academie: Pavana La Cornetta, first draft

Buzzard, Kenneth E (Signal) BuzzardKE at
Wed Oct 31 12:47:57 PST 2001

Scriptsit Judith:
> The title of the music (if you have it correctly spelled) is some
> dialect of Italian.

That's what I figured.  Doublechecking the title against an online
discography confirms it.

> As far as I know, though, the Negri-Caroso pavanne model have longer,
> more complicated sections than the repeat structure that you describe,
> so that might not be a good a idea.  I would think an IoC model to be
> best, considering the venue.

Well, in that case, the first draft is done:

Pavana La Cornetta
Steps: A B A

Begins with couples facing up the hall:

A1: "PROCESSIONAL" PL* PR (turn to face partner)
A2: "CIRCLING" (take R hands) PL (drop R, pivot, take L hands) PR

At this point, M are facing L wall, W are facing R wall, L shoulders are

B1: "AWAY"  (pass by L shoulders) PL (turn during DL to face partner) Set
L&R, Reverence
B2: "RETURN" PL (turning with partner during DL), Set L&R, Reverence**

Repeat A1 & A2, facing up the hall

*PL = Pavanne Set Left = SL, SR, DL
**A style point here... the M could offer his R hand to initiate the
reverence, which the W would accept with her L.  This makes it easier for
the couple to face up the hall for the final A1/A2 section.  Do NOT take
hands during the turning Double, since that would place the W's R hand in
the M's R, forcing the W to remember to switch.

When I first heard the music, I saw couples circling one another.  Don't ask
me to explain, like I said yesterday, it's just an impression that the music
gave me.  So I have the couples do this right after the opening
processional.  Once the circling is done, I'm left with the dancers holding
L hands, looking over each other's L shoulder at the walls.  So, I figure,
why not head them off in that direction? :)

The B1 bit has them pass by L shoulders, which is unconventional but which
makes sense based on where the dancers end after the A2 section.  Passing by
R shoulders would be just plain awkward.  Since the dancers start kinda in
front of each other, and since they spend part of the first Pavanne set
turning to face instead of just moving forward, they end up less than a full
Pavanne set apart.  This is useful for the B2 part, since the two Singles
are expected to eat-up enough real estate to bring them back together.  The
turn during the Double returns them to their proper positions.

One thing I'm not quite so sure about is whether B2 should be a PR or a PL.
Normally, a PR would follow a PL, but the B1 part ends with a pair of Sets
and a Reverence.  Since the dancers ending B1 in a "neutral" position
(weight centered, no forward inertia), I think perhaps a PL makes more
sense, with the couple circling during the DL.  Otherwise, they circle in a
DR, which (again) strikes me as awkward.  As noted at ** above, if the
couple avoids taking hands during the circling D, the M can prompt the W for
her hand during or just after the Reverence.  (Personally, I believe that
the M should *always* be the one asking for the other's hand.  He should
initiate, she should respond.)

Last, when I do this, the Sets seem to "feel" better if done R&L instead of
the L&R I've got above.  Maybe it's just me.

-V (work work work)

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