The 15th-Century "balli" Tunes: A New Look

Author(s): Barbara Sparti

Reviewed work(s):
Source: Early Music, Vol. 14, No. 3 (Aug., 1986), pp. 346-357
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/3127107 .
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Barbara Sparti
The 15th-centuryballi tunes: a new look

Research in 15th-century dance music has con-

tM
qutrmo it
~ore-?;?aiF
EFTS
itU~er mtnoIPe
toir t
ln e
pen II
1 Scale of the four misure (A.Cornazano, Librodell'artedel
danzare, f I Ir)
For more than 30 years the music included in 15th-
century Italian dance treatises has interested musico-
logists. This is in large partdue to the dearthof written
Italian music, especially between 1425 and 1490, a
period when other arts were flourishing throughout
the peninsula. After the Italian ars nova of the 14th
century,composers and singers arrivedfromBurgundy,
France and the Low Countries and, under the patron-
age of the Medici, Este and Gonzaga families, conti-
nued the development of polyphony, chiefly for
sacred music.' The spare monophonic pieces of the
dance treatises are a rare example of a type of secular
instrumental music which was performedin the early
Italian Renaissance-part of an importanttraditionof
'unwritten'music2-as well as a unique collection of
Quattrocento dance music.
cerned itself almost entirely with the derivation,poly-
phonic settings and concordances of basse danse
raf
tenors. The basse danse or bassadanza (literally 'low
dance') was a slow dance in 6/4, probably imported
into Italy from France and Burgundy.Its music, often
based on chansons, was notated in breves or semi-
breves.3
The ballo, on the other hand, was an Italian inven-
tion. It differed from the basse danse in its frequent
changes of metre and tempo, its more complex and
varied choreography, its jumps, flourishes and other
ornamental steps, some of which were derived from
peasant dances. Some balli were pantomimic.
In contrast to the anonymous authorship of the
basse danse, the balli were composed by two leading
dancing-masters, who also composed the music for
each balloand notated the melodic lines. Domenico da
Piacenza, who fashioned and perfected the ballo,
included 18 choreographies and their music in his
only known treatise, De artesaltandiet choreasducendii
(On the art of dance and constructingdances, c1455).4
While he clearly favoured the ballo,his treatise closes
with five bassedanze,of which at least two show that he
was a masterin that idiom as well. Ballichoreographies
and their tunes were also composed by Guglielmo
Ebreoda Pesaro.LikeDomenico, whose'most devoted
disciple and fervent imitator'he declared himself to
be, Guglielmo was a dancing-master,well known and
esteemed at prominent courts, an expert ballarinoand
choreographer,and author, not only of social dances
and their music, but of a manual on the theory and art
of the dance.5 Guglielmo'sfirst treatise, De praticaseu
arte tripudii(ThePracticeor Art of the Dance, 1463),
includes five balli of his own composition.6 He added
five mbre-four with music-in a laterredaction after
his conversion to Catholicism, when he assumed the
name GiovanniAmbrosio.7Anotherpupil and reverent
admirerof Domenico's,the poet, courtierand humanist
Antonio Cornazano(died 1484)also wrote a treatise in
which he recorded (togetherwith the music) a limited
number of Domenico's dances; those which, in his
view, were still fashionable."
Thetreatisesof Domenico, Guglielmoand Cornazano

