| T Angelosa | |
| a balletto for two | |
| Source: AW Smith (2 mms), reconstructed by Dafydd Cyhoeddwr | |
| Music: Una Festivita Della Danza (DHDS) (lead in intro) | |
| Starting position: side by side (holding hands) | |
| Section 1: | |
| 1-4 | Four saltarelli tedesci starting left |
| 5 | Two sempi, backwards, left and right |
| 6 | Riverentia to the ground (turning toward one another) |
| Section 2: | |
| 7-10 | Four saltarelli tedesci starting left |
| 11 | Two sempi, backwards, left and right |
| 12 | Riverentia to the ground (turning toward one another) |
| Section 3: | |
| 13 | Take right hands and switch places with a doppio portogallese, left |
| 14-16 | Facing in opposite directions (man "downgroup", woman "upgroup"), three doppio portogallese, right, left, right |
| Note: the instructions indicate "they make faces as if jealous, one of the other" - this means to look back at each other | |
| 17&18 | They approach with three contrapassi beginning left and meet |
| 19 | Riverentia, touching right hands |
| Section 4: | |
| 20 | Take left hands and switch places with a doppio portogallese, right |
| 21-23 | Facing in opposite directions (man "upgroup", woman "downgroup"), three doppio portogallese, left, right, left |
| Note: the instructions say "at every doppio looking in each other's face, as they did earlier" | |
| 24&25 | They approach with three contrapassi beginning right and meet |
| 26 | Riverentia, touching left hands |
| Section 5: | |
| 27-30 | Take right hands and circle with four pive, starting left |
| 31-34 | Take left hands and circle with four pive, starting left; at the end, adjust so that the other person now leads the set |
| Dance repeats. | |
| To fit the dance to the music, I've reconciled the confusing instructions in section 1 and 2 by removing the doppio back and the | |
| first riverentia (the instructions in the two mms' are somewhat contradictory here). Though I wouldn't have done it normally, again | |
| to fit the music I've split the riverentia in sections 3 and 4 into its own measure. And finally, the last riverentia, only mentioned in | |
| one of the two manuscripts, has been eliminated (though there's a note at the end of the music to do one to). | |