Verçepe
A ballo by Domenico da Piacenza, ca. 1455
Reconstruction by Phelan ab Emrys (Jeremy H Kessler, <greenguy@peculiarity.net>)
Reconstruction generated Feb A.S. XXXVII (2003)

General Notes
Verçepe appears in two sources, Bibliothèque Nationale, fonds ital. 972 (the Paris MS of Domenico da Piacenza, hereinafter referred to as Pd) and Bibliotheca Apostolica Vaticana, capponiano 203 (the Vatican MS of Antonio Cornazano, hereinafter referred to as V).  V, the only surviving copy of Cornazano’s treatise, is dated 1465, but includes a 1455 dedication.  Pd is undated, but thought to predate Cornazano’s work, and so is placed at or slightly before 1455.  In this reconstruction a conscious decision has been made to be as true as possible to Pd, Domenico’s version of the dance.  

Complete transcriptions and translations of both Pd and V are included by Smith (in volume I), and some small portions are also included by Wilson.  Previous reconstructions appear in both Brainard works cited, as well as in Stephens’ & Cellio’s work.  All of these have been consulted in the preparation of this reconstruction, with particular attention given to Domenico’s words and Wilson’s detailed step commentaries.

Music and Dance Notes
Verçepe is a ballo for five, three men and two women.  The dancers begin arranged in a single line alternating men and women.  Dancers are herein referred to by number based on their starting positions.  Thus, the men are #1, #3, and #5; and the women are #2 and #4.  

At the end of the dance the dancers are back in their starting positions, except that #1 and #5 are reversed.  So if the dance is repeated (as is noted in Pd as an option), the dancer who was #5 the first time through becomes #1 for the second time through, and vice versa.  

Music is included in both Pd and V.  Smith includes music from both sources, as well as a suggested rendering into modern notation.  Stephens & Cellio and Brainard (both) also include music in modern notation, but there is some disagreement over precisely how long certain sections of the dance should be.  Note that section divisions used in this and other reconstructions of this dance are not specified in the manuscripts, they are included by reconstructors simply as an aid to learning and describing the dance.

Section I: 12 tempi of saltarello
Pd specifies that the dancers should perform eleven saltarelli preceded by a movimento.  V notes neither the movimento nor a number of tempi to be done, stating simply that the dancers are to perform “el saltarello”.  Both sources provide essentially the same music for this section; 4 tempi of music and a note to play it twice through.  But this is enough for only two thirds of the directed dancing.  Brainard (1977) gives the music as 16 measures of 3/4 time (8 measures with a repeat; essentially as presented in the mss.) and seems to indicate that 8 saltarelli should be done to it, beginning with the music rather than one tempo later (she does note that this introductory music can be extended as needed to allow the dancers to reach the performance space).  Brainard (1981) gives basically the same music (rewritten to fit 4 repeated measures of 6/8 time), but instructs the dancers to perform the 11 saltarelli specified by Pd, thereby duplicating the problem originating in Pd.  Stephens & Cellio explicitly note that the music, which it renders as 4 measures of 6/8 time, should be played three times through, and that solution has also been followed here.

Section II: 13 tempi of bassadanza
Pd provides 7 tempi of music and a note to play it twice through, for a total of 14 tempi, the final half of the final tempo being a rest.  V provides only slightly different music for this part, but it omits the ending half tempo rest for a total or 13 tempi when played through twice.  Brainard (both works) and Smith render this as 14 tempi, Stephens & Cellio render it as 13.  This reconstruction has chosen to use 13 tempi, as that best fits the dance instructions.

Section III: 4 tempi of quadernaria
Brainard (both works) and Smith render this as 8 measures of cut time, 2/4, and 4/4 time respectively; while Stephens & Cellio render it as 4 measures of 4/4 time.  All present essentially the same music.  See Wilson pp51-2 on choices to be made in interpreting the mezavolta.  If Wilson’s solution for contrapassi done in quadernaria tempo is accepted - which is the case for this reconstruction - then the dance instructions clearly fit 4 tempi.  

