Notes

1

'T" position: men are in original corner's place, L1 is in the center, facing the men, L2 is behind L1. To get into this position, in A1 7-8, 1st couple keep right hands a moment longer than usual so that M1 can guide his partner into the T formation. Conversely, 2nd cpl should just finish the right & left as normal and then L2 moves left to stand behind L1.

 

 

 

 

2

In C2 3-4, spare men at each end turn alone to face back in

 

 

 

 

3

If there is a couple out at the top, they can, if they wish, dance A1 1-4, changing sides. This allows the man, who will become 1st man in the next round of the dance, to join this round of the dance in B1 7-8, crossing with M2 to become the 3rd corner for the active lady. His partner will have to change sides again during that moment. Likewise, if there is a couple out at the bottom, they can also change side during A1 1-4. This allows the man, who will become 2nd man in the next round of the dance, to join this round of the dance in B1 7-8, crossing with M1 to become the 4th corner for the active lady. His partner will have to change sides again during that moment.

 

 

 

 

4

It is very important that men at the top and bottom of the set cross over and participate in the gypsy with the new active lady

 

 

 

 

5

L2 should stand close behind L1 during the corner flirting to actively help allemande L1 to the next corner

 

 

 

 

6

Carl says "The dance proved to be more difficult than I expected. For the men, it is confusing where to go, and once there, to know with whom they are dancing. To teach this to the men, get everyone into the T-formation, and label the four corner positions. Then have the women stand still and have the men practice crossing to their new corners so they can see, without the confusion of the moving women, where they end up.

There will be massive confusion at the beginning of the C music because no one is across from their partner and for some reason, everyone expects to be facing them! Be prepared to say that that is correct and it will be resolved in a moment.

I requested Daron write an A-B-C melody, with a B music that is 16 bars long to match the 'Flirt the Corners' 16-bar figure. The C music is just similar enough to the A music to fit melodically, but different enough that the dancers can recognize that the dance is starting again. Also, I requested that the tune be 'not too pretty'. I wanted to underscore the sexual tension of WL flirting with four men. The syncopated rhythms, and the instructions to 'swing the eights', do just that. A brilliant composition!

I started writing dances where a woman dances with four corners. The first dance was a contra, named 'The Big Flirt', and basically it had two contra-corners figures for both W1 and M1. A second contra, 'The Bigger Flirt', was next, and it had only W1 flirting with four different men, but only in two corners. That was followed by this English dance, where W1 flirts with four men in four different corners. It was originally named 'The Biggest Flirt', but when I received Daron’s composition, 'Sweet Nothings' became the name.

 

 

 

 

7

Michael says "As with all the other dances on my web site, I have 'translated' Carl's own description into my standard format and terminology. For those who like to think about these things mathematically or diagramatically you may wish to download Carl's original description as well as my own."