Ingrata, by Domenico. Two men and one woman. Difficulty = Level 4
Steps: Sempio (in 4 and 6), Doppio (in 6), Piva (in 6), Saltarello (in 6),
Ripresa (in 6), Movimento, Mezavolta, Volta del Gioioso.
Start: Man 1 on left, Woman in middle, Man 2 on right, holding hands, Starting position.
facing up the hall.
Section I (5 bars in 6/8, played twice)
2-5 \ 9 Saltarelli, starting Right.
1-5 (2nd time) /
Section II (2 bars in 4/4, twice, plus half bar in 4/4) Bar 8
6-7 Woman does 4 Sempii, starting Left.
6-7 (2nd time) Men do the same to catch up.
8 (half bar) Woman Mezavolta (Step Left, Step Right, counterclockwise)
(Woman is now standing between the men, but facing
the other way, down the hall.)
Section III (4 bars in 6/8)
9-12 4 Saltarelli, starting Left, ending in a Mezavolta Right.
(The 4 saltarelli together should cover about 15 steps.)
(Men are facing down the hall, Woman is facing up, Bars 19-22 (2nd time)
separated by about 30 steps.)
Section IV (6 bars, then 4 bars played twice, then 2 bars, in 6/4)
13-14 Ripresa Left, Ripresa Right.
15-16 Sempio Left, Sempio Right, Doppio Left.
17-18 Volta del Gioioso Right.
(Men and Woman are now about 20 steps apart.)
19-22 Repeat 15-18.
(Men and Woman are about 10 steps apart.) Bars 28-30
19-22 (2nd time) 4 Doppii, starting Left, ending in a Mezavolta Right.
(Men and Woman are about 14 steps apart. Men
are facing up the hall looking at Woman, who faces
23-24 Ripresa Left, Ripresa Right.
Section V (3 bars in 6/8, played three times, plus 6 bars in 6/8)
25-27 Sempio Left, Sempio Right, Ripresa Left, Ripresa Right.
25-27 (2nd time) Repeat. Bars 31-32
25-27 (3rd time) Repeat.
(They are now in a triangle, Woman facing down the hall, about 2 steps from Men.)
28-30 Woman and Man 1 circle each other clockwise, using Piva Left, Piva Right, Piva Left.
(Both end where they started, Woman a little in front of Men, headed towards Man 2.)
31-32 Woman and Man 2 circle each other, also clockwise, using Piva Right, Piva Left. She ends in
(All three are in a line, facing up the hall, as they started the dance.)
If the dancers have trouble completing Bars 28-32 with only five pive, the movimento of Bar 33 can be replaced
with another piva to finish the circling figure.
To Celebrate - No introduction (aside from Bar 1). Works with this reconstruction. Fast and a bit hard to follow,
as the sections run into each other, especially Sections II to III and III to IV. The last two bars of Section IV are
quite different than the rest of that section, having solo harp. The dance repeats.
Section I: The only source that gives a starting foot is NYp, which says left. Starting on the right allows the
woman to have her left foot free for the next section, however.
Bar 8: PnD calls for the woman to end this with a movimento, but the following section is saltarelli, so this is
presumably part of the saltarello step that follows, and not the distinct movimento step.
Section V: PnD starts this section saying that they do 15 tempi of quadernaria, and that they do two sempii
(referred to as two passi, the first time) and two riprese, three times. With the normal duration for steps this
should use nine bars, and there is a three-bar section, repeated three times, in the music, which matches perfectly.
It is not, however, in quadernaria. Five of the next six bars are referred to as being in piva, and are evidentally
part of the 15 referred to at the start of the section, so presumably all 15 were actually meant to be in piva. The
other sources vary considerably.
End of Bar 27 (3rd time): PnD specifies that they end 'in triangolo'. This instruction is used in a number of
dances (Bialre di Chastiglia, la Fortuna, Mercanzia (PnA, PnG, etc.) and Santomera), but the intent is not clear,
and may not always mean the same thing. It is presumed to mean here that the dancers should be on the three
points of a triangle, with the woman having not quite reached the men.
Bar 28-32: PnD says that the woman takes the inside path when she circles with Man 1, while he takes the
outside path, and the outside path with Man 2 while he goes inside. This inside path is presumed to be the one
that starts with the dancer moving closer to the center of the set. In both cases this results in the circles being
clockwise. It also means that the woman's path is shorter in Bars 31-32 (fortunate, as she only has two instead of
three pive to accomplish it), and leaves her facing forward with the two men. The other sources describe this
figure in different ways, and use six bars, instead of ending with a movimento.
No changes were made to the music. In a few places (primarily in the 6/8 sections), the syncopation in PnD was
ambiguious and we have chosen the interpretations that we feel fit the choreography best in those cases.