academie: Pavana La Cornetta, first draft

Catherine E. Dean cdean at gwu.edu
Wed Oct 31 13:29:30 PST 2001


Well done Vard.  Ever thought of working this up into an LoD article, 
hmmmm...????  I'm toying with the idea of having one or more issues featuring 
recent SCA Choreography (more on that later, undoubtedly, just something to 
stick in the back of your head).

Anyhow... two comments:

1) I agree, the first Sets should, by the rule of alternation of feet, be R&L 
rather than L&R since in the previous PL, the dancers' weight ended up on 
their 
L foot, it should then shift to the Right with a set R and then L.  You're 
then 
set up for the PR in the next segment.  Why were you using a set L&R there?  
Holdover from ECD?  I may be wrong (perhaps Greg can confirm one way or 
another) 
but my gut instinct is that there is documentation for alternation of 
continenze 
L&R in alternation with Continenze R&L somewhere in the 16th C. repetoire.

2)  Just an idea, maybe instead of the going away/coming back figure you could 
use a circle/counter circle.  Hmmm... what I mean by that is clear as mud.  
What 
I mean is:

B1: Countercircle w/ PL circling over R shoulder, Set R&L, Rx
B2: Countercircle w/ PR circling over L shoulder, Set L&R, Rx

I know that there's a dance (brando di cales, I believe) which has that sort 
of 
circle one way, circle back the other figure in it.


Katherine

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Catherine E. Dean
cdean at gwu.edu      
Jane Austen Afficianado, Renaissance Dancer, and Future Museum Professional Extraordinaire
SCA: Lady Katherine Mercer
No one who had met Catherine would have supposed her to have been born a heroine --JA
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