In the sequence Regarding the Male form, You will see an atypical rhymescheme in Sonnet #3, this is what may be termed a “Reverse Italian,” or “Reverse Petrarchan,” if you prefer the more formal name.
Also in this sequence, the piece directly preceding this one is a more direct companion. Sonnet #2 in the sequence is a conventional Italian or Petrarchan.
I enjoy reversing forms in order that I might see how they work, sound, feel, etc. A Petrarchan is difficult to reverse, because in the first section you have
which when reversed gives one BAAB, BAAB, which is identical in sound. So I can see the best possibility here might be to reverse one quatrain which gives:
ABBA, BAAB, which does have a unique sound.
Also the second section of a Petrarchan–the final six lines–are never set to one form so they may be
CDECDE, or CDCDCD, or CDECED, or even occasionally, CDCDEE,
which is something of a rarely; but even Petrarch did it that way once. You will see any number of possibilities in the final six lines. Except you will never (that I know of) see something like:
CCDEDE, which a reverse of CDCDEE,
So that seems a logical target for a Reverse Petrarchan.
All this together gives
ABBA BAAB CCDEDE,
One could perhaps try CCDEED, or possibly a third use of C, but the couplet really must, I think, be in lines 9 and 10.