Section IV: ½ tempo of quadernaria and 5 ½ tempi of saltarello
Brainard (1977) renders the saltarello portion as 11 measures of 3/4 time, and Smith essentially agrees, rendering it as 5½ measures of 6/8 time.  Brainard (1981) renders it as 6 measures of 6/8 time, noting that 15th century performance practice would have allowed the final semibreve to be doubled in order to complete the final measure.  Stephens & Cellio shorten the saltarello portion to 5 tempi in order to better fit their reconstruction.  In this reconstruction it is set as 5½ tempi, with the final half tempo used for #1’s ending mezavolta.  Note that neither the footing nor the direction of turn for this ending mezavolta is given, but as in earlier instances (in sections III and IV) the left foot is free.  No mezavolta is specified for #5, but a slight CCW rotation is required to end facing forward, and this reconstruction has chosen to make #1’s mezavolta another CCW left-footed pivot.

Section V: 3 tempi of bassadanza and 4 tempi of saltarello, the entire sequence played twice
In the first of the two saltarello portions Pd instructs #1 and #5 to perform three saltarelli around and to return to their original places.  This would seem to have them dance halfway around the entire set back to where they were at the start of the dance, which is what Brainard (1977) instructs.  However, Pd is clear that at the end of the dance #1 and #5 have switched places, which requires a different interpretation.  If Pd means that they should instead dance the saltarelli in a complete circle around the lady nearest to them and return to the place they occupied at the start of this portion of the dance, then #1 and #5 do indeed end up reversed at the end of the dance.  This is the interpretation used by Brainard (1981), Stephens & Cellio, and also by this reconstruction.

Section VI: 8 tempi of piva
Brainard (both works) and Smith render this as 8 measures of cut time, 2/4, and 4/4 time; while Stephens & Cellio render it as 4 measures of 4/4 time.  Stephens & Cellio note the section as being in quadernaria time.  Pd includes the instruction that the voltatonda be done “in mexura de piva” and Wilson notes that a voltatonda done in piva should take up two tempi, so here this section is given as 8 tempi of piva.  Note that this results in there being a full tempo for each of the movimenti in this section.  This is longer than might be expected, but timing for the movimento in general is not at all straightforward.  Wilson reports instances of a full tempo being allotted to a movimento, as well as Cornazano stating “non e regula” (there is no rule).

Dance Instructions
Section I: 12 tempi of saltarello
a)	1 tempo: All perform 1 movimento.  
One tempo to catch the music, ending in a movimento in preparation for the following tempo of saltarello. 
b)	11 tempi: All perform 11 saltarelli (R,L,R,L,R,L,R,L,R,L,R).  
The entire set progresses forward as a line, and then stops.

Section II: 13 tempi of bassadanza
a)	4½ tempi: #3 & #5 perform 2 doppii (L,R), 2 contrapassi (L,L), and 1 ripresa R.  
Each dancer making a complete CCW circle around the lady in front of him (#2 and #4, respectively), ending up back in his starting position and orientation.  The two doppii each take up one full tempo of bassadanza (six beats).  The two contrapassi each take up 4 beats (one small step per beat), together amounting to one beat less than 1½ tempi of bassadanza (they take up 8 beats, 1½ tempi would be nine beats).  The extra beat is used to shift weight from right to left, for the concluding ripresa.
b)	2 tempi: #2 & #4 perform 1 voltatonda consisting of 2 sempii (R,L) and 1 ripresa R.  
Done turning around CCW in place.
c)	4½ tempi: #2 & #4 perform 2 doppii (L,R), 2 contrapassi (L,L), and 1 ripresa R.  
Each dancer making a complete CCW circle around the man in front of her (#1 and #3, respectively), ending up back in her starting position and orientation.  The two doppii each take up one full tempo of bassadanza (six beats).  The two contrapassi each take up 4 beats (one small step per beat), together amounting to one beat less than 1½ tempi of bassadanza (they take up 8 beats, 1½ tempi would be nine beats).  The extra beat is used to shift weight from right to left, for the concluding ripresa.
d)	2 tempi: #1 & #3 perform 1 voltatonda consisting of 2 sempii (R,L) and 1 ripresa R.  
Done turning around CCW in place.

