john.white at drexel.edu
Mon Apr 14 11:11:03 EDT 2008

> From:  tmcd at panix.com
> In the back of the handout is what appears to be a photocopy of page
> 326.  What appears to be a transcription of the German original is on
> the left, and an English translation is on the right.  The German site
> is headed "N{u:}rnberg, Germanisches Nationalmuseum HS 8842 / GS 1589
> [lines 39-57]".  It starts
>         It begins with eight fast ba{ss}duppeln.
> so I gather that "fast ba{ss}duppeln" means "pive".  The operative
> words are
>     darnach get er vor ir mit 2 contra pa{ss} end einem mit einem
>     Repre{ss}
>         Then he goes ahead [vor ir = of her] with 2 contrapa{ss} and
>         one with a repre{ss}.
>     da kert er sich mit umb
>         turning with it.
>     und th{u:} offters gegeneinannder referenntz
>         They perform referentz [offters = several] toward each other
>     darnach tanntzt er z{u:} ir mit 2 ba{ss}duppl behennt und einen
>     lancksam
>         Then he dances toward her with 2 fast ba{ss}duppeln and a slow
>         one.
> My apologies for any transcription errors: I had the document on my
> lap and had to keep my eye on it to keep from losing my place, so I
> couldn't refer to the screen while typing.
Okay, open mouth, insert foot.  That's what I get for pretending
to actually know something about 15th C Italian dance.

The German version of this dance is pretty obviously the same basic
structure of the unornamented version of the dance, though the steps
have been transformed when translated into German for some reason.

The first thing I would do to make the dance work to the music that
we know is to ignore the "offters" in the description of the men's
"solo" portion.  I don't know whether "referentz" is plural or not,
but "offters" does not appear in the description of the women's
"solo", and it makes things very hard to fit to the music.  (And
even if this is the German version of the dance, multiple riverentie
are pretty silly.)

So, the "A" part, the chase/catch part, works pretty well if you do
two fast pive and a very slow double - what turns out to be more like
three singles.

The "B" part, the solo part, is trickier, especially if your music has
the half-bars at the end of the phrases.  But it will work to do 
3 contrapassi during the two piva section (essentially just do 12
quick steps on the beats, no pauses or anything), and then a quick
ripresa to mezavolta on the last measure (instead of just turning in
place, you turn as you step to the side.

Then you need to do a quick riverentia, and start your return with that
same first pattern - two piva and a slow double (or 3 singles).  I'm
pretty sure that this will work (it does in my head about 60% of the
time, anyway).

So, if you're willing to let go of the multiple riverentie, then this
will work to the familiar music.

> Danihel Lindum Colonia

     \\Dafydd C

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