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Gavote and double branle variations

Source: 
French sources, 1520-1620
Arbeau (1589)
De Lauze
Dance Type: 
improvisatory
Number of dancers: 
As many as will
Choreography: 

For a reconstruction of Arbeau's gavotes, and a discussion of how to teach and use them, see Arbeau's Gavotes.

These are some other variations I enjoy including in Arbeau-style gavottes and double branles. Some are entirely French, others take inspiration from Italian steps and patterns of the same period; as the portion of the Italian repertoire described in surviving writings is so much more diverse.

How I improvise

The underlying pattern is always "double left, double right".

I think of that as four "chunks", each of which can be replaced with an alternate step or set of steps:

  1. First half of the double left (step left, then feet together: finish ready to move left foot next)
  2. Second half of the double left (step left, feet together: ready to move right foot)
  3. First half of the double right (step right, feet together: ready to move right foot)
  4. Second half of the double right (step right, feet together: ready to move left foot)

Very similar patterns will work to replace each "chunk", but small variations are required to get the right combination: move the right way, end ready to move the right foot at the start of the next chunk.

The trick to smooth variations on a double is to learn how each of your favourite moves fits into each of those chunks - and then practice until you do it without thinkink - so you're never left wrong-footed, or moving the wrong way. The next trick is to learn how to cover when you do get it wrong!

Where to start, how much to add

I start planning a variation at the end: the second part of the double right. A simple variation might only affect that bit. If I want something more complicated, I vary the whole double right. Even more complicated, and it might creep into the double left. 

You can do vary nice solos while only varying the double right. That's in keeping with what Arbeau describes, it means you always have the double left to think about what you're going to do next, and the repeating pattern can bring a nice choreographical unity to what you're doing: it helps your audience understand the structure you are working with.

Some favourite variations 

These are some that work for me, my feet, my sense of style. 

4. Varying only the second part of the double right

Step left, together, left, together; right, together, . . . ?

The steps in italics are drawn from the Italian repertoire, described in Italian terms. Some could be re-phrased using French terminology - I've used whatever I'm most likely to use in a class.

One:

  • reverence, moving the left foot
  • seguito finto, flankingly backwards to the right (three movements)  
  • groppo left (four movements)
  • seguito battuto, on either foot: end with weight on right, ready to move left (three movements)

Two:

  • 2 caprioles/cadenze, ending with left foot in front, then right foot in front
  • spin (zurlo), capriole ending with right in front

Three:

  • kicks, left right left
  • kicks, LRL,  with one or more kicking backwards instead of forwards
  • kicks, LRL, with one or more kicking across the leg instead of directly forwards or backwards

Four:

  • kicks: right, left, right, left
  • kick left across in front of right (small), right across behind left (small), left across in front of right (small), left high in front (larger)

3. Varying the whole double right

Step left, together, left, together; ? [something from the list at 4. above]

  • 3 kicks, right left right  -  2 caprioles, with right behind, then left behind
  • 3 kicks, right left right, some forwards/backwards/crossing - any other from 4. above
  • 2 kicks, left, right - groppo left

Variation in the time of four doubles:

First variation in four doubles

  1. step left, feet together
  2. 2 caprioles, ending right in front, then left
  3. 2 riprese in sottopiede to the right, 
  4. groppo right (but leave off final sottopiede; or quickly change weight afterwards)
  5. 2 riprese in sottopiede to left
  6. groppo to left (see above)
  7. step right, feet togther
  8.  2 cadenze, right behind then left behind

OR:

7. 4 kicks, RLRL

8. 1 capriole, ending with left behind

Second variation in four doubles

  1. step left, feet together
  2. 2 caprioles, ending right in front, then left
  3. 2 riprese in sottopiede to the right
  4. three kicks, left right left
  5. 2 riprese in sottopiede to the left
  6. three kicks, right left right
  7. step right, left foot behind right
  8. spin (zurlo, over right shoulder), capriole, ending with right in front

 OR

3-4. 7 kicks, LRLR LRL, moving right

5-6. 7 kicks, RLRL RLR, moving left

 

Discussion: 

How to figure out what foot to start on, for any figure: it's all about counting the weight-changes

Assuming that

  • You always alternate feet, i.e. a step or other movement with the left foot is always followed by a step or other movement with the right foot.
  • Any time you don't alternate feet, you count it as one movement. So two kicks in a row with the left foot only count as "one".
  • You start each half of a "double left" (whatever variation you are doing) by moving to the left, using the left foot, and vice versa.
  • "Kick left" counts as a step ONTO the right foot: the right foot recieves the weight, the left is just waving about (in front, behind, across, etc)

Then

  • ODD numbers of weight-changes (steps) CHANGE direction - good at the end of a double
  • EVEN numbers of weight-changes (steps) KEEP THE SAME direction - good at the beginning of a double
  • a close - putting the feet together - can send you off in either direction, depending on where you put your weight

KICKS

  • when going LEFT start by kicking RIGHT
  • when going RIGHT start by kicking LEFT

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