Gaïta Medieval Music - Dances

The music we have used is 'La duches' (Music No. 11, our own transcription from the manuscript).


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Reconstruction: For one couple, but works fine for multiple couples in procession.
A1: 4 piva (fast doubles) forward. (This is the 'trace'. As for other Gresley reconstructions we assume this is a simple introductory processional figure, and four piva will fit the music).
A2: Trett (single left forward) and retrett (single right back) then a double forward (three steps, left, right, left) with a stop (close feet, with weight on both)
B: Trett and retrett (as A2) and (dropping hands) turn on the spot with a double over left shoulder (retake hands).
C1:  6 steps forward together then a half turn to face the opposite way (both turn inwards, towards your partner) taking other hands. (Note the tempo change in the music -  this section should go faster).
C2: 6 steps in the opposite direction then a half turn taking original hands.
D: Trett and retrett then two rakes (singles diagonally left and right).

For variation we sometimes do the C section circling, i.e. take right hands and go 6 steps around, then left hands and 6 steps back. The dance can alternate between the two variations.

The music we have used is 'Title illegible' (Music No. 3, our own transcription from the manuscript).

Download a pdf of music for 'Aras'.          Download an mp3 recording of 'Aras' by Gaita.
(If you like the recording, and would like to encourage us to record more, please make a donation).

Reconstruction: For one couple.
A: Trace: As for other Gresley reconstructions we assume this is a simple introductory processional figure. The tune suggests salterelli, and there is time for 16 of these.
B1:  Both rake (single diagonally left) then the man does a half turn while the woman retreats. The timing/spacing works if the turn and retreat are both done as a double, the man in a clockwise half circle to end facing the woman, the woman moving backwards, so that they are lined up directly opposite each other.
B2: Both rake (again left, as they are now facing this will be 'contrary' to each other) then the woman does a full turn on the spot while the man retreats.  Again use a double. At the end of this figure the couple are facing each other, a short distance apart, with the woman on the 'man's side' of the dance and vice versa.  
C: (Note the tempo change in the music, to a slow bassadanza)  Both trett and retrett (single left forward, single right back) then do a double left to meet, and touching right hands, a reverence with the right foot, then a right double to change places. Still facing opposite directions, both do three slow singles (left, right, left)  away from each other, a half turn by crossing over the right foot in front of the left, then three slow singles (left, right, left) towards each other, the man finishing with a half turn so that the couple have resumed their original positions. 
D: (Note the tempo change) A flowrdelice (interpreted as a casting-out pattern). It fits the music to do this as two half circles, casting out with a double, then coming together again with a double. Then both turn on the spot to the left with a double.

Last updated 7^th April 2011