A similar structure was shared with the saltarello, another medieval dance.

The saltarello enjoyed great popularity in the courts of medieval Europe.

The most renowned opus of the manuscript is the second saltarello in the collection.

The saltarello was a lively, merry dance first mentioned in Naples during the 14th century.

Other couples dances are collectively referred to as saltarello.

He played and simultaneously danced three hornpipes and a saltarello.

The terms saltarello or piva were sometimes used for more sprightly versions of the ballo.

Other similar fast afterdances were the tordiglione and the saltarello (another term seen more often in music than dance descriptions).

During this era, the saltarello was danced by bands of courtesans dressed as men at masquerades.

The finale is in sonata form and features energetic tarantella or saltarello rhythms.

The Saltarello finale is not taken too quickly, so there is room for clear articulation, a buoyant basic pulse and a fine sense of balance.

Tresconeto: A fast dance from Tuscany in 6/8 time resembling the Saltarello.

Works such as Saltarello and Pizzica-pizzica are a homage to the characteristic sounds of the traditional music of his native town.

(The first dance treatise that dealt with the saltarello was the 1465 work of Antonio Cornazzano.)

Recently he has choreographed "and after we were" and "Saltarello" for Dutch National Ballet.

Latium is also home to the saltarello, a 4/4 dance that is most closely associated with Alta Sabina.

Finale (Lento - Presto al saltarello)

The only example of a saltarello in the North is saltarello romagnolo of Romagna.

Charles-Valentin Alkan used the Saltarello in his "Saltarelle" Op.

Also appearing in illustrations and texts is the Saltarello as a rustic dance of Romagna in Central Italy.

The main source for the medieval Italian saltarello music is a late 14th or early 15th century Tuscan manuscript at British Library labelled "Add.

It may correlate to the frequently mentioned Hupfauff, Springdantz, and saltarello types of dances of the late Middle Ages.

Intabulations of vocal works were very common, as well as various dances, some of which disappeared during the 17th century, such as the piva and the saltarello.

Large-scale works were presented there, such as Saltarello and Interrupted Solitude to the music of the Leipzig kapellmeister, Muhldorfer.

While playing an anonymous Renaissance saltarello arranged by the percussionist Payton MacDonald, the musicians marched and danced evocatively.