Thanks for the inputs! I noticed one other complication with the re-arrangement - the original top #2 couple would be ejected from the walk-through right at the start. I like Linda's suggestion re: Lt. Diag. Cir. 3/4 and Swing. So to fix the walk-through for the top #2s, I would make an adjustment to have the Cir. be straight across the first time only (and note this to the dancers) then transition to the Lt. Diag. subsequently.
Thanks, Don On Fri, Aug 31, 2012 at 9:57 PM, Linda Leslie <laleslie...@comcast.net>wrote: > I, too, change dances around if I think the change will be advantageous. I > can see why you want to change the As and Bs. Some thoughts about this: > > Keeping the original dance means that the As have the balances, and the Bs > are smooth. This may be an advantage for the band/tune choice. And the > signature move is right at the top. > > If you change the dance to end with the P B&S, then the A1 can certainly > be "With the couple on the left diag, circle left 3/4, swing this > neighbor". I universally change to this default, since I find that the > circle left 3/4, pass through, and swing, usually means that the neighbor > swing is shortened. But I still make sure to credit the original > choreographer, stating "this is a slight variation of the > dance........by......" > > Have fun calling in Concord! > warmly, Linda > > > On Aug 31, 2012, at 8:24 PM, Richard Mckeever wrote: > > If I were calling this dance I would not hesitate to reverse the A&B >> parts. I would announce the original name and author and mention it is >> slightly modified. >> >> I actually do this quite often. There are some things I especially like >> (or don't like) and I have no issues tweaking a dance to add or remove >> those items as long as it doesn't interfere with the overall flow or intent >> of the dance. >> >> Ending a Becket dance in a partner swing is one I consider an >> improvement. The flow of the dance also seems to make more sense with your >> suggested change. >> >> I would only show the band the version you plan to use - so they pick the >> tune they feels works best with that sequence. >> >> Go for it looks like a fun dance. >> >> Mac McKeever >> >> ______________________________**__ >> From: Don Veino <sharedweight_...@veino.com> >> To: call...@sharedweight.net >> Sent: Friday, August 31, 2012 7:11 PM >> Subject: [Callers] Shifting dance sequences >> >> I'm still gaining basic experience calling and have been noodling for a >> few >> minutes on this - thought I'd seek others' expertise and experience... >> >> I'm looking at my program candidates for an upcoming dance and in >> reviewing >> the dance *Seagull* by Erik Weberg (which can be found at >> http://www.kluberg.com/**eriksdances.html#Seagull<http://www.kluberg.com/eriksdances.html#Seagull>) >> I started thinking it >> would be easier to start the teaching at some other point than the A1, due >> to having to set up the initial short waves (which otherwise naturally >> form >> out of the B2). And noticing that the dance ends with a G Allem. Lt. >> 1+1/2, >> I started thinking it might be best to start with the B1, which is a very >> conventional Cir. Lt. 3/4 and Pass Thru..., which would leave the dance >> ending at the existing A2, finishing with a more satisfying P Swing. >> >> Ok, so this has two implications I see right away: >> >> 1. the band's music selection may change >> 2. the progression moves from the B1 original to the A1 as reshuffled. >> >> Are there any untoward consequences I'm missing? Why would this not be the >> default sequence? >> >> Thanks, >> >> Don >> >> > ______________________________**_________________ > Callers mailing list > call...@sharedweight.net > http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers> >