Section III: 4 tempi of quadernaria
a)	2 tempi: All perform 3 contrapassi (L,L,L) and 1 mezavolta L.  
The three contrapassi each take up one half tempo, or four beats (one small step per beat).  The mezavolta, taking up the remaining half tempo, is done pivoting 180 degrees CCW on the left foot.  End with feet together and weight on the right foot, facing opposite the original direction of movement.
b)	2 tempi: All perform 3 contrapassi (L,L,L) and 1 mezavolta L.  
A repeat of section 3(a).  Following the mezavolta all dancers are again facing the direction that they had been facing at the start of the dance.

Section IV: ½ tempo of quadernaria and 5 ½  tempi of saltarello
a)	½ tempo (quadernaria): #1 performs 1 mezavolta L.  
Done pivoting 180 degrees CCW on the left foot, as in section 3.  End with feet together and weight on the right foot, facing the rest of the set.  
b)	1 tempo (saltarello): All stand still.  
One tempo for #1 and #5 to “catch” the music.
c)	4 tempi (saltarello): #1 & #5 perform 4 saltarelli (L,R,L,R).  
Done weaving through the set to each other’s place, beginning by passing to the left (as seen by #1/#5, CW) of the dancer immediately before them, to the right of #3, to the left of the remaining dancer to be passed, and finally into the place vacated by the other moving dancer.  Progress down one position with each tempo (#1 is even with #2 after one tempo, even with #3 after two, &c).
d)	½ tempo (saltarello): #1 performs 1 mezavolta L.  
Done pivoting ~270 degrees CCW on the left foot, as in section 3.  End with feet together and weight on the right foot, facing the rest of the set.  

Section V: 3 tempi of bassadanza and 4 tempi of saltarello, the entire sequence played twice
a)	3 tempi (bassadanza): #2 & #4 perform 3 doppii (#2 - R,L,R; #4 - L,R,L).  
Done exchanging places CW around #3.  
b)	4 tempi (saltarello): #1 & #5 perform 3 saltarelli (R,L,R).  
Done circling the nearest lady (#1 circles #2, #5 circles #4) CW and returning to place.  Note that there is one tempo of saltarello for #1 and #5 to “catch” the music.
c)	3 tempi (bassadanza): #2 & #4 perform 3 doppii (#2 - L,R,L; #4 - R,L,R).  
Done exchanging places CW around #3 (returning to their original places).  
d)	4 tempi (saltarello): #3 performs 3 saltarelli (L,R,L).  
Done circling #2 CCW and returning to place.  Note that there is one tempo of saltarello for #3 to “catch” the music.

Section VI: 8 tempi of piva
a)	1 tempo: #1, #3, & #5 perform 1 movimento.  
b)	1 tempo: #2 & #4 perform 1 movimento.  
c)	2 tempi: #1, #3, & #5 perform 1 voltatonda consisting of 3 sempii (R,L,R).  
Done turning around CW in place.  
d)	1 tempo: #2 & #4 perform 1 movimento.  
e)	1 tempo: #1, #3, & #5 perform 1 movimento.  
f)	2 tempi: #2 & #4 perform 1 voltatonda consisting of 3 sempii (R,L,R).  
Done turning around CW in place.  