346 EARLY MUSIC AUGUST 1986

all begin with a defence of the dance as an art and
science. Then, all three have theoretical sections
which, while differing in length, method and scope,
cover many of the same points and, happily, often
complement each other. These chapters, rules and
aesthetic principles give us information and clues
regardingperformance of steps, style, ornamentation
and use of space, as well as the relationship between
music and dance. The second part of each treatise is
devoted to the choreographies of the bassedanzeand
balli,their description and music. None of the Quattro-
cento dance manuals explains precisely how to per-
form any step; however,it is sufficient for the purposes
of this article that we are told each step's duration.
Despite an ever increasing interest in the recon-
struction and performance of 15th-century dances,
the balli tunes themselves have been somewhat neg-
lected. I propose to take a closer look at these melodies
in a fresh attempt to make mensural transcriptions
which will not be merely literal, but which will strive,
above all, to accord with the treatises' choreographic
instructions. The role that music plays in the manuals,
and its relationship to the dances, will be considered
first, together with a brief analysis and description of
the characteristics of the balloitself, in an endeavour
to make the music, as well as the choreography,come
alive.
The four misure
The essence of the ballowas misura.Domenico defined
it as the relationship between music and movement,
and he devoted eight of his introductoryfolios to it.
Therewere four misurewhich could be used in a ballo,
and they varied in metre and tempo. Bassadanzawas
the! slowest; quademrnariacame next, one-sixth faster
than bassadanza;then saltarello,two-sixths faster; and
finally piva, twice as fast as bassadanza.Altogether,
they formed a ratio of 6:5:4:3(see illus. 1). Domenico's
use of the terms bassadanza,saltarello,and so on, was
both musical and choreographic, so that one tempoof
saltarellomeant both one unit of saltarellomusic (one
barin modernterminology)and also one dance unit of
saltarello(one saltarellodouble step, for example). In
his introduction, Domenico also explained how to
perform each dance type in another misura, for
example how to dance a saltarello double step to
bassadanzamusic..
The structure of a ballo
Most balli begin with an introductory saltarello, in
saltarellomisura or in quadernaria,during which the
performers probably entered into the dance and
gained the centre of the hall or dancing area. The
length of the saltarellois almost always stipulated in
the choreographic descriptions and is clearly marked
in the music, although there are occasional discrepan-
cies between the two. Since the music is composed of
one phrase repeated, usually, two or three times, it is
possible that the introduction could be shortened or
lengthened according to the needs of the dancing
room,the occasion, or at the pleasureof the performers.
While Domenico's early ballitend to conclude with
a reverence in bassadanzamisura,the most common
ballo ending is ratherlike a coda in fast piva tempo, in
which the men and the ladies echo one another with
quick movements and turns.
The main part of the ballo uses a variety of figures
and floor patterns performed by dancers ranging in
number from two to twelve: at times side by side, at
times in lines, squares or triangles, or in longways
formations. Tesara,Domenico's final ballo for four
couples and two men, is a spectacular figure dance
with ribbons, an enhancing use of arches and a
complex interlacing of all ten dancers. Most of the
balli,whether for one couple, a trio, or more, express a
play between the sexes. There are separations, appro-
aches and retreats,echoing and mirroring,circling and
encircling-very often accompanied by an ever in-
creasing tempo.
Drama in the ballo
The changes of tempo, and also of metre, emphasize
specific gestures and heighten characteristic and
dramatic moments in those balli by Domenico, like
Verfepe,Giloxia,Mercantiaand Sobria,which are gem-
like theatrical miniatures. In Verfepe,for example, the
'skirmish'between the sexes is clearly marked, both
musically and choreographically, through brief and
contrasting sallies which follow on each other's heels.
The adversaries use different steps and tempi-the
men saltarello, the ladies bassadanza-as well as
different paths: the men weave in and out between the
ladies and encircle them; the ladies exchange places.
In Sobria,three different misureare used superblyto
supportthe dramaticcontent of the ballo.Fouryouths
attemptto woo the 'Modest Lady'.They first approach
her, two at a time, slowly and reverently, with bassa-
danza steps and music, and a bow. Rejected, they
return to her with renewed vigour doing a slow salta-
rello,in quadernariamisura.But when the lady turns to
EARLYMUSICAUGUST1986 347
 discover them at her back, she is furious and the men case, many conventions in recordingthe text and the
'beat a hasty retreat' with a hop and a tempo of tunes were taken for granted, and thus to the modern
saltarello. reader, many sections may appear obscure or per-
functory. Discrepancies between choreographic de-
Music and choreography
scription and music also occur at times because of
In Domenico's treatise each ballo is presented first in writtenerrorsmade by the mastersor by their copyists.
canto, that is in musical notation, followed by its
choreography,in balloor a ballo.The final paragraphof Domenico often begins a new paragraphwhen a ballo
the theoretical introduction to De artesaltandi reads section changes from one misurato another; in the
(f.7): 'Both the canto [music] and the words [choreo- musical notation, a line of division is found at the
graphic descriptions] of the following dances are corresponding point. At the beginning of the para-
composed by the esteemed and excellent Cavalier graph the number of tempi in that misurais usually
Messer Domenico of Piacenza, with the exception of stated, followed by a description of the particularsteps
the canto [music] for the Figlia Guilielmino[sic] which is to be used. With this information, those transcribing
a French ballad.'9So importantwas music to the balli the music or reconstructing the dance can compare
composers that Guglielmo Ebreo devoted ten out of the choreographicinstructions with the tunes and bar
sixteen introductory chapters to musical problems. accordingly, ascertaining at the same time if errorsor
Moreover,in his preface, which begins with a discus- discrepancies exist. Here is an excerpt fromMercantia
sion of the origins of music, he goes on to say (f.14r): to match against ex. 1:
'Dancingis drawnand born from music as [an]outward Nownotethatthe manandthe ladyin frontdofourtempiof
show of its true nature, and without this harmony or bassadanza, thatis the ladymovesbyherselfdoinga halfturn
consonance, the art of dancing would be nothing, nor of onetempoin placeand[finishes]lookingtowardsthe men
would it be possible to do.' whoarebehind,and[then]she stops.Next,themanwhois at
This close relationship between music and choreo- her side sets off and goes forward with three doubles,
graphyis the key to both a careful reconstruction of a beginning with the left foot, and then he stops. [Myitalics]
balloand to any modern transcriptionof the music. A Ex.1 Domenico, Mercantia,De arte,f.21 (see thirdsection, first line)
question which is often asked is whether the choreo-
graphies and their music really match. The answer is
that in Domenico's ballithey almost alwaysdo, and the
masterywith which they correspond and complement
each other, both on paper and in performance, is
striking. However, both Cornazano'sand Guglielmo's
versions of Domenico's choreographies tend to be
abridgedor very general descriptions. They often omit
vital information such as the precise numberof steps, -44 4 4
the misuraand the number of tempi in each misura.

