[Callers] complicated Contras
Hi All: I have a few "experienced" afternoon workshops coming up and I'm tired of my material. I'm wondering if any of you have favorite challenging contras that you'd like to share? I'm looking for any dances that are intermediate or advanced in nature and dances that you wouldn't do on a regular night. Thanks so much. Donna Hunt
Re: [Callers] complicated Contras
Ooh, exciting! A few of my faves: Batja's Breakdown by Tom Hinds (becket, clockwise) A1: shadow alle. L 1x; partner swing A2: circle L 1x; slide L to circle L 3/4 B1: new neighbor b&s B2: pass thru to wave (ladies take L) & bal.; neighbors R 1/2, men L 1/2, partners R 3/4 Double Cat Bounce by Chris Page (improper) A1: Neighbor b&s A2: half ricochet hey (men by L, ladies ricochet over R shoulder); partner swing B1: ladies chain; half ricochet hey (woman by R, men ricochet over L shoulder) B2: circle R 3/4; neighbor alle. : 1 1/2 Shadows with Smiles by Bob Isaacs (becket, clockwise) A1: (slide L to) circle L 3/4; neighbor swing A2: bal. the ring and spin right (no claps!); with N, weave the line past couple #1 to meet couple #2 (lady leads) B1: with shadow #2 star L 1x; with shadow #1 alle. R 1 1/2 B2: partner b&s (END EFFECTS: if out at the end, weave *with partner*. If you reach the end while weaving, turn right around (as couple) and keep going) (Can't wait to see what else people come up with!) On Tue, Jan 7, 2014 at 11:04 AM, Donna Hunt wrote: > Hi All: > I have a few "experienced" afternoon workshops coming up and I'm tired of > my material. I'm wondering if any of you have favorite challenging contras > that you'd like to share? I'm looking for any dances that are intermediate > or advanced in nature and dances that you wouldn't do on a regular night. > > Thanks so much. > Donna Hunt > > ___ > Callers mailing list > call...@sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers >
[Callers] Calling to the tune Sheepskin and Beeswax
Hi all, I call regularly with the same band and I have noticed that there are a couple of sets that they play in which I consistently mess up. In the middle of an evening of everything going well, I suddenly find that I am lost and have a hard time finding my way back, even with extreme focus. This, needless to say, is not good! I've been trying to identify these tunes so that I can be prepared to pay really close attention before they start. I have also begun to wonder, though, whether some jigs/reels are just not as good for dancing as others. I have been discussing this with the band, raising the idea that maybe they could save these tunes that challenge me for some of their non-dance gigs (fairs, bandstand, background music, etc). Some of them are receptive, others not. I wonder whether any of you have noticed tunes that are particularly difficult to call to, and how you have handled it. The one I have noticed most recently is Sheepskin and Beeswax. Here's what one of the band members wrote to me about it: "Rhythmically, it's a challenging tune for the band. There's a lot of syncopation going on between instruments and because it's French Canadian to play it properly means lots of upbeat emphasis. It's a challenging tune to play well. Even if we played it very well and fast enough (and that's been a problem for dancers and caller) I think it would still be challenging to call to and dance to because of how the rhythm and notes don't go well together." Thanks, Delia Clark <>:<>:<>:<>:<>:<>:<>:<>:<> Delia Clark PO Box 45 Taftsville, VT 05073 802-457-2075 deliacla...@gmail.com
Re: [Callers] complicated Contras
What are the dances you are tired of? We don't want to repeat those! What is your definition of complicated? Often the call is for complicated when the desire is simply novelty. New formations, new figures are often more satisfying than long walk thrus that frustrated all. Cary Ravitz is the master, and you can find many on his website, including a 'complex' section. The ones I enjoy calling include: Whitewater, Rocky Road, Road Kill, Enchanted, Songbird, Sealed with a Keith, Reflections (extremely deciptively challenging), Pigtown Pousette. But there are plenty of others - how can you choose? Cary has been experimenting with 'Cross Contra' formation in a number of dances. (http://ravitz.us/dance/#x) I don't know what those are like - could be something wildly new. Al Olson's: Turn Everyone (contra corners turned 90 degrees) Tom Hind's latest couple of books have some devious ideas with pass the oceans. I've esp enjoyed 5-55-55. Chris Page has a few, my fav is Serendipity, Hopscotch Reel, but 24x7 is really pushing the limits. His Terpsicontra is fun also. (http://chrispagecontra.awardspace.us/dances/dlist2.htm) Ones I've written: 40 Years of Penguin Pam; Tallahassee Settlement Twirl, Swingshot; A Glittery, Sparkling 40th; (http://www.dancerhapsody.com/Calling/Dances.html) Seth Tepfer Director of Administrative Computing Oxford College 770-784-8487 seth.tep...@emory.edu Use AskIT for fastest response: Oxford.emory.edu/AskIT From: callers-boun...@sharedweight.net [callers-boun...@sharedweight.net] on behalf of Donna Hunt [dhuntdan...@aol.com] Sent: Tuesday, January 07, 2014 11:04 AM To: call...@sharedweight.net Subject: [Callers] complicated Contras Hi All: I have a few "experienced" afternoon workshops coming up and I'm tired of my material. I'm wondering if any of you have favorite challenging contras that you'd like to share? I'm looking for any dances that are intermediate or advanced in nature and dances that you wouldn't do on a regular night. Thanks so much. Donna Hunt ___ Callers mailing list call...@sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers This e-mail message (including any attachments) is for the sole use of the intended recipient(s) and may contain confidential and privileged information. If the reader of this message is not the intended recipient, you are hereby notified that any dissemination, distribution or copying of this message (including any attachments) is strictly prohibited. If you have received this message in error, please contact the sender by reply e-mail message and destroy all copies of the original message (including attachments).
