academie: Pavana La Cornetta, first draft

Catherine E. Dean cdean at gwu.edu
Wed Oct 31 17:38:01 PST 2001


>===== Original Message From Edvard Gayer <scavard at hotmail.com> =====
>>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!

Heh heh... populace of Atlantia beware *evil eye glint*

>
>>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.

Well, if you decide to go with the R&L, I'm totally on your side.  It would 
feel 
unnatural to me to do L&R.  I actually think that the reason why I'm 
comfortable 
with going R&L first is based on 15th c. Italian balli logic now that I think 
about it more, but it still makes sense.  I haven't listened to the music.  
Are 
the "sets" to spritely music or more subdued? (ie. will they be bouncy or 
graceful).


>
>>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.

This is the version that I was thinking of, although of course you are right 
to 
point out that I had forgotten that this was probably going to be processional 
and not for a single couple or multiple couples spaced widely on the floor.  
Still, I think that countercircling would work fine in the given situation 
because all of the men would be circling at the same time (and therefore be 
out 
of each other's ways) as would the ladies.  Another point in favor of having 
some sort of circling motion is that circling motions separated by setting 
motions have precedent (again, this is just my memory, but doesn't Bella 
Gioiosa 
have something like that--circle over L shoulder, 2 Riprese, 2 treb, something 
like that) whereas the only going away/coming back motion that I know of is 
from 
Black Alman and isn't punctuated.  I hope you don't think I"m being overly 
critical of the going away/coming together thing.  I'm certainly not--it would 
look quite nice.  I just really really like counter circles *sheepish grin*.
>
>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.

Hrmm... now that's an interesting thought. A bit too contra-y (although not 
very 
at that) for my tastes--it might look very modern... trying to think of 
similar 
examples....


>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.

Oh Vard, you're such a curmudgeon.

<><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
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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