. 4I.I4.4I.
(reduction 1:2)
Occasionally, of course, their accounts may include I .I .4II J. II
phrases which can clarify a particularpassage or, in -
some cases, supply interesting step/choreographic steps half turn double double double
(Barlines indicateboth a musicalanda dancestep unit or tempo.)
variations or innovations.'1 Guglielmo,unfortunately,
tends for the most part to be just as vague in his While Domenico's choreographic instructions are
instructions for his own balli, with the result that the precise and minute, in most cases accordingbrilliantly
reconstruction of his choreographies and the tran- with the music, the question of mensuration,essential
scription of the tunes can be extremely problematic. to a rigorous transcriptionof the balli tunes, remains
Even in Domenico's treatise there are sections of balli problematical. Each misurahad not only a relatively
where the music and choreographydo not correspond increasing speed but a different metre. In the dance
because of vague or incomplete choreographic de- treatises, however, the concept of mensuration is
scriptions or as a result of unclear or incomplete fraught with discrepancies. Theoretical principles,
musical notation. The dancing-masters'knowledge of mensural signs and notation often contradict each
musical notation may not have been extensive. In any other.
348 EARLY MUSIC AUGUST 1986
 According to Domenico, the mensurations of the appears in two ballias a sign, most likely, of a change
four misurewere (f.3):11 of misurafrom the precedingsaltarello(whichuses C)to
bassadanza:mazorimperfecto[= tempusperfectumcudn bassadanza.'7
prolatione imperfecta. = oo o; . O [3/4] is the symbol for saltarellosections in three
In 3/4, reduction 1:2] balli and for bassadanzain two others. It is the sign
quadernaria:menor imperfecto [= tempus imperfecturm used for the final part of [Rostiboli]Gioioso,which is
cum prolationeimperfecta.4 = o o;o = d. probably in piva misura. Domenico notates it in
In 2/4, reduction1:2] Prexonerafor a piva in 4/4; it also appears in all four
saltarello: mazor perfecto [= tempus perfectumcum versions of
=c Jupiter[Iove]to indicate saltarelloin quad-
prolationeperfecta. = o o .
ernariamisura!
In 9/8, reduction1:4] o'o
piva: menorperfecto[= tempusimperfectumcum C [2/4] is written in eight balli as the symbol for
sections and in three ballifor those in piva
prolationeperfecta. = o o;o = d J . In quadernaria
6/8, reduction1:4] (one of which is in 6/8).
While Guglielmorefers to the four misureby name in
It seems clear that the dancing-masters occasionally
his balli,they are absent from his list of mensurations,
used different symbols, whether 'appropriate'or not
which he gives in the following order (De pratica,
f. 11v):'2 (as we see it), to indicate a change of misuraor speed
when the mensuration (metre) itself did not change;
perfettomagiore [= tempus perfectumcum prolatione for example in a saltarellosection following a bassa-
perfecta, 9/4; bassadanza] danza(6/4 to 6/8), or in a piva (6/8) following a saltarello
perfettominore [= tempusimperfectumcum prolatione (6/8).IsNow let us see what mensurations are reflected
perfecta,6/8; saltarello] in the balli tunes themselves. In order to determine
imperfettominore[= tempusimperfectumcum prolatione which metre is being used, we must bar the music
imperfecta,2/4; piva] according to the number of tempi stipulated in the
quaternario [= tempusimperfectumcum prolatione choreographies.
imperfecta,2/4; quadernaria]
Cornazano begins his scale with the piva (see Bassadanza
illus. 1): The music in this misurais notated, for the most part,
piva: perfectominore[6/8] in repeated semibreves (two for each tempo),with or
saltarello: perfectomagiore[9/8] without rhythmic variations. Ex.2(a)shows the open-
quaternaria:quattroper tre di perfectomagiore13 ing section of Domenico's ballo Prexonera,and the
bassadanza:perfectomagiorein ragionedi canto14 versions by Guglielmo(ex.2(b))and GiovanniAmbrosio
In complete contrast with this scale, Cornazanowrites (ex.2(c)). Notice the different mensural signs and the
that every note (semibrevis)of his tenors" should get different notation (as well as the different spelling of
three beats in its 'natural' form (saltarello);six in the name of the ballo).Yet, despite these differences, if
bassadanza;four if played in quaternaria; and four also we follow Domenico's step indications and his in-
in piva, because the piva 'is born'from the quaternaria, structions for 41/2 tempi(to be repeated), the modern
although it is played more than twice as fast. mensural transcriptions of all three versions is the
Ratherthan clarifythe situation, the mensural signs same, and clearly in 6/4.19
used in the ballisimply compound the inconsistencies. Ex.2(a) Domenico,De arte,f.14v(see firstsection)
In the majorityof the ballitunes, most misurehave no
symbol at all. This was not unusual in music of the
period, even when the metre changed.
C [6/4, 6/8] is the symbolwhich appearsmost frequent-
ly. It is used in eleven balli to indicate bassadanza
sections and in five for saltarellimisure.
(b) Guglielmo,De pratica,f.46r
O [9/4, 9/8] is clearly a scribal error in Guglielmo's
version of three balli,where it is used instead of C for A
A.
bassadanzasections.'6 In Ingratait seems to indicate a i : = ..
prolongation of the notes in bassadanzamisura;and it :::: =========
== === : ..........3 :::. .:i,:
.......::

EARLY MUSIC AUGUST 1986 349

 (c) GiovanniAmbrosio, De pratica, f.55v Ex.4 Giovanni Ambrosio, [Rostiboli]Gioioso, De pratica, f.59r

~
.i : ~....i.: Uri.
Steps
indicated:
SJ.J. NJ.J. NJ: l J J. J.J.:11
2 contenze s si s double Reverence

Steps indicated: 2 continenze sim. sim. Sim. double Reverence. ,.

.?-...
.............
Guglielmo uses a different system of notation (six
semibreves for each tempo)for the bassadanzasections
of two of his balli,Ligiadraand Colonese.Following the
latter's introduictorysaltarello(no mensural sign), the ~2,

symbol C indicates a change of misuraand a 6/4 metre.

No mention is made of the misura but the step
-4
sequence is typical of a bassadanza.20In order to PrcOirnIIr
accord with the five step units indicated in the .'rrrrrr'''cc~r
choreography, this section should be transcribed in I_1........
1
............... ....

6/4, as in ex.3, and not in 3/2 or 3/4.21

The only music which is preserved of Domenico's 1ft4#44 ,41 I44# 1
famous ballo [Rostiboli]Gioiosouses the same type of
notation. Giovanni Ambrosio, in whose treatise it is
found, wrote no mensural sign at the beginning of the
music, but the choreography,which does not specify a
misura,definitely suggests bassadanza,because of the t) I 1111i r,--WWW
steps called for. Firstthere are 20 step units (repeated),
followed by eight more (also repeated). The tran-
scription in 6/4 (ex.4) has the same number of bars as
step units. If transcribed in triple time, the music ,20step units(bassadanza) rr.: ss dd rrss dd :1rr
would have had twice as many bars or tempi. . . .
rAc .1 . ,I.1ll 1

Ex.3 Guglielmo, De pratica, f.51r (see second section, first line)

A
~(b) X2
S(bassadanza) continues- 8 step units-

AiiIii
rrss ddd ss r X2
A X2
y1 AkIP F IffI I C1 M
i~i -a o .I M.. .
16 tempiof saltarello

I .. - "I ---'-' .... !

... I II I..
(reduction 1:4)
. J. a.r J J A A d(c) X2 (d)

Steps: couple3 s s d
couple2 s s d (piva?) 2 scossi
J J
1,1,1,1,1,,1 :13 X2

d
,1,1,1, d d
i L

iv i|

s s d R a double 2 scossi double

(a)Superfluousrest omitted.
(b)Firstnote after the division line superfluous; omitted. (d)Thisfinal section is puzzling. Transcribedin 6/8, the result is twice
(c)Crotchetadded. Final note in bar appears after division line. as much music as is required by the steps.