[Callers] Raeden's Curls (was Re: New Dance? Choreography Input...)
I called this at last night's Monday Contras series here at the Concord, MA Scout House with The Free Raisins. I asked them to start out slower until folks got the feel (I believe we started with a march) and then they amped it up at the tune change. It was received very well and worked for a crowd including several newer dancers when placed 2nd after the break. I demoed the A2 through B1. The one suggestion I received from several gents was to change the allemande right 1/2 to a pull by, but I'm concerned that could lead to over-travel by the gents - time will tell. As one trusted dancer rated it a "definite 9+", it appears nameworthy - so here it is. Raeden (rhymes with maiden) is our 2 1/2 year old daughter, who loves to twirl with her blonde curls flying. :) I called it last night beginning from the A2 but believe the sequence below would be easier, avoiding the need to place the 2s below the 1s after lining up. Should you try it, I'd love to hear about your experiences! -Don Raeden's Curls - Duple Improper - Don Veino 1/5/14 A1 4,12 Neighbor Balance, Swing A2 4,4 Long Lines Fwd, Gents Roll Away Ladies (Rt. to Lt.) w/Half Sashay on way back 8 Mad Robin (counter clockwise), Gents start into middle first B1 2,2 Mad Robin continued 1/4 more*, all Slide through to new Ns* (progression) 4,8 G Allem. Rt. 1/2 *OR* Pull By Rt., Partner Swing B2 8 Ladies Chain 1/2 to your Neighbor 8 Half Hey (Ladies start by Rt., Partner Lt., Gent Rt. ...) and with THIS Neighbor... * After the 1st 2 beats of B1 there is a transitory line of 4 facing across the hall - two Gents are face to face in the center, Lady is facing her N's back. From there, all slide direction of progression parallel to Partner (Gents Left, Ladies Right) so at beat 4 there is a similar line with new Ns. Teaching notes: After the A1 Swing, recommend telling the Gents their objective after the next series of moves (A2 through Mad Robin and Slide) is to meet up with the Gent currently on their left diagonal [for an Allemande Rt. 1/2 *OR* Pull By]. Ladies' goal is to keep eyes locked on and to travel parallel to their Partner through the Mad Robin and up to the Swing. Stress giving good weight through the Roll Away and into the Mad Robin for most enjoyment. The timing in the B1 is "squishy" but generous and the Partner Swing brings all back into phrase alignment. At ends, wait out improper and facing your Partner to slide in for Gent's Allemande Rt./Pull By and Partner Swing.
Re: [Callers] Calling to the tune Sheepskin and Beeswax
Delia, Your band member is very observant, and your bands should respect your request to not use tunes that don't work well for the dances. My experience is, if I'm getting messed up by the music as a caller, the dancers are as well, which affects the enjoyment of the dance. When this happens on the fly, I often see if the band can change tunes in midstream, which many good bands can do. There are many French-Canadian and old-time tunes that are either crooked (have extra or missing beats or measures), have extra or short parts, or are highly syncopated. While many of these tunes are really fun to dance to if you don't need a square tune (32 bars), for example for a square dance, they obviously won't work for a contra dance. In addition, I have had some old-time players insist that a tune is 32 bars, but it sure doesn't feel that way. I have counted these tunes, and they either have a melody that crosses a phrase, making it syncopated, starts on an upbeat, or just doesn't work, for whatever reason. At least the bands that I ask to not play a particular tune are willing to refrain from doing so. It helps if you can go to their practice and hear what they are planning to play. When I listen to "Sheepskin and Beeswax" (an excellent tune that's fun to play) what I hear is that the 2 A phrases are almost identical, in that they have 4-bar phrases repeated twice for each A part, and the same is true for the B part. Because there is so much repetition in the phrases, I can imagine that it might be difficult to differentiate where you are in the part. Because I am a musician as well as a caller and dancer, I have a fairly innate sense of 4- and 8-bar phrases, but if you are not used to listening to such phrases, it can be a challenge. I don't know your background, but if there is a tune that gives you trouble, perhaps listening to a recording of it until you are familiar with it could help. Just a side story: I was dancing to a well-known Scottish-style fiddler who had a rock-n-roll style guitarist and a jazz bassist (who had never played for a dance before). Even I was having trouble figuring out where we were in the music and so was having trouble with the dance. I asked the inimitable Warren Argo, who was doing sound, if he had noticed this problem. He said that the band actually mentioned that even they hadn't known where they were in the music. (This was due mostly to a lot of improvisation on the band's part.) Hopefully that never happens to any of us! Suzanne Girardot Seattle, WA -Original Message- >From: Delia Clark >Sent: Jan 7, 2014 8:58 AM >To: call...