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Legiadra, by Guglielmo. Two couples. Difficulty = Level 3

Steps: Sempio (in 6), Doppio (in 6), Piva (in 6), Saltarello (in 6),

Saltarello Tedesco, Continenza (in 6), Ripresa (in 6), Movimento,

Mezavolta, Voltatonda.

Start: Two couples, holding hands, facing up the hall, Couple 1 in front

of Couple 2 by about four steps.

Starting position

Section I (7 bars in 6/8, played twice, and 2 bars in 6/8)

[Introduction of two bars on accompanying tape]

1-7 \

1-7 (2nd time) } 16 Saltarelli, starting Left. Couple 1 end by

8-9 / dropping hands and doing a Mezavolta Right.

Section II (7 bars in 6/4, played twice)

10-11 Couple 1 Ripresa Left, Ripresa Right,

as Couple 2 Continenza Left, Right, Left, Right.

(Couple 1, with Woman 1 now on the left, is facing Bars 12-14 (1st time)

down the hall, toward Couple 2. The four dancers

form a rectangle.)

12-14 Sempio Left, Sempio Right, Doppio Left, Doppio Right

ending with a Mezavolta Right, Couple 2 passing

through the middle of Couple 1.

(Couple 2 is now at the top of the hall, facing down

the hall, while Couple 1 is at the bottom facing up.)

15-16 Ripresa Left, Ripresa Right.

10-11 (2nd time) Continenza Left, Right, Left, Right.

12-14 (2nd time) Sempio Left, Sempio Right, Doppio Left, Doppio Right Bar 18 and Bar 19 (1st time)

ending with a Mezavolta Right, Couple 1 passing

through the middle of Couple 2.

(Couple 1 is back at the top of the hall, facing

down the hall toward Couple 2.)

15-16 (2nd time) Ripresa Left, Ripresa Right.

Section III (3 bars in 4/4 and 4 bars in 6/4, played twice)

17 (in 4/4) Couple 1 Movimento, then Couple 2 Movimento.

18 (in 4/4) Man 1 Saltarello Tedesco Left towards Woman 2.

19 (in 4/4) Woman 2 Saltarello Tedesco Left towards Man 1. Bar 22 (1st time)

(Man 1 and Woman 2 are in the center of the

rectangle, facing each other, approximately

perpendicular to their partners.)

20-22 (in 6/4) Man 1 and Woman 2 Ripresa Right, Ripresa Left,

Ripresa Right, doing them on a curve around a point

between them.

(Woman 2 is now facing down the hall, Man 1 up.)

23 (in 6/4) Man 1 and Woman 2 Voltatonda (4 Steps starting

Left, clockwise), moving back as they turn, into each

other's starting place.

(Man 1 is now to the right of Man 2, both looking up Bar 23 (1st time)

the hall, and Woman 2 is to the left of Woman 1, both

looking down.)

17 (2nd time) Couple 1 Movimento, then Couple 2 Movimento.

86 Joy and Jealousy

18-23 (2nd time) Man 2 and Woman 1 do the same as Man 1 and Woman 2 did.

(Couple 1 is at the bottom of the hall, Woman 1 on the left, while Couple 2 is at the top, with

Woman 2 on the right.)

Section IV (2 bars in 6/8, played twice)

24-25 Men Piva Left, Piva Right, each circling his partner.

24-25 (2nd time) Women the same.

Section V (2 bars in 4/4)

26 Couple 2 Movimento, then Couple 1 Movimento.

27 Voltatonda (4 Steps starting Left, counterclockwise).

Teaching Notes

If Section IV is difficult, the dancers can circle their partners halfway,

instead of all the way around. (This means that the set will move to the

side.)

Alternate Section IV

The tape accompanying this manual does not have a repeat, but if a (Women move after men)

repeat is done the women do everything first the second time, Couple 1

still leading.

Recordings

Dances Courts 9 - Two extra saltarelli for an introduction. The 4/4 part of Section III is only two bars long, so

have Man 1 and Woman 2 do their saltarello tedesco at the same time. Section IV has three bars repeated, instead

of two, so there are three pive for each dancer to get around his partner. The dance is repeated.

Danzare - One extra saltarello at the beginning, which can be used as an introduction. The 4/4 part of Section III

has four bars instead of three, so extend the two movimenti of Bar 17 into two bars, each movimento taking a bar

(or have each of the four dancers do an individual movimento, each taking half a bar.) Section IV has three bars

for each repeat, so circle with three pive instead of two. The dance is repeated.

Sonare - One extra saltarello at the beginning, which can be used as an introduction. The bassadanza sections are

quite fast. The 4/4 part of Section III has four bars instead of three, so each movimenti of Bar 17 takes a full bar,

(or each of the four dancers can do an individual movimento, each taking a half bar.) Section IV has three bars

each repeat, so use three pive instead of two. The dance is repeated.

Dance Notes

Start: None of the sources say to hold hands, nor give the distance that the couples are spaced. Holding hands at

the beginning, when moving together, is usual, and four steps apart is about right for the dance.

Bar 1: The starting foot is not given in the manuscripts.

Bar 12-14 (1st playing): The sources don't say which couple passes through the other, merely saying one couple

passes through the middle of the other. NYp, however, states that the four continenze, just previously, are done by

the middle couple, where the other sources say the couple behind. This suggests that the back couple are the ones

who pass through the middle.

Bar 17 (2nd time): The sources only say that the other man and other woman repeat what was done before, so it

is unclear who does the movimenti in what order. It could also be the dancers who are in the place of Couple 1

(the women), do the movimento first, or that the two who just moved do it first. Because nothing is explicitly

stated, the exact same people doing it seemed most likely.

Bar 20-22: Most of the sources only say that three riprese on the right are to be done, but NYp clearly states that

they are on alternate feet. Although no mention is made of them being done on a curve, doing so puts the dancers

closer to the other dancers' starting positions.

Bar 23: No direction is given for the voltatonda. In practice clockwise seemed easier, but turning the other way

is just as acceptable. It is stated to be a doppio left, but, as the next foot (for Man 2, at least) is on the left, we

decided to use four steps, instead.

Section IV: It is quite difficult to get all the way around someone in only two pive, although if the dancer is

reasonably athletic, knows the dance well enough to be prepared for the move, and the partner helps by moving

out of the way, it can work. It is unusual that a complete circuit is expected in only two pive. The sources use

'intorno' or 'atorno', and this might mean going around without necessarily implying going all the way around.

But if this were the case, the manuscripts probably would have made this clear. Compare to Graziosa and

Leoncello, where the dancers clearly only circle halfway, and Pizocara, where the dancers circle their partners

completely.

Bar 26: NYp specifies that the front couple do the movimenti first, presumably meaning Couple 2, as they are

currently in front. It could also mean Couple 1, as they were the couple who started in front.

Bar 27: The sources either specify that the voltatonda is done with a doppio beginning on the left foot, or just say

that the voltatonda begins with the left. We modified this to our standard four-step voltatonda. (See Steps -

Voltatonda.) No direction of turn is given.

Repeat: NYp, Fn and Fl are the only sources to specify a repeat, with their usual formula that the men should

send the women forward. We took this to mean that if the dance is to be repeated, the women should do

everything first, but since it is not specified that Couple 2 should lead, Couple 1 should still do so. We chose not

to include a repeat as the dance is one of the more complex ones.


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