350 EARLY MUSIC AUGUST 1986

Quadernaria
While Domenico's indication of menorimperfectoand
the symbol C would usually be transcribed as 2/4, all,
quademariasections of the balli should be barred in
quadruple time, as suggested by Cornazano, in order
to accord with the tempi or steps described.22More-
over, if the bassadanzais in 6/4, the quademariaone-
sixth faster, and they are proportionally related 6:5,
then the relationship between the two misurewould be
j
-
J-to j j j , the crotchet of the quademaria
between 3/4 and 6/8. The blackened notes in Pizochara
seem to confirm this, inasmuch as blackening (or
coloration)indicated a shift in accent, producingwhat
is referred to today as 'courante patterns'.27It is, of
course, perfectly correct to transcribe exx.6 and 7 in
3/4 throughout; we cannot be sure what Domenico's
intentions were.
Ex.6Domenico,Sobria,De arte,f.22r(see openingsection)
to:
4 s

being somewhat longer in duration than that of the

bassadanza.This relationship would not, in any case,
be reflected in a 2/4 tempo.
: '"
:t ? 'i:i!-::
... ::':"
Y ::i,:;::
?-:I"
:.i . . _:.:-.
i:::-:,::!
.::.
Saltarello .:-::::.
....... .-.::
As Cornazanopoints out, the saltarello(an alta danza)
and the bassadanza were related.23In the balli, the ..
........
..... i.i!.
ii!!:
saltarellowas not quite twice as fast as the bassadanza
(6:4).Both were to begin on the upbeat.24The dancer
(t)
J JJ- I~ :i hj Ih h (l J1
was to initiate a preparatorymovement together with
the sonatorewho played the melody or sovrano,while
his first step was to coincide, on the downbeat, with
the entrance of the tenor.25With three exceptions, all
the saltarellosections in the balli are, like the bassa-
danza, in simple compound time. The most common X3

patternsare:j ~)J;j. -. j )j rwith , orwith-

out the correspondingmensuralJ. sign. The same pattern choreography:a movimentoand 14 tempiof saltarello
is used with a tempusperfectumcumprolationeimperfecta
sign (0) in Mercantiaand Verpepe.If this symbol were Ex.7 Domenico, Pizochara, De arte, f.12r (see end of first line)
taken literally and the saltarelliwere barredin 3/4, the
result would be twice as many barsof music as the step
units indicated.26 To make these saltarello sections
correspondto the choreographytempi,they should be
transcribed in 6/8, as in ex.5.
Ex.5 Domenico, Mercantia,De arte, f.21r (for illus. see ex.l,
opening section)
(reduction 1:4) X3

9j NJ ?TIJJ
INI- IJ J
:"11
choreography:11 tempiof saltarelloanda movimento
4)J
j jj Ij j j IS)J j I(1)
The saltarello sections of Ligiadra,Colonese and J
j j ?,J IIII,1
j 1(R)j I(1)j 1j,h?j
(89) J. J. 1I
Gioioso are notated in the same manner as their
choreography:9 tempiof saltarello(startingwith a movimento?)
bassedanze:with six repeated semibreves for each
tempo.They must be barredin simple compound time
so that musical and choreographic tempimatch (see In Sobria (ex.8) another saltarello section occurs
ex.4 above). which must be barredin triple time in order to match
The two exceptions to a constant 6/8 metre can be the choreographictempi;but it is preceded by a typical
found in saltarellosections of Domenico's Sobriaand saltarellopattern of two bars in 6/8! It is not known if
Pizochara,where changes of rhythmand accent occur the dancer's feet continued to move in a 6/8 rhythm
which may be the equivalent of changes of metre against the music's 3/4, but this is certainly possible.
EARLYMUSIC AUGUST 1986 351
 Ex.8 Domenico, Sobria, De arte, f.22r (for illus. see ex.6, last line)
choreography: hop 1 temposalt. posada
(pause)
10 tempisaltarello
* Thesemeasuresmightalsobe playedin 6/8.
Piva
Seventeen balli have piva sections in piva misura.Half
of these are in simple compound time and are notated
with the same patterns used for saltarelli( ~
etc.). In Tesara,which has only two misure(piva and,
saltarello),this same pattern is used for both with
different symbols: C for the saltarelloand C (!) for the
piva. In three balli-Gratioso, Ligiadraand Prexonera--
GiovanniAmbrosiowrote variations of Guglielmo'sor
Domenico'spiva sections, ornamentingthem melodic-
ally and rhythmically,giving them dotted rhythmsand
shifting the metre from common time to simple
compound time (see ex.9).
According to the notation and the choreographic
tempi,then, the four misurewere written in only two
mensurations (with the exception of the saltarelli in
3/4): tempusimperfectum cumprolationeperfecta(6/4 or
6/8) for bassadanza, saltarello and piva; and tempus
imperfectum cum prolationeimperfecta(4/4 or 4/8) for
and
quadernaria piva.
De arte,f.14v(firstsection)
Ex.9(a) Domenico,Prexonera,
choreography:8 tempipiva
(b) GiovanniAmbrosio,Prisonera,De pratica,f.55v(firstsection)
4 tempisaltarellotodesco(1 doubleanda ripresa)
(c) Guglielmo,Gratioso,De pratica,f.50v(middlesection)
choreography:3 tempipia (repeat)
352 EARLY MUSIC AUGUST 1986
(d) GiovanniAmbrosio,Gratioso,De pratica,f.55v (end of first line)
choreography:3 tempipiva(repeat)
A possible explanation for the errorsand inconsist-
encies in mensuration lies in the dancing-masters'
inexperience in dealing with written music. Further-
more, Domenico's scheme of the four misure,together
with the unusual proportion of tempi (6:5:4:3),may
very well have been an attemptto reflect, theoretically
at least, the complete system of tempus,prolatioand
proportiofound in music, and, by this means, to raise
the dance to a status not only enjoyed by music but by
the other arts and sciences which embodied doctrines
of number and proportion.Througha system (misura)
wherebythe dance was proportionedand measuredby
all four of the known mensurations,the Terpsichorean
artwould, hypothetically,incorporatethe Neoplatonic
ideals of the Renaissance. Fromthe time of the ancient
Greeks to the Renaissance, music was linked with
philosophies of numbers and proportions--often, the
more complicated the better. The fact that substantial
sections of both Domenico's and Guglielmo's theo-
retical introductionswere dedicated to the artof music
and dance, and refer back to the Hellenistic age, may
well indicate that the two masters were trying to
emulate the medieval and Renaissance musicus, the
philosopher of music who dealt only with the theory of
his art, so that the dance would be considered a true
arte liberalerather than a mere arte meccanica.Dome-
nico's system of four mensurations may possibly have
been more of an abstract speculation than a reality.
Proportional changes of tempo
There are specific indications, besides different men-
sural signs, that the dancing-masters tried to notate
relationships and changes of tempo. Not only arethere
five instances of proportion signs (discussed below
individually), but in two balli Giovanni Ambrosio
actually uses notes with different time values. In his
notation of Spero,and similarlyin Prexonera, one tempo
of bassadanzais indicated by two breves ( Km ) and
one tempo of saltarello by two semibreves (o or
o c In the first version of this ballo,Guglielmo Ex.10 Domenico, Jupiter, De arte, f.17
used theo).
same note values for both the bassadanzaand
saltarellosections, a convention maintained in all the
other balli tunes.
1. An attemptto note that the pivashould be performed
twice as fast as the bassadanza can be found in
Domenico's and Cornazano'sversions of Jupiter/love
(ex.10),where the two misureare writtenwith the same
notevalues J. J.;piva:J
(bassadanza: j ), ex-
cept that the sign 13 appears before the piva, suggest-
X2
ing that it should be played in 6/8.
2. In Ingrata,after prolonged ?bassadanzanotes (0), SJ. J. I. J. Id.4. 14 JJ] 14. J. :11
bassadanza
Domenico has C3 to indicate a proportionalchange of
!J
J.=J. 11. :11
X3
temo for the succeeding (?piva)section.28 ..
3. Again, Domenico uses a 3 in Pizochara(ex.7) to piva
indicate a change in proportionaltempo fromsaltarello
Ex.11I GiovanniAmbrosio,Voltate in ra Rosina, De Pratica,f.57v
to piva.
4. Thesaltarellosection of Gioiosohas the sign at the
?
beginning in orderto distinguish it fromthe preceding
bassadanza, which is notated in exactly the same
manner, and to indicate a proportional increase in
speed (see ex.4). t)
5. The only other instance of a ballo tune with a
proportionsign occurs in GiovanniAmbrosio'sVoltate
in ra Rosina(see ex. 11).When the dance changes from
quadernaria to piva, there is no difference in notation,
but the symbol 4 appears,which, in the choreographic
context, indicates that the steps are to go twice as fast,
and thus a different barringis called for. The modern coegA
A&ph,An o udra'a 2 t at d
d- .s
transcriptions of the quadernariaare barred without ss d ssOP r cc cc