@sharedweight.net >Subject: [Callers] Calling to the tune Sheepskin and Beeswax > >Hi all, >I call regularly with the same band and I have noticed that there are a couple of sets that they play in which I consistently mess up. In the middle of an evening of everything going well, I suddenly find that I am lost and have a hard time finding my way back, even with extreme focus. This, needless to say, is not good! > >I've been trying to identify these tunes so that I can be prepared to pay really close attention before they start. I have also begun to wonder, though, whether some jigs/reels are just not as good for dancing as others. I have been discussing this with the band, raising the idea that maybe they could save these tunes that challenge me for some of their non-dance gigs (fairs, bandstand, background music, etc). Some of them are receptive, others not. > >I wonder whether any of you have noticed tunes that are particularly difficult to call to, and how you have handled it. > >The one I have noticed most recently is Sheepskin and Beeswax. Here's what one of the band members wrote to me about it: "Rhythmically, it's a challenging tune for the band. There's a lot of syncopation going on between instruments and because it's French Canadian to play it properly means lots of upbeat emphasis. It's a challenging tune to play well. Even if we played it very well and fast enough (and that's been a problem for dancers and caller) I think it would still be challenging to call to and dance to because of how the rhythm and notes don't go well together." > >Thanks, >Delia Clark > ><>:<>:<>:<>:<>:<>:<>:<>:<> > >Delia Clark >PO Box 45 >Taftsville, VT 05073 >802-457-2075 >deliacla...@gmail.com > > > > >___ >Callers mailing list >call...@sharedweight.net >http://www.sharedweight.net/mailman/listinfo/callers
[Callers] Calling to the tune "Sheepskin and Beeswax."
Hi Delia, I'm a caller and I'm in a band, so here's my 2 cents ... Yes, I think there are some tunes that don't work as well for dancing as others. Sometimes highly syncopated tunes don't work as well. Sometimes noodly tunes don't work so well, because the tunes aren't very well punctuated. There is a caller in Chicago who asks us not to play "Rainy Night in Montague," because she finds it difficult to find the beat in the A part. If the caller is not familiar with jigs, those can be confusing. I think it all depends on what you're used to. There's a particular French Canadian tune we hauled out once that was too syncopated for what the dancers were doing, and after we played it through once, the caller turned to us and said, "Switch. Now." I can't remember the name, unfortunately, or I'd provide it as a good example of "What not to play." Having looked up Sheepskin and Beeswax to refresh my memory, I'm curious as to what is happening that makes this tune confusing to call to. I listened to the version done by La Bottine Souriante, and it seems pretty straightforward. Is the band's rhythm player (guitar, piano, bass, whatever) laying down an easy-to-hear 4-count groove? And is everyone able to play it up to dance tempo? Something funny I've noticed is that it is sometimes easier to rush tunes with lots of notes. I think it's a mental thing - "This tune is hard because it has all these notes in it, and so I'm going to try to get through it as fast as I can" - and then, before you know it, the groove is shaky. It could be that the tune doesn't sit well at the tempo you need it played at. We were at a dance week recently and picked "Lost Girl" for a square dance, which is ordinarily a great tune ... but the caller liked blistering tempos for squares and it was hard work to make that tune sit well at such a speed. Afterwards, the band all agreed it was a bad choice on our part. Sometimes, if I'm calling and I feel like I'm getting lost or misplaced in the tune, I start stepping in place to help me keep track. And if it's a tune I've never heard before, I often count the eight-count phrases in my head while I'm calling. If the band is receptive, you might ask them to medley it with another tune that's easy for you to understand, so you either get a good start together (and by the time they get to the "hard" tune, the dancers might have it and you won't have to worry about calling so much), or you know you'll have something coming up that you can get your bearings back on. But in the end, you're all in it together on stage, and if you don't like calling to this tune because you get lost, then maybe it's a good idea for the band to find something else to play? There are lots of fiddle tunes out there. Meg
Re: [Callers] complicated Contras
Good point Seth. Here are some I already have (below).In addition Fiddleheads (Ted Sanella), Dancing Sailor, Retronella, (Rick Mohr), Tropical Gentlemen (Kathy Anderson), Purple Heys (Mike Richardson), some from Joseph Pimental and Tom Hinds and I have several from Cary as well. Thanks for your suggestions, Seth. I'll be in touch with Chris Page and look over Cary's new stuff. I'm looking for an unusual use of a variety of figures as well as down right difficult. Thanks everyone. I'm looking forward to seeing your ideas. Donna Hunt TuesdayNight Stars JosephPimentalIndecent Contra 2’s cross and reverse progression *turn back on original N to find “next” N along line A1 “next” N Allem L1x Swing originalN A2 Long lines fwd,give and take to Ladies place PartnerSwing B1 Circle L ¾, Balance ring, California twirl to face next N B2 Balance ring, passto a star R (ie. 1/2 gyp neighbor and put R hand into star) Turn Star R 