| Santomera | |
| a ballo for three | |
| Source: AW Smith (NYP), reconstructed by Dafydd Cyhoeddwr | |
| Music: Una Festivita Della Danza (as Gianzometa) (DHDS) (almost a measure of intro) | |
| Starting position: in a triangle, W-M-W | |
| Section 1: | |
| 1 | One saltarello, left |
| 2 | Riverentia to the ground |
| 3 | One doppio, left, turning to the left (to reverse?) |
| 4-8 | Five saltarelli beginning right |
| Section 2: | |
| 9 | One doppio, left and mezavolta |
| 10 | One doppio, right and mezavolta |
| 11 | One doppio, left and mezavolta |
| 12 | One doppio, right and mezavolta |
| 13-16 | Four doppi beginning left |
| Section 3: | |
| 17&18 | Two doppi, left and right, turning (each person walks in a circle back to their places) |
| 19&20 | Two doppi turning again, as before |
| 21 | End 1 and Middle take right hands and switch places with a doppio, left |
| 22 | End 1 and End 2 take left hands and switch places with a doppio, right |
| 23 | End 2 and Middle (at the front) take right hands and switch places with a doppio, left |
| 24 | Joining hands in a line, one doppio, left, drop hands and mezavolta |
| 25 | Return with one doppio, right |
| 26 | Join hands again and doppio, left, drop hands and mezavolta |
| 27 | Return again with one doppio, right |
| 28-30 | The ends return to their former positions with three doppi, person by person, as before |
| Section 4: | |
| 31-38 | Perform the "spine of a fish" (hey) with eight pive, starting left |
| 39 | The Middle goes away between the women with a doppio, left, and does a mezavolta |
| 40 | The Ends go toward the Middle's original position with a doppio, left, and mezavolta to face the Middle |
| 41 | The Middle does a doppio, right, back to the original position; turn to face forward |
| 42 | The Ends go back where they came from with a doppio, right; turn to face forward |
| 43-46 | Everyone do four meza riprese to the left |
| 47-50 | Everyone do four meza riprese to the right |
| 51 | All do one doppio, left, turning (to face the other direction) |
| Section 5: | |
| 52-59 | Perform the "spine of a fish" (hey) with eight pive, starting left |
| 60 | The Middle goes away between the women with a doppio, left, and does a mezavolta |
| 61 | The Ends go toward the Middle's original position with a doppio, left, and mezavolta to face the Middle |
| 62 | The Middle does a doppio, right, back to the original position; turn to face forward |
| 63 | The Ends go back where they came from with a doppio, right; turn to face forward |
| 64-67 | Everyone do four meza riprese to the left |
| 68-71 | Everyone do four meza riprese to the right |
| 72 | All do one doppio, left, turning (to face the other direction) |
| Dance does not repeat. | |
| For whatever reason, the music provided by the DHDS doesn't fit in any way with the instructions provided for Santomera, which | |
| they choose to call Gianzometa (there is some confusion in the mms about how the name is presented). This is how I perceive | |
| the lacks (note: with only 1 mms to reconstruct from, the confusion is even more confusing!): | |
| In section 1, there seems to be only 4 measures of music for 8 measures of instructions. | |
| Section 2, where the tempo changes a bit, seems just fine - 8 measures of music for 8 measures of instructions. | |
| Section 3 has two sets of music. The first 4 measures work for the two doppi circlings. The tempo goes syncopated for the | |
| mini-hey where the ends switch places, but again there's not enough music for the whole section's worth of instruction, dropping at | |
| least 2 measures (presumably one of the doppio forward and back repeats). | |
| Section 4, the first full piva hey, is nearly right though the last measure (the doppio left) is ignored. | |
| Section 5, the second full piva hey, is similarly abbreviated, ignoring the last measure of instruction. | |
| I'm not a musician, but I do notice that the omissions may be due to trying to compose the music in some sort of regular set | |
| of sequences so it feels right musically (not repeating the section 1 music, evening out the repeats in section 3, and in sections | |
| 4 and 5, the music after the hey is a 4-bar phrase repeated twice). There are ways and means, though, to accommodate odd | |
| numbers of measures of instructions without harming the music, so the choice to mangle (IMHO) the dance for some composed | |
| music (I.e. this isn't source music) is an odd choice to make. | |