| As the original commission was for a slide figure, I decided the set
which contained it should be a polka set, so I decided to model the set
loosely on the Sliabh Luachra or Kenmare polka sets. So the figures could
be danced to polkas, with a slide and a hornpipe to finish. I had
always said that if I ever composed a set, each figure should "end with
the music", that is the musicians should be at the end of a tune and not
half way or a quarter or three quarters way through one when the figures
finish. This provided an outer constraint into which I tried to fit the
figures. I decided that the figures should be of average length.
Figures as short as the South Galway or Ballyvourney Reel sets are too
short, and figures from such sets as the Victoria and Televara are too
long. Each figure contains only one dance motif, which I believe
is enough. When two or more different movements are included in a
figure they no longer feel like set-dance figures and are more like céilí
dances. Given that the length is contrained to 96, 128 or 160 bars
(average length annd full tunes) the task was to come up with enjoyable
movements and arrange them symmetrically for one, two or four couples within
those lengths.
The first figure is based on the first figure of the Sliabh Luachra
set, with a twist. I once had the pleasure of watching John Taimín
from Cuas dancing the show-the-lady figure of the Corca Dhuibhne set. Instead
of sticking to the "setting step and double house" of the books, he just
danced for 16 bars, improvising his movements and directions. I though
it would be a good idea to give people the knowledge that this is an option.
So "show the lady" is freeform - just dance!
The second figure is based on one of the figures of the Jenny Lind,
which I like so much I took the movement, and turned it inside-out and
upside-down to make my figure.
The third figure contains several conventional moves put together in
a different way, and is based on the idea of continuous motion. In the
first figure one couple dance the figure at a time; in the second two couples
at a time; in the third all four couples are dancing all the time.
The fourth figure doesn't fit my time constraint because it was written
to fit the already-written "Limerick Tumblers" music which contained 200
bars. It contains mostly stock movements, again combined in a new
way. The slide in the direction of the next couple was contributed by Mary
Friel. The change partners in the middle is new. It should be done, if
possible, while dancing, without breaking step. It is an attempt to change
partners "on the move".
The fifth figure is a "change-partner" hornpipe figure, in keeping with
the models I used of other polka sets. the manner of changing partners
is different, and incorporates a movement from the Kenmare polka set.
The set is written to be danced to any polkas, slides and hornpipes, like
any other polka set. |