1x(look for “next” neighbor to allem L and return to star neighbor to swing) Mind boggling dance plays with orientations andexpectations. Be careful in explainingwhich neighbors are needed where and when. For a simpler dance start in B2 where the dance is improper and progressionis regular. Where in the Hey are We? Tony DalMoulin Becket EXP A1Circle L¾, Pass Thru SwingNext (**notice this person) A2LadiesChain (**identify shadow #1 past partner) Hey ½ B1 2(Along line) R Gypsy ½ withShadow #1 4L swat flea with Shadow #2 8Ladies ½ hey over with A1 Swing person 2R Gypsy ½ with Shadow #1 B2 PartnerBalance & Swing Contra Madness GeneHubert 4 progression Adapted A1 by Donna Hunt #1 couple in middle of line of 4 A1 4x4 downhall, turn as couple with neighbor #1 ,return, bend line, #2 make arch and #1 couple duck thru- faceneighbor #2 A2 Do Si Do neighbor#2 1 1/2 , Swing Neighbor #3 B1 Pass thru across,turn alone, R&L thruacross and courtesy turn with neighbor #4 B2 Long lines , #1 couple swing Curly Cues ErikHoffman Improper A1Neighborschange places, #1 go between #2, MirrorGypsy next neighbor1x ( #1 separate go outside) Originalneighbors change places #1 go outside #2, #1cross set passing R shoulders stand at end of line of 4 A2 Down hall 4x4, turn as couple with samesex* (#1 couple goes forward to meet in middle and go up hall 4x4) Hand cast with neighbor B1 Turncontra corners B2 Activesswing and face down Donna
Re: [Callers] Calling to the tune Sheepskin and Beeswax
At a recent gig the band changed from a very strongly phrased tune to something totally dreamy for their second (it was a good fit for the dance "feel" but very understated in rhythm). I immediately noticed some dancers looking somewhat visibly lost and drifting off time, so I had to jump back in with minimal cues to help align. They again found their timing so I could drop out once more and the third tune came back to strong phrasing so all finished well. Still working on my band communication skills re: tunes selection. Lots of ongoing learning!
Re: [Callers] Calling to the tune Sheepskin and Beeswax
Beeswax and Sheepskin is one of my favorite tunes to play, and dance to. I don't actually really agree with the musician quoted; it's not particularly rhythmically complex, and I don't think the upbeat emphasis detracts much from understanding the phrasing of Quebecois tunes. The problem, in my view, is more along the lines of what Suzanne identified. There is very little difference between the phrases in the A and B sections, which is compounded by the fact that some people playing the tune go back to the A phrase over the second part of the last time through the B section. So the tune ends up sounding to some like a four-bar phrase repeated five times followed by a four-bar phrase repeated three times, instead of 4 of the first, three of the second, then back to one of the first. It's a strictly modal tune, based on a six note scale, so can be incredibly monotonous (or trance-like, if that's how you prefer to see it) if played by bands that don't change the feeling up at all. I've noticed this issue with a lot of strictly modal tunes that have little harmonic complexity and repeated phrases. My advice would be to ask the band to do something to differentiate sections, or even to mark the return to the beginning of the tune. There are lots of things bands can do for this; for Beeswax and Sheepskin, for instance, bands could play over a D major chord instead of an A minor in the B section, or even just over the last four bars of the second B section. Or any number of other harmonic changes. Bands can also put stops at the end of phrases, hits at the beginning of the B section, or other rhythmic variations, too. I think most creative bands, when told what the problem is, can change to adapt to it. But that's not particularly helpful when you don't know the tune ahead of time and have it sprung on by surprise. Another alternative, as Don V. alluded to, is to ask bands to use more strongly phrased tunes with well-differentiated A and B parts to start off every set. As a musician, for me personally, the most limiting part of playing for contra dances is keeping improvisation down. I sympathize with the caller in Suzanne's side-story below; it can be very difficult to help dancers find the phrasing when nobody in the band is playing the tune. I don't really have any good ideas for callers faced with a band in this situation, other than to try to communicate as best as possible that everybody is there for the dancers, and hearing the tune (or something phrased like the tune) at least every other time through the dance can be very helpful. -Dave On Tue, Jan 7, 2014 at 12:19 PM, Suzanne Girardot wrote: >Delia, > > >Your band member is very observant, and your bands should respect your >request to not use tunes that don't work well for the dances. My >experience is, if I'm getting messed up by the music as a caller, the >dancers are as well, which affects the enjoyment of the dance. When >this happens on the fly, I often see if the band can change tunes in >midstream, which many good bands can do. > > >There are many French-Canadian and old-time tunes that are either >crooked (have extra or missing beats or measures), have extra or short >parts, or are highly syncopated. While many of these tunes are really >fun to dance to if you don't need a