taking into consideration the step units, eight for each illustrat
the incrasigspes cag tesalso
of the three 'strophes'. The requirements of the ballo reutioadtemteitefloigmne:
4tempi ofpiva(two times)
may have respected or altered the mensural structure miuAreutomte
for quadenaria 2. 2 t. salt. r r
choreography 3. ss d d (d)
of the originalfolk song. The editions of contemporary 1.d d d d d (r) cccc rR cc cc
ss d ss d
settings would require two bars of music, played
rapidly, for each quadernariastep unit.29 illustrate the increasing speeds, change the scales of
reduction, and the metres, in the following manner:31
Transchiptionsof different tempi and scales of
misura reduction metre
reduction
Proportionsigns in the ballido not always correspond
bassadanza 1:2 o= .) 6/4
to their modernmeaning, but this is neither surprising
quadernaria 1:2 o =d 4/4
nor important since their intention was to imply a
saltarello 1:4 (J.) 6/8
proportionalchange of tempo. Willi Apel wrote that piva 1:4 oD=
4/8
'the proportionalsigns ... represent the tempo marks, Q=J(J.)
nay the metronomic marks, of the 15th and 16th
centuries'.30Proportion signs were also often used Transcriptionsof the ballitunes using these two scales
instead of writing passages in the next smallest note of reduction would, besides reflecting the dancing-
values (as Giovanni Ambrosio did in Speroand Prexo- masters' precepts and various signs for changes of
nera).With this in mind, it seems to me that modern speed, also have the advantageof immediatelyindica-
transcriptions of the four misureshould, in order to ting a faster tempo to musicians playing for dancers,
EARLYMUSIC AUGUST 1986 353
for example.If they read o J o J or later J J Ex.12 Domenico, Jupiter, De arte, f.17 (for illus. see ex. 10, opening
they would know at a glance that the first was bassa- section)
A rhythmic
I11 n'I.. transcription (a),followed
Iii
by (b)
danza and the second saltarelloor piva. However, the
nuances of the 6:5:4:3 proportions would, of course,
not be reflected, except in the case of piva to bassa-
danza, where the tactus remains the same: subtle and intricate. The 'square'metres and phrases,
. J. IJ. J.= . ..32 and the proportionatetripla after-dances, associated
with French and German dance music from the first
'Discrepancies' in saltarello todesco half of the 16th century, are rarely used by the 15th-
One particular mensural problem which confronts century dance composers. Symmetry-both musical
those who arereconstructing ballior transcribingtheir and choreographic--is not a distinctive feature, as it
tunes--and, as has been pointed out, it is not possible will become a century later in the Italiansocial dances
to do one without the other-is the notation of what of Carosoand Negri.Onthe contraryit is the complexi-
Guglielmo calls saltarellotodesco.This 'German'salta- ties of misura (metre and tempo), together with the
rello, a saltarellostep danced in quademariamisura, choreography (steps and tempi),which indeed shape
appears in half of the balli.3 (It was considered a these 'unformed'tunes into diminutive, but, none the
refinement and skill to be able to dance the steps of less, precious works of art.
one misurato the music of another, thereby ornamen-
BarbaraSpartiis a specialistin ItalianRenaissancedance.
ting the balloboth musically and choreographically.34)
In everyinstance of saltarelloin quadernaria(and also She is founder and directorof the Gruppodi Danza
for piva in quadernaria)a contradiction exists between Rinascimentale(Rome),and is currentlycompletingan
the tempistated in the choreography and the musical editionand translationof GuglielmoEbreo'sPratica seu
arte tripudii.
tempi,which appearto be twice as many. Ex.12(a)has
or
six musical tempi bars, whereas the choreography 'See, for example, D. Heartz,'Hoftanzand Basse Dance',JAMS,xix
calls for three tempiof saltarelloin misuraquademaria. (1966), pp.13-36; L. Lockwood,MusicinRenaissanceFerrara(Oxford,
This recurring discrepancy can be circumvented by 1984);N. Pirrotta,'Music and CulturalTendencies in 15th-Century
JAMS,xix (1966), pp.127-61; B. Trowell, 'The Early Renais-
doubling the number of saltarellosteps; but a more Italy',sance', in The Pelican History of Music, II, ed. A. Robertson and
rigorous solution can be reached by barringthe music D. Stevens (Harmondsworth,1963), pp.13-110.
to match the tempiindicated, as in ex. 12(b). 2Cf. N. Pirrotta,'The Oral and Written Traditions of Music', in
Music and Culturein Italy from the Middle Ages to the Baroque
In the same fashion Domenico's ballo Geloxia(see
(Cambridge,Mass., 1984), pp.72-79.
Appendix)acquires a rhythmicvitality which matches 3Formore informationon the bassedansetenors, see F.Crane,'The
its dramatic content. It is transformedfrom a nonde- Derivationof Some 15th-CenturyBasse-Danse Tunes',Actamusico-
xxxvii(1965), pp.179-88; and his MaterialsfortheStudyof 15th-
script affair in one metre, to a dance with significant logica,
CenturyBasse Danse (New York, 1965); M. Bukofzer, 'A Polyphonic
theatricality supported by the skilful use of three Basse Dance of the Renaissance', in his Studies in Medievaland
different combinations of musical and choreographic RenaissanceMusic(New York,1950), pp.190-216; D. Heartz,'A 15th-
i Century Ballo: Roti Bouilli Joyeux', in Aspects of Medieval and
tempi:moderate(quademaria: lively (salta- Renaissance Music,ed. J. La Rue(New York,1966),pp.359-375; idem,
rello in quademaria: J ; ); and 'TheBasse Dance: Its Evolution circa 1450 to 1550',Annalesmusico-
presto(pivain quademaria: ). logiques,vi (1958-63), pp.287-340; as well as articles by E. Southern
on KeyboardBasse Dances and the Buxheim OrganBook.
While many of the 15th-century , Italian dancing- 4F-Pn,MS it. 972. The MS is anonymous and written in the third
masters'intentions will probably always elude us, we person. The title was added by a later hand; modernedn., with many
can, by carefully comparing text and notation, come errors, by D. Bianchi, in La bibliofilia,lxv (1963), pp.109-49.
5For further information on the dancing-masters and their
closer to a correct transcriptionof the ballitunes. The treatises, see especially I. Brainard,'TheRole of the Dancing Master
continuous and irregularlyphrased changes of metre in 15th-CenturyCourtly Society', in 15th-CenturyStudies, ii (Ann
and tempo of balli place them in a special category in Arbor,1979),pp.21-44; and F. A. Gallo,'Il "BallareLombardo"(circa
1435-1475)', Studi musicali,viii (1979), pp.61-84.
the history of dance music, which has not, as yet, been 6F-Pn, MS it. 973. Guglielmo was a more prolific, and more
sufficiently explored or fully appreciated. Besides talented, composer of bassedanzethan of balli. Nine of his basse-
infusing both music and dance with a markedvitality, danze are included in this treatise together with five bassedanzeand
eleven balli attributed to Domenico.
what is particularly remarkable and unique is that 7F-Pn,MS it. 476 (c1474).Five other versions (plus two fragments)
these changes of tempo, though mathematicallyfixed, of De praticaare extant in librariesin Florence, Siena, New York(the
lie outsidethe strict bounds of the tactus, makingthem 'GiorgioMS')and Modena: see Gallo, op cit, for a complete analysis

