# academie: Pavana La Cornetta, first draft

Edvard Gayer scavard at hotmail.com
Wed Oct 31 14:42:23 PST 2001

```>Well done Vard.  Ever thought of working this up into an LoD article,
>hmmmm...????

Make a girl a Chronicler, and EVERYTHING turns into a prospectice article!

>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?

Yup.  I instinctively set L first, even when I'm told not to.

>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'm not sure I get it, because of the way the A2 section ends.  Recall, the
couple have just completed a PR, circling with R hands joined.  The M is
facing the R wall, the W facing the L.  If we begin B1 from this position,
the M would be circling down the hall, the W circling up.  Normally not a
problem, but there are other couples on the floor, and though I've not
specified that this begins as a processional line of couples, it makes sense
since we're following an IoC model.

IF the M&W reset after A1 to face up the hall, then both would be circling
in the same direction, like a Volta del Gioioso.  If they are facing each
other, then they would be circling around/with people from the adjacent
sets.

This latter isn't a defacto BAD idea, since one of the things I wanted to do
was to have more circling while trying to integrate the concept of people
dancing with others who are not necessarily their partner.  The Set and
Reverence, however, was to acknowledge their original partner, and to
indicate that even though separated, they're *still* dancing with one
another.

So, if the M&W do not reset after A1, then M1 begins B1 by circling down the
hall, going around W2.  M2 does likewise around W3, etc.  while all of the W
circle up the hall around the corresponding M.

The only difficulty is with the size of the circles.  I would want the
circles to be large enough so that after having done a PL, the couples are
facing one another.  This means the M to finish facing up the hall, and the
W finish facing down, with everybody turning 270 degrees.

On the OTHER other hand, if it *is* done this way, without a reset, then the
couples could wander the floor any old way they wish.  There would be no
need to have this be a lined procession of dancers, since each couple would
be pivoting around their own unique center for the A2-B1-B2 sequence.  The
processional bit in A1 would allow them to go find a spot to dance around.

I sense a "second" draft coming.  Maybe tonight, when I get home AFTER all
the kids are done bothering their neighbors for candy, I can take a crack at
choreographing this.

-V

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