square tune (32 bars), for example >for a square dance, they obviously won't work for a contra dance. In >addition, I have had some old-time players insist that a tune is 32 >bars, but it sure doesn't feel that way. I have counted these tunes, >and they either have a melody that crosses a phrase, making it >syncopated, starts on an upbeat, or just doesn't work, for whatever >reason. At least the bands that I ask to not play a particular tune are >willing to refrain from doing so. It helps if you can go to their >practice and hear what they are planning to play. > > >When I listen to "Sheepskin and Beeswax" (an excellent tune that's fun >to play) what I hear is that the 2 A phrases are almost identical, in >that they have 4-bar phrases repeated twice for each A part, and the >same is true for the B part. Because there is so much repetition in the >phrases, I can imagine that it might be difficult to differentiate >where you are in the part. Because I am a musician as well as a caller >and dancer, I have a fairly innate sense of 4- and 8-bar phrases, but >if you are not used to listening to such phrases, it can be a >challenge. I don't know your background, but if there is a tune that >gives you trouble, perhaps listening to a recording of it until you are >familiar with it could help. > > >Just a side story: I was dancing to a well-known Scottish-style >fiddler who had a rock-n-roll style guitarist and a jazz bassist (who >had never played for a dance before). Even I was having trouble >figuring out where we were in the mu
Re: [Callers] complicated contras
Exciting! I'm pretty new to the calling game, but here are some of the advanced dances in my box that I'm extra excited to be able to pull out when the time comes. The Magpie and the Seal // David Zinkin // double improper A1: Star right below (8) Star right above with old Ns (8) A2: DSD 1.25 to wave of four (ladies take left, Ns take right) (8) Balance wave, (4) alle N by R 1/2, gents pull by L (4) B1: Bal/swing partner (16) B2: Ladies chain (8) 1/2 hey (ladies start by R) (8) Dr. Bluhm's Delight / Rick Mohr // Becket A1: Slide left, circle L 3 places (8) Swing N (8) A2: LLFB (8) Hands across LHS 1/2, gents drop (4) Ladies keep allemanding L 3/4 more and take right with N (wave of 4) (4) B1: Balance wave (4) and alle R 5/8 with N; gents take left with next gent (diagonal wave) (4) Balance wave (4); gents alle L 3/4 to take rights with partner in new diagonal wave (4) B2: Balance wave; swing partner (16) Life, the Universe, and Everything / Carol Ormand // DI A1: Ones pull by R, cross set, go down outside one place (8) LLFB (8) A2: Ones turn contra corners and do NOT let go of second corner's left; take partner's right hand to form diagonal wave (16) B1: Balance wave (4); drop hands and walk forward to form new wave with 2s in center (One partners will not be in this wave) (4) Balance wave (4); allemand right about 3/4 B2: 1s balance and swing; end improper, facing partner (This can be an alternating corners dance; the twos go up the hall when active if you choose to call it this way) Have fun! Zoë zmado...@oberlin.edu
Re: [Callers] Calling to the tune Sheepskin and Beeswax
Dave has good advice here. I think the short answer is: Don't assume that the problem is the tune itself. Another band--or the same band in a different mood--can make the same tune a delight or a disaster. So don't "condemn" a particular tune until you've heard several bands confuse dancers with that tune. I try to remember to let the band know that when I count out four beats with my fingers it is a signal that the first figure of the dance starts right after those beats. I warn them that if something goes "wrong" or if I get confused I will give them that signal to make it clear where the "top" of the dance is. This signal is useful if the band drops a "B" part or if the dance gets off synch for any reason. It can also signal that the particular tune, or arrangement, might be confusing to dancers. - Greg McKenzie On Tue, Jan 7, 2014 at 9:47 AM, Dave Casserly wrote: > Beeswax and Sheepskin is one of my favorite tunes to play, and dance to. I > don't actually really agree with the musician quoted; it's not particularly > rhythmically complex, and I don't think the upbeat emphasis detracts much > from understanding the phrasing of Quebecois tunes. The problem, in my > view, is more along the lines of what Suzanne identified. There is very > little difference between the phrases in the A and B sections, which is > compounded by the fact that some people playing the tune go back to the A > phrase over the second part of the last time through the B section. So the > tune ends up sounding to some like a four-bar phrase repeated five times > followed by a four-bar phrase repeated three times, instead of 4 of the > first, three of the second, then back to one of the first. It's a strictly > modal tune, based on a six note scale, so can be incredibly monotonous (or > trance-like, if that's how you prefer to see it) if played by bands that > don't change the feeling up at all. > > I've noticed this issue with a lot of strictly modal tunes that have little > harmonic complexity and repeated phrases. My advice would be to ask the > band to do something to differentiate sections, or even to mark the return > to the beginning of the tune. There are lots of things bands can do for > this; for