1/28/2024 0 Comments Minuet danceBut for the better Apprehension, it may be divided into three equal Parts the First for the first half Coupee, the Second for the Second, and the Third for the two Walks, which ought to take up no longer Time than a half Coupee: But in the last Walk it is to be observed, that the Heel be set down to be able to make a Sink to begin another Step. ‘… which is performed within the Compass of two Barrs of triple Time, one called the Cadence, and the other the Contre-Cadence. In Le Ma ître a danser (1725), Pierre Rameau describes the pas de menuet à trois mouvements and the pas de menuet en fleuret (which he calls the pas de menuet à deux mouvements). He grudgingly accepts a timing which gives the first demi-coup é to the first bar and the fleuret to the second. Taubert does not like the popular pas de menuet en fleuret, because it does not accord with his aesthetic-musical preferences. On the upbeat there is another bend right away, with the right so placed as to connect this compound step with the next.’ On the first beat of the next measure, another stiff step is taken with the right foot, adding a very quick bend of the knees at the end rise again on the second beat, and in doing so step forward with the left leg. ‘It begins with the bend on the upbeat or last quarter-note of the previous measure the rise comes on the downbeat of the new measure, and, while the legs remain extended, the right foot steps forward on the second beat the body holds steady in the raised position on the third beat the first stiff step is taken with the left foot. He discusses timing in some detail, preferring the pas de menuet à la bo ëmienne because it accords best with his notions of the relationship between the steps and the musical bars. In his Rechtschaffener Tantzmeister (1717), Gottfried Taubert describes the same four versions of the pas de menuet as Feuillet – the pas de menuet en un seul mouvement, the pas de menuet à la bo ëmienne, the pas de menuet en fleuret and the pas de menuet à trois mouvements. He didn’t include the pas de menuet among his examples. He did address musical timing in his ‘Traité de la Cadance’ at the beginning of his 1704 collection of ‘Entrées de Ballet’ by Guillaume-Louis Pecour. (Paris, 1701), Supplément de Pas (detail)įeuillet provides no information about the timing of the step.
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