354 EARLY MUSIC AUGUST 1986

 Table 1--List of balli tunes
23 balli tunes are preserved in the treatises of Domenico, Guglielmo (G),Giovanni Ambrosio (GA)and Cornazano (C).
These are listed below by composer (of music and choreography)in the orderin which they appearin the treatises. This
order may well be chronological. Balli for which no music is preserved have been excluded. It should be noted that
whereas Guglielmo's and Cornazano'sversions of Domenico's choreographies are often incomplete, their notations of
the tunes are thorough and occasionally provide variants which make comparison useful.

TITLE OTHERSOURCES/NOTES

(a) Balli by Domenico

1 Belreguardovecchio/Belreguardo nuovo G, GA, C; ref. to Este villa of Belvedere near Ferrara
2 Leoncello vecchio/Leoncello nuovo G, GA, C; probably dedicated to Leonello d'Este
3 La Ingrata G, GA
4 Giloxia G, GA
5 Pizochara G (no choreography),GA (no choreography)
6 Vergepe C
7 Prexonera G, GA
8 Belfiore Choreographybut no music in G, GA. Ref. to another famous Este
residence near Ferrara
9 Anello Choreographybut no music in G, GA.
10 Marchesana G, GA. Possibly ref. to Marchioness MargheritaGonzaga-Este,
Leonello's first wife.
11 Jupiter/Iove G, GA, C
12 La figlia Guilielmina C; French tune.
13 Mercantia G, GA, C
14 Sobria C
15 Tesara
16 Rostiboli Gioioso No choreography in Domenico, but included in G and GA, and
attributedto Domenico; tune (Elgioioso,in GAonly) is probablyFrench
R6ti bouilli joyeux.