Beeswax and Sheepskin, for instance, bands could play over a D > major chord instead of an A minor in the B section, or even just over the > last four bars of the second B section. Or any number of other harmonic > changes. Bands can also put stops at the end of phrases, hits at the > beginning of the B section, or other rhythmic variations, too. I think > most creative bands, when told what the problem is, can change to adapt to > it. But that's not particularly helpful when you don't know the tune ahead > of time and have it sprung on by surprise. Another alternative, as Don V. > alluded to, is to ask bands to use more strongly phrased tunes with > well-differentiated A and B parts to start off every set. > > As a musician, for me personally, the most limiting part of playing for > contra dances is keeping improvisation down. I sympathize with the caller > in Suzanne's side-story below; it can be very difficult to help dancers > find the phrasing when nobody in the band is playing the tune. I don't > really have any good ideas for callers faced with a band in this situation, > other than to try to communicate as best as possible that everybody is > there for the dancers, and hearing the tune (or something phrased like the > tune) at least every other time through the dance can be very helpful. > > -Dave > > > On Tue, Jan 7, 2014 at 12:19 PM, Suzanne Girardot >wrote: > > >Delia, > > > > > >Your band member is very observant, and your bands should respect your > >request to not use tunes that don't work well for the dances. My > >experience is, if I'm getting messed up by the music as a caller, the > >dancers are as well, which affects the enjoyment of the dance. When > >this happens on the fly, I often see if the band can change tunes in > >midstream, which many good bands can do. > > > > > >There are many French-Canadian and old-time tunes that are either > >crooked (have extra or missing beats or measures), have extra or short > >parts, or are highly syncopated. While many of these tunes are really > >fun to dance to if you don't need a square tune (32 bars), for example > >for a square dance, they obviously won't work for a contra dance. In > >addition, I have had some old-time players insist that a tune is 32 > >bars, but it sure doesn't feel that way. I have counted these tunes, > >and they either have a melody that crosses a phrase, making it > >syncopated, starts on an upbeat, or just doesn't work, for whatever > >reason. At least the bands that I ask to not play a particular tune > are > >willing to refrain from doing so. It helps if you can go to their > >practice and hear what they are planning to play. > > > > > >
Re: [Callers] complicated Contras
The Devil's Elbow is one of my favorites - and then there are all those neglected triple minors... Hanny
Re: [Callers] complicated Contras
I often call medleys at this type of event. Either 3, 4, or even 6 dances (I know you have plenty of these from past NEFFAs), and they're so much easier to call by yourself instead of passing that microphone around among callers. From: Donna Hunt To: call...@sharedweight.net Sent: Tuesday, January 7, 2014 8:04 AM Subject: [Callers] complicated Contras Hi All: I have a few "experienced" afternoon workshops coming up and I'm tired of my material. I'm wondering if any of you have favorite challenging contras that you'd like to share? I'm looking for any dances that are intermediate or advanced in nature and dances that you wouldn't do on a regular night. Thanks so much. Donna Hunt ___ Callers mailing list call...@sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers
Re: [Callers] complicated Contras
Hi Donna, I like Dan Pearl's "Beneficial Tradition". It's online several places as well as on YouTube.. bill > To: call...@sharedweight.net > From: dhuntdan...@aol.com > Date: Tue, 7 Jan 2014 11:04:04 -0500 > Subject: [Callers] complicated Contras > > Hi All: > I have a few "experienced" afternoon workshops coming up and I'm tired of my > material. I'm wondering if any of you have favorite challenging contras that > you'd like to share? I'm looking for any dances that are intermediate or > advanced in nature and dances that you wouldn't do on a regular night. > > Thanks so much. > Donna Hunt > > ___ > Callers mailing list > call...@sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers
Re: [Callers] Calling to the tune Sheepskin and Beeswax
On 1/7/2014 10:20 AM, Greg McKenzie wrote: I try to remember to let the band know that when I count out four beats with my fingers it is a signal that the first figure of the dance starts right after those beats. I warn them that if something goes "wrong" or if I get confused I will give them that signal to make it clear where the "top" of the dance is. This signal is useful if the band drops a "B" part or if the dance gets off synch for any reason. It can also signal that the particular tune, or arrangement, might be confusing to dancers. - Greg McKenzie That's one of those cues that you don't need often, but when you do, hoo-boy is it useful! I'll try to remember to add this to my pre-game chat with the band. I've certainly needed it a couple of times, but haven't had the sign-language vocabulary to express it. Thanks for providing that, Greg. Kalia
[Callers] Some history of Cross Trail Thru (was Re: Square through vs Cross-trail)
