Pavanne training tool for Spanish Destreza fencing

This is a Pavanne I created in 2016 to use ase a footwork drill for Spanish Destreza swordplay. The music is called “Belle Qui tiens ma vie“ and there are several versions on line. I have used one of the slower versions to demonstrate the dance, but once you know the dance you can use faster ones as well. I often use the version from “De Vlierefluiters“ for a faster version. Steps are to a Pavane set pattern (single left, single right, double left; single right, single left, double right) – At the end of each of these steps, rise on the balls of your feet. This serves the same function as the appel to delay actions so that each is performed distinctly and not muddied into each other. Passing steps and Gaining steps take the timing of a Pavane Double At the time I filmed this, I understood the Reverence to be done in the following manner: Begin with the left feet turned out and your sword foot about 1 foot-length in front and pointed forward (similar to a ballet 4th position without turning out the right foot). The back foot then sweeps out to point the toe ahead of the sword foot, and then pass it back to the beginning position. I now understand that it starts with the left foot in front, then it slides back behind the right foot, you dip with a bend of the left knee, while the right leg remains straight, and then return the left foot to the starting position. Additionally, it I were to film it now, I would drop the sword hand to the level of the navel on the atajos. On the terminology – I have used Viedma’s circle as the base for my notation. Imagine a circle with the diameter being the line between you and your imaginary opponent’s front feet. For each phrase of the dance, the dancer’s initial position is A, a curved step 1/8 of the circumference to the right is B, a curved step 1/8 of the circumference to the left is D, and the points ¼ of the circle (90 degrees from A) is point C. This is the case in both directions. - 1. a. Spanish Reverance (timing of a double), Single back to begin to draw blade, Single forward to take Guard of the Right Angle. b. Single Right, Single Left, Double Back. (only lateral orthogonal steps) 2. a. Single Left to D, Single Right to A, Passing Step left to D b. Single Right to A, Single Left to D, Passing Step left to A 3. a. Single Left to D, Single towards opponent, Gain and Transverse step to the left with thrust to face. b. Single Right to B, Single towards opponent, Gain and Transverse step to the right with thrust to face. 4. a. Single Left to D, Single towards opponent, Gaining Step and then a Lateral step right to diameter with a medio revez. b. Single Right to B, Single towards opponent, Gaining Step and then Lateral step left to diameter with a medio tajo.(There is a weight shift on the Lateral step to match the timing of the music) 5. a. Single Left to D, Single towards opponent (assume pressure), Passing step to the left to C with Ripped Reves (with step back to be at guard when the musical count ends). b. Single Right to B, Single towards opponent (assume pressure), Gaining Step and Transverse right to C with Ripped Tajo. 6. a. Single Left (Medio Reves to escape an attempted atajo to Inside line) to D, Single Right to A (Free from below from imaginary outside atajo), Gaining Step and Transverse Step to the left with a thrust to face (Thrust of the full circle) b. Single Right (Medio Tajo to an attempted atajo to Outside line) to B, Single Left to A (Free from below from imaginary inside atajo), Gaining step and Transverse Step to the right with a thrust in Line in Cross. 7. a. Single Left with Narrowing to D, Single Right to A with Weak Over Strong, Gaining Step and Transverse Step with a Medio Reves to face as step to line B. b. Single Right with Line in Cross to B, small Single Left to A with Weak Under Strong, Gaining Step Transverse Step with a Full Tajo to face as step to line B. 8. a. Single Left diagonally back left, Single Right diagonally back right, Double back straight. b. Single back (bring point to scabbard), Single forward (finish sheathing blade), Double count for Reverence. Pattern of the phrases 1. Drawing Sword and initial steps 2. Simple steps on the Circle 3. Atajo and direct thrust 4. Atajo and half cuts 5. Atajo, then ripped cut in response to pressure. 6. Evading Opponent’s attempted atajos 7. General Techniques into cuts 8. Retreat and sheath weapon.