(b) Balli by Guglielmo

17 Legiadra GA
18 Colonese GA;dedicated (in the Siena redaction) to Sveva Colonna Montefeltro,
Alessandro Sforza's second wife.
19 Gratioso GA
20 Spero GA
(c) Balli by Giovanni Ambrosio
21 Voltate in ya Rosina Based on a popular song.
22 Amoroso French ballo;probably a French tune.
23 Petit Riense French ballo;probably a French tune.

of these treatises,their locationand call-number,and available Ambrosio (Guglielmo Ebreo) da Pesaro', Studimusicali, xii (1983),
editions. The Siena and New YorkMSS contain a numberof pp.189-202.
additional balli, but Guglielmo's ?first treatise and Ambrosio's
8Librodell'artedel danzare,in I-Rvat,MS Capponiano 203 (c1465);
redaction are the only versions which include music. The existence ed. C. Mazzi, in La bibliofilia,xvii (1915), pp.1-50; trans. M. Ingle-
of two more 'editions' of De pratica,apparently lost, has recently hearn and P. Forsyth (London, 1981).
come to light: cf. F. A. Gallo, 'L'autobiografiaartistica di Giovanni 9Thetermcantois used here genericallyfor musicand is not

EARLY MUSIC AUGUST 1986 355

meant to signify a treble voice, as opposed to a (bassadanza)tenor blackened notes equalled two white ones (. . or d
voice. However, it is generally agreed that the balli melodies do = o pp.126-7,
. ). The result was, according to Apel, Notation,
J
indeed representthe soprano or treble voice, and that, if accompani- 'not so much a change of note-values, as a change of accent ... Since
ments were to be improvised,they would have been played in lower this change of accent, which is equivalent to a change of metrefrom
voices (as opposed to improvising above a bassadanzatenor). 6/4 to 3/2, is very common in the courantes of the suites by Bach and
1oThisis especially true of the more replete treatises based on others, we may be permitted to refer to this type of coloration as
Guglielmo's De pratica (which also include some of Domenico's "courante-coloration",as against "triplet-coloration" '.
theoretical chapters: I-Sc, MS L.V.29, US-NYpl,Cia FornaroliCol- In his 'A 15th Century Ballo ...' (op cit), D. Heartz points out
lection). (pp.369-70) that RostiboliGioiosowas probablyin D minor, and that
"The interpretationof Domenico's mensurations-e.g. mazorim- Ambrosio transcribed it incorrectly in F major. The article cites
perfectoas tempusimperfectum cumprolationeimperfecta-is based on several concordances including a four-part early 16th-century
the order in which the two mensural indications are stated. dance called Patientia(Florence, Bibl.Naz.MSPanciatichi 27, f.80'-
Accordingto 15th-centurypractices, however,perfecto(orimperfecto) 81. I wish to thank Joan Wess for the source and the transcription.)A
usually indicated the tempus, and the major/minor indicated the minor transcription of Ambrosio's RostiboliGioiosois possible by
prolation. Cf. Guglielmo's and Cornazano'smensurations. transposingthe entire piece one note higher. This example suggests
12The four misureare specified in the Siena and Modena versions that the modal (melodic) transcriptions of the balli tunes-like the
of Guglielmo's treatise. The mensurations indicated are identical mensuraltranscriptionsdiscussed in this article-may need a more
and appear in the same order. critical and less literal eye, and that both a better understandingof
"3Thismay mean four beats or semibreves instead of the three for the 15th-century concept of chiavi and a complete analysis of the
each tenor breve in imperfectomagiore(4/4 instead of 3/4). balli tune keys are needed.
"It may even be that the obscure term'in ragione di canto' means 2'Guglielmocalls the two final parts, which are rhythmicallyand
that for every tenor breve there are three beats or semibreves in the metrically similar, saltarelti (the first in piva fashion!). There is
soprano. However,this should probablythen readperfectominorein obviously an error in Domenico's instructions for XV tempi of
ragionedi canto (6/4). quadernaria (two [simple] steps and two ripresedone three times) for
"Cornazano's is the only Italian dance treatise that includes the first part.Since the next and the last partis for five tempiofpiva. I
tenors ('the best and the most common')for bassedanzeandsaltarellt. am inclined to assume that the entire final section afterC3 is in piva
Re di Spagna,CanFonde pifaridicto el Ferrareseand Collinetto. tempo.
16love(first bassadanza),Mercantiaand Prexonera. 29F.Torrefranca,Il segretodel Quattrocento(Milan, 1939), p.83;
(Domenico) and Spero(Guglielmo).
7"Jupiter K. Jeppesen, Balli antichivenezianipercembalo(Copenhagen, 1962),
1See W. Apel, TheNotationof PolyphonicMusic,900-1600 (Cam- p.25 (Margaritum); G. Adler,'Iie mehrstimmigeweltliche Musik von
bridge, Mass., 1942), pp.188-90. 1450-1600', in HandbuchderMusikgeschichte (Berlin,1890),pp.360-1.
19Inmensuralnotation an undotted J could either be duple J or If, however, these examples are played rapidly and barred in 4/8,
tripled. , depending on the mensuration of the piece. In exx.2(a) they correspondto Ambrosio'spivasection. Adler'sis a transcription
and (b) I have used a scale of reduction of 1:2, while in ex.2(c) a of the refrain of the anonymous frottola Poi che I ciel e la Fortuna
reduction of 1:4 is used. (from Petrucci's Librosettimo, 1507). Another transcription of the
20Thebassadanzaused all the 'natural'steps, while the saltarello same refrain, by Nino Pirrotta,appears in his Musicand Theatrefrom
and piva were almost always limited to double steps, performedin PolizianotoMonteverdi (Cambridge,1982),pp.98-9 (ex.18):it accords
particularways. According to Cornazano, each simple step (s) and with the tempi of Ambrosio's quadernariasection, except for a
continenza(c) lasted half a tempo;doubles (d), riprese(r),half turns different placement of the bar lines.
and reverences (R)were one tempolong, while the full turn was two 30Apel,Notation,p. 190
tempi. (The letter abbreviations, used here for expediency in the 3 Accordingto Apel, Notation,different scales of reduction can be
various notated examples, are based on those found in the French used for transcribingdifferent sections of the same composition. He
basse danse manuals.) also points out (p.97) that 'the properchoice of modern equivalents
21Thereare two complete published collections of transcriptions for the mensural notes is, of course, closely bound up with
of the balli tunes and Cornazano's tenors: 0. Kinkeldey, 'Dance consideration of the tempo for the piece in question. Our basic
Tunes of the 15th Century',in InstrumentalMusic,ed. D. G. Hughes principle in this matteris to choose the scale of reduction in such a
(Cambridge,Mass., 1959), pp.89-152; and W. T. Marrocco,Inventory way that the modern quarter-notebecomes the beat in moderately
of 15th-Century Bassedanze,Balli and Balletti(New York, 1981). slow tempo'.
22Practicaladjustments of this sort are both possible and expe- 32Thismeans that the proportionalspeeds of the four misurewere
dient from a musicological point of view; cf. Apel, p. 101. not played or danced in exact mathematical relationships (except
23Besidestheir inclusion in balli, the bassadanza,saltarelloand for the 1:2 ratio between bassadanzaand piva), because the same
piva were independent dance types. The 'German'saltarello (or tactus could not be applied. The performance of these relative
quadernariamisura)was, according to Cornazano, not in vogue in speeds was, presumably, a matter of experience-not difficult, it
Italy, except in the balli. might be added, for modern dancers or musicians to acquire--and
24While this is pointed out more than once in the treatises, always approximate.
anacruses notated in the music appear only in Belreguardo's first What must be considered is that the directions to increase the
bassadanza;[RostibolilGioioso(ex.4: B, ?C, D);one saltarelloin Sobria speed of each misuraby one-sixth refer,undoubtedly, to the tempus
(ex.8);and the various introductorysaltarelliwhere a supplementary unit (or bar),so that one tempo(bar)of quadernaria is one- sixth faster
bar of music is provided. than one tempoof bassadanza.At the same time, however, there is a
25Domenico,De arte, ff.3 and 4 built-in increase of speed because of the fewer crotchets for each
26For an analysis of discrepancies in the saltarellosections of misura (see scheme A below). But in scheme A, the relative
Verpepe,see B. Sparti,'Music and Choreographyin the Reconstruction proportionsare 6:4:3:2. In order to transformthis into Domenico's
of 15th-CenturyBalli: Another Look at Domenico's Verpepe',15th- ratio of 6:5:4:3(scheme B), the value of the crotchet in quadernaria
CenturyStudies,x (Detroit, Mi., 1984), pp.177-194. must be increased by 4/5, in saltarelloby 10/13.3, and inpiva by 2/3
"In the 15th century coloration was the termused for the practice (as in scheme C). Thus, if the value of the crotchet in bassadanza
of blackening notes to indicate a change in their value. Thus, three were to be, for example, MM 120, then the value in the other misure