On Tue, Dec 31, 2013, Andrea Nettleton wrote: ... My club squares caller would have a cow if anyone danced a cross trail as anything but a pass thru and half sashay. and on Dec 31, 2013, at 8:01 PM, Aahz Maruch replied: Finally! I was wondering if all the talk about turning meant that my brane was b0rken, that's certainly the definition I remember. In my earlier message (Dec 29, 2013, at 10:58 PM), I (Jim Saxe) had written about Cross Trail Thru historically having involved a curving action. I also emphasized that I was omitting details. Here are some of the omitted details. * * * * * * * * * * The current CALLERLAB definition of "Cross Trail Thru" says: From facing couples: As one smooth motion, Pass Thru and Half Sashay. Ends in couples back-to-back. Note: When one hears "Cross Trail Thru To Your Corner; Allemande Left", the Cross Trail Thru is danced, as one smooth motion, Pass Thru and left-shoulder Partner Tag. [For those unfamiliar with the term "Partner Tag", the definition is From a couple or mini-wave, dancers turn to face each other and pass thru. (where a "couple" means a pair of dancers side by side facing the same direction, regardless of whether they are original partners, and even regardless of their gender roles). I'm only mentioning this to explain the note in the definition above. I can't think of any reason for a contra caller or a traditional square caller to utter the phrase "partner tag" to dancers, and I think there's ample reason to avoid it in favor of more descriptive terminology.] The main part of the definition above (excluding the special case "Cross Trail Thru To Your Corner; Allemande Left") is what Andrea and Aahz are referring to. However, the term "Cross Trail Thru" (or "Through") entered the square dance lexicon over sixty years ago (I've seen sources that date it to 1940 and others suggesting it's from a few years later), in an era when definitions were much less codified than they are in Modern Western Square Dancing (MWSD) today. It is also a term about which there has been a good deal of controversy over the years, with some callers insisting it should be defined to end with facing in original directions (as in the current CALLERLAB definition) and others saying that it involves a curving action or that the ending position depends on the next call. Additionally, some historic definitions also say that if dancers are already facing out, they can do the call without the initial "Pass Thru". There's also a version with an "active" and an "inactive" couple, where the actives cross diagonally through the inactives and the inactives essentially stay put. I think this last version may be what Jean Francis had in mind when writing (in a message posted Dec 29, 2013, at 7:18 PM): A cross trail forms an "x" pattern similar to the beginning of a 1/2 figure 8 One source I've found says that if the call is started from couples with ladies on the left of the gents, then it is still the ladies who cross in front. Most sources, if they mention varied gender arrangements at all, say that it is always the dancer originally on the right in each couple who crosses in front of the dancer originally on the left, regardless of gender. * * * * * * * * * * I could quote descriptions of Cross Trail Thru (and variant call names) as published in a variety of sources over the years, but to keep this message from becoming a good deal longer that it's already getting to be, I'll simply suggest that readers who want to get some sense of the controversy over the definition take a look at the following pages in old issues of _Sets In Order_ magazine: * Vol. IX, No. 5, May 1957, p. 11 [Note: "Pattison" is misspelled as "Patterson".] * Vol. XXIII, No. 5, May 1971, p. 15 * Vol. XXV, No. 6, June 1973, pp. 16-17 * Vol. XXIX, No. 10, October 1977. p. 15 The complete run of the magazine is available online at http://digitaldu.coalliance.org/fedora/repository/codu:59239 * * * * * * * * * * Based on the current CALLERLAB definitions document, it's clear which faction in this controversy won out in the MWSD world. My impression is that a significant number of the dissenters were not whole-heartedly won over to the prevailing view, but merely outvoted, and that discord over the call was a big part of what led to it being dropped from the Basic list 20 years ago and moved to Advanced. Given the nature of MWSD, I can see why many callers would prefer call definitions that leave dancers facing definitely parallel or definitely at right angles to original directions over definitions that involve smoothly curving turns and vague dependencies on subsequent calls. But "Cross Trail Through" dates from a time before the divide between MWSD and "traditional" SD was nearly as great as i
Re: [Callers] Complicated Contras
I like a good well balanced proper dance *La Poussette Peculiar* Properby Jim Hemphill A1 1/2 Poussette (clockwise) 2nd corners swing in the center A2 Down the hall in lines of 4 Center 2 Turn as a couple, ends alone and come back B1 Invert the line and swing your partner (1's arch as they bend the line, lady 2 leads the end of the line thru the arch as they cross the set) B2 Long lines forward, 2's roll away with 1/2 sashay on the way back Circle right 3 The progression, as you complete the circle right 3, drop hands with current neighbors, take 2 hands with partner and start the clockwise poussette with next neighbors.
