Present:
William de Wyke, Katherine of Glastonbury, William de Cameron, Katherina Weyssin
First hour:
- Ly Bens Distonys
- Prenes in Gre
- Simple branle
- Scots branles
- Earl of Essex Measure
- Queen's Almain
- Black Almain
Second hour:
- Bella Gioiosa
- La figlia di Guglielmino
- Ginevra
We spent most of the second hour on Bella Gioiosa, as none of us remembered it clearly. The discovery for the evening was that it begins not with a plain Riverenza minima, but with a Riverenza in balzetto. A riverenza with a jump at the end, leading into the four trabuchetti, turns out to be a cute start to a cascarda.
A quick search of the transcript reveals no other occurences of the term riverenza in balzetto in Il Ballarino, and likewise none in Nobilta di dame or Le gratie d'Amore.
Where it does appear is in a rule I'd forgotten about at the beginning of Il Ballarino, for the Riverenza seminimina in balzetto fatta alla Cascarda (the riverenza in balzetto in the time of half a minim, as done in cascarde). What's curious about this is that he explains how to do the Riverenza in balzetto, tells you it's not really a riverenza, and then tells you not to use it. It's perhaps a clue about a variant (possibly older) practice in performing cascarde that Caroso recorded, but didn't entirely approve.