356 EARLY MUSIC AUGUST 1986

would be approximately MM 96 (quademaria),MM 90 (saltarello), the middle, and the one in the middle ends up in front. So that it is
MM80 (piva). necessary to do this dance three times in orderthat each man has his
A B C turn.

bassadanza
quadernaria

tarello J [J J
sal
piva
Cr r
"For Cornazano,saltarellotodescoand quadernmaria were synony-
mous.
"4Mercantiaand Sobria acquire rhythmic and dramatic variety
throughthe use of both saltarello(in saltarellomisura)and saltarelloin :
quademaria. - .
Appendix Domenico, Giloxia, De arte, f. 11
Giloxia[Jealousy] as a ballo [the choreography],done in six, three
men and three ladies.
[A] First,all six men and ladies take hands in three couples and do
six tempiof slow saltarelloin quademariamisura,beginning with the
left foot, each couple going one behind the other, spaced three steps
apart, and stopping.
(a)
[B] Now note that the man who is in front leaves his lady, doing 6 tempisaltarelloin quadernaria
three doubles upon the left foot in quademariamisura,passing in A B
front of his lady and going to touch the hand of the lady in the
middle, with a reverence upon the left foot, and stopping.
double double
[C] The man who is next to the middle lady does one tempo of C X2 D
saltarelloin misuraquademaria,starting with the right foot, and he
goes next to the first lady and stops there.
double Rev. 1 t. saltarello 1 t. salt.
[B] Next note that the man who is in the middle [the first man], on
the right hand side of the lady, sets off and passes in front of that PX2
A n?
lady with three doubles upon the left foot in misuraquademaria,
finishing next to the lady in the rear,touching her righthand with a
reverence, and stopping. 8 tempipiva

[C] Now note that the man who was holding hands with the last lady A a X3 F X?
does one tempoof saltarelloin misuraquadernaria beginning with the
right foot and going next to the middle lady, on her left side. (C) 6m=(d)
3 turns 3 simplestepsX2
[D] The man who is next to the last lady [the first man] passes (3 tempipivaX2)
behind her back with the aforesaidsaltarelloand finishes next to her
on her left side.
[E] Note furtherthat all the men and ladies move doing eight tempi
of piva, one couple following behind the other, and the last two
couples stop. The first man and the first lady do a half-turnto the left (a)Discrepancybetween choreographyand musical tempi.Repeat
side in one tempoof piva and stop;(c)the second couple replies to phrase twice only or follow Guglielmo'sinstructions for eight tempi.
them doing the same, and then the thirdreplies to the second doing (b)Flatmisplaced in MS. Unclear if Eb is intended here and
the same, and stopping. throughout. No Bbin the signature,which is probablyan oversight.
If this piece is transcribedone note higher, no flats need be added.
[F] Now note that each and every one of the men finds himself (See note 27.)
facing his lady and the lady facing him, and each couple takingright
hands does three simple steps, beginning with the right foot and (C)Toend facing (see next paragraph),a 3/4 turn is necessary.
Guglielmo calls for a full turn (two tempi). Giorgio substitutes
changing place. Then they drop right hands and take left hands, reverences for the turns.
doing three simple steps beginning with the left foot returningto
(d)Repeatnumeral (?5)confusing. Guglielmo has no repeat, and
their places, the men doing a half turn upon the left foot and taking
uses four simples. Giorgio's choreography is clearest: 'take right
the lady's hand.(d)The end.
hands and go round [full turn]with three tempiofpiva, and then take
Note that the first man who was in front at the beginning of this left hands [for]anotherthree tempiof piva'.Thisnecessitates playing
dance ends up in the rear.And the one who was behind ends up in last strain twice.

EARLY MUSIC AUGUST 1986 357