Re: [Callers] Some history of Cross Trail Thru (was Re: Square through vs Cross-trail)
On 1/7/2014 5:31 PM, James Saxe wrote: The complete run of the magazine is available online at http://digitaldu.coalliance.org/fedora/repository/codu:59239 It seems like large chunks of the set are missing and many are mislabeled. For example if you look at March of 1955 you actually get March of 1954 instead. However, since they aren't sorted in chronological order it's hard to tell for sure what is, or isn't, missing. Jonathan
[Callers] wireless Mic
Several folks asked what kind of SHURE mic I have. It is a PGX1 and comes in either a headset or a stick mic. The transmitter is separate from the headset, but I don't have any problems with it. It isn't very heavy and so doesn't weigh down the waistband of my skirt. I also keep a tiny pouch with a shoulder strap in the case so if I am wearing a dress and don't have a waistband, I just slip it into the pouch. JoLaine -- JoLaine Jones-Pokorney "We are as gods and might as well get good at it!" - Stewart Brand
Re: [Callers] wireless Mic
And you've been happy with this thus far? Do you have both the head set and the hand held? I have heard that Shure are dependable and overall most are happy with them. Laurie West MI On Tuesday, January 7, 2014 7:33 PM, JoLaine Jones-Pokorney wrote: Several folks asked what kind of SHURE mic I have. It is a PGX1 and comes >in either a headset or a stick mic. The transmitter is separate from the >headset, but I don't have any problems with it. It isn't very heavy and so >doesn't weigh down the waistband of my skirt. I also keep a tiny pouch >with a shoulder strap in the case so if I am wearing a dress and don't have >a waistband, I just slip it into the pouch. >JoLaine > >-- >JoLaine Jones-Pokorney > >"We are as gods and might as well get good at it!" >- Stewart Brand >___ >Callers mailing list >call...@sharedweight.net >http://www.sharedweight.net/mailman/listinfo/callers > > >
[Callers] Sets In Order online
In my recent long message about the history of "Cross Trail Thru", I mentioned that the complete run of _Sets In Order_ (a/k/a _Square Dancing_) magazine has been put online and is accessible at: http://digitaldu.coalliance.org/fedora/repository/codu:59239 I think this is a terrific resource, and not only for those of us interested in historical minutiae. Especially in the first ten years or so of publication, there were lots of dances either suitable for use or easily adapted for use by "traditional"-style square callers. On Jan 7, 2014, at 3:48 PM, Jonathan Sivier wrote: It seems like large chunks of the set are missing and many are mislabeled. For example if you look at March of 1955 you actually get March of 1954 instead. However, since they aren't sorted in chronological order it's hard to tell for sure what is, or isn't, missing. I don't think large chunks are missing, but they are indeed sorted into a very strange order. Issues within the volumes are generally sorted "alphabetically" by number: 1, 10, 11, 12, 2, 3, 4, 5, 6, 7, 8, 9 And the volumes are in a weird and irregular order First Vols. 1, 10-15 then the isolated number Vol. 17, No. 12 then Vols. 18, 19, 2, 21, 3-9, 16, then the rest of Vol. 17 then Vols. 22-37 Jonathan is correct that attempting to access the March 1955 issue gets you to the March 1954 issue. I don't know how many errors of this sort there are or where to report this one. There's a box labeled "Search within titles", but it doesn't work for me. I'm running Safari, Version 5.0.6. I'd be interested in knowing whether that search box works for people running other browsers. Clicking the tab labeled "Advanced Search" gets you to http://digitaldu.coalliance.org/advanced_search Queries there search a larger corpus of which the _Sets In Order_ collection is only a part. To keep search results from getting polluted with lots of irrelevant hits, you can search for "Sets In Order" in "Titles" together with some other phrase in "Full Text". Once you have a single issue displayed in your browser (or downloaded and displayed in a PDF viewer), the PDF is full-text searchable. The OCR seems generally to be pretty good, though some text in unusual fonts or white-on-black (as in some of the headings and some of the ads) hasn't been scanned. --Jim
Re: [Callers] Complicated Contras....
-- >Message: 1 >Date: Tue, 7 Jan 2014 11:04:04 -0500 (EST) >From: Donna Hunt >Subject: [Callers] complicated Contras > >Hi All: >I have a few "experienced" afternoon workshops coming up and I'm tired of >my material. I'm wondering if any of you have favorite challenging contras >that you'd like to share? I'm looking for any dances that are intermediate >or advanced in nature and dances that you wouldn't do on a regular night. Hey Donna, I know that felling :-) Maia, Seth and Zoe mentioned some of the dances I would have suggested. A few more of my current faves are: Dulcimer Lady - Jim Kitch Fiddle Tales - Cary Ravitz Flapjack Express - Joseph Pimentel George is Reddy Willing and Able - Dean Snipes Indigo Silk - Lynn Ackerson Our House - Dean Snipes Whirl of Fortune - Cary Ravitz Hope that helps, Bev