Step Instructions
1)	In Saltarello tempo (6 beats)
a)	Saltarello (§ I, IV, V; 1 tempo): Essentially a doppio done in saltarello time with a hop added, but always referred to as a “tempo of saltarello” (noted herein simply as “saltarello” - see note 5, below).  Hop on the previous upbeat (on or preferably just after beat 6) on the foot that is not the stated foot of the step.  Step onto the stated foot (i.e., onto the right foot for a right saltarello) on beat 1, make a small leap onto the other foot on beat 3, step again onto the stated foot on beat 4, and perform the hop for the following saltarello, if any, on (or preferably just after) beat 6.  
b)	Mezavolta (§ IV; ½ tempo): A pivot rotating less than 360 degrees.  Begin on the left foot and rotate CCW.  End with feet together and weight on the right foot.
c)	Movimento (§ I; ½ tempo): A rising in preparation for a saltarello sequence.
2)	In Bassadanza tempo (6 beats)
a)	Doppio (§ II, V; 1 tempo): Step onto the stated foot (i.e., onto the right foot for a right doppio) on beat 1, step onto the other foot on beat 3, and step again onto the stated foot on beat 4.
b)	Contrapasso (§ II; 2/3 tempo): Four steps on alternating feet in four beats, so three contrapassi exactly fill two tempi.  A pair of contrapassi takes up 1½ tempi (9 beats - 4 beats for each contrapasso plus 1 beat for a weight change at the end).  Successive contrapassi all begin on the same foot.  Note that the term contrapasso does not appear in Pd; Domenico refers to sequences of doppii all beginning on the same foot, and this corresponds to the contrapassi of Cornazano and Ebreo.  The term contrapasso is used in this reconstruction to refer to Domenico’s doppii all on the same foot.
c)	Ripresa (§ II; 1 tempo): Step sideways onto the stated foot and close with the other.  See Wilson p69 on one ripresa said to begin on one foot and end on the other.
d)	Sempio (§ II; ½ tempo): Step forward onto the stated foot.
e)	Voltatonda (§ II; 2 tempi): A full (360 degree) turn.  In this case accomplished via two sempii and a ripresa.
3)	In Quadernaria tempo (4 beats)
a)	Contrapasso (§ III; ½ tempo): Four steps on alternating feet in two beats, so two contrapassi exactly fill one tempi.  Successive contrapassi all begin on the same foot.  Note that the term contrapasso does not appear in Pd; Domenico refers to sequences of doppii all beginning on the same foot, and this corresponds to the contrapassi of Cornazano and Ebreo.  The term contrapasso is used in this reconstruction to refer to Domenico’s doppii all on the same foot.
b)	Mezavolta (§ III, IV; ½ tempo): A pivot rotating less than 360 degrees.  Begin on the left foot and rotate CCW.  End with feet together and weight on the right foot.
4)	In Piva tempo (4 beats)
a)	Movimento (§ VI; 1 tempo): A quick movement involving raising and then lowering the body in an action meant to communicate to the partner (or to respond to such a communication).  It should not actually take the entire tempo to complete, with any remaining time being a pause (or pose).
b)	Sempio (§ VI; ½ tempo): Step forward onto the stated foot.
c)	Voltatonda (§ VI; 2 tempi): A full (360 degree) turn.  In this case accomplished via three sempii, which leaves a half tempo free for a pause.

Sources Consulted
1)	Brainard, Ingrid. Three Court Dances of the Early Renaissance.  New York: Dance Notation Bureau Press, 1977.
2)	Brainard, Ingrid.  The Art of Courtly Dancing in the Early Renaissance.  Part II: The Practice of Courtly Dancing.  1st preliminary ed.  West Newton, MA: I.G. Brainard, 1981.  Part I was in preparation and (as far as I know) never finished.
3)	Cornazano, Antonio.  The Book on the Art of Dancing.  Madeleine Inglehearn & Peggy Forsyth, trans., Madeleine Inglehearn, intro. & notes.  London: Dance Books Limited, 1981.  ISBN 0903102633.
4)	Ebreo, Guglielmo.  De Pratica Seu Arte Tripudii: On the Practice or Art of Dancing.  Barbara Sparti, ed., trans., & intro.  Oxford: Oxford University Press, 1995.  ISBN 0198165749.
5)	Smith, A. William, trans. & annotated. Fifteenth-Century Dance and Music: Twelve Transcribed Italian Treatises and Collections in the Tradition of Domenico da Piacenza.  2 vols.  Stuyvesant, NY: Pendragon Press, 1995.
6)	Stephens, Vivian, and Monica Cellio. Joy and Jealousy: A Manual of 15th-Century Italian Balli.  2nd printing.  Pittsburgh, PA: Real Soon Now Press, 1997.
7)	Wilson, D.R. The Steps Used in Court Dancing in Fifteenth-Century Italy.  2nd ed.  S.l.: D.R. Wilson, 1998.  Bar Hill, Cambs [UK]: Victoire Press Ltd., printer.  ISBN 0951364049.