analysis of the process in which Pindar’s diction indicates, albeit in descriptive compression, that in terms of choral performance the prooimion ('prooemium') precedes nomos: the chorus starts dancing (002) as soon as Apollo’s lyre gives off its sēmata ('signals') that are heeded by aoidoi, 'singers' (003), thus creating the anabolai, 'preludes' (004) of prooimia, 'prooemia' (004) which are described as hāgēsikhora, 'chorus-leading' (004)