Contra Callers May 2007

contracallers@lists.sharedweight.net

24 participants
29 discussions

by robertgolder＠comcast.net

I can only speak with reference to calling at NEFFA, as I have never applied to DownEast. As some of you may know that Linda Leslie is NEFFA's program chair, I will note that the program chair does not select performers for contra sessions. Regarding NEFFA 2007, the following notice is now posted at http://neffa.org/perf_app.html - The Program Committee is not prepared to take your application at this time, since it is too late to apply for this year's NEFFA Festival. Please note that the application to perform is always available during the month of September, with a deadline in October. If you'd like to get an e-mail notice of application availability, send a blank e-mail to NEFFA_Performers-subscribe(a)yahoogroups.com So you can note on your calendar that September is a good time to check the NEFFA web site, and also arrange for a notice to pop up in your e-mail. The NEFFA application invites you to come up with a briefly-described theme for your session, with a title of 20 characters or less. IMO, use your own judgment as to how important the theme is. If you are offering a concept that's really meaningful to you, don't be afraid to describe it. If what you really want to do is just call some hot contras, then IMO I wouldn't go overboard on the theme. Unlike Northwest Folklife, callers and bands apply SEPARATELY to the New England Folk Festival. And I believe that this is a very good thing for beginning callers who hope to have a chance at getting onstage. This mix-and-match policy gives a fresh perspective for experienced performers, and can be an eye-opening experience for newcomers who may get to work with seasoned veterans. I will never forget calling at NEFFA with Northern Spy, a band that has worked with caller David Millstone for 25 years. And where was David during this session? Out on the floor, happily dancing to the music of his own band. NEFFA's selection process made that wonderful hour possible for me. For what it's worth, the first year I successfully applied I asked for a "Festival Orchestra" slot, which means that instead of calling a themed, hour-long session I called two dances in the Main Hall with the assembled orchestra and then got off the stage as the next Festival Orchestra caller had a turn. IMO, the key here (as well as in submitting a session proposal) is to choose dances that you know by heart, can teach well, fully believe in, and love to share with a crowd. You don't want to have second thoughts as you approach the microphone. If you're wondering why performer applications are required so far in advance of a festival, note that NEFFA may have 1700 performers, many of whom perform in multiple sessions (perhaps performing alone, and with a participatory dance group, and also with a concert performance group!). You can't doublebook a performer (or larger groups to which she may belong), you have to give her time to move from one venue to another, plus a bunch of other scheduling etceteras that would drive me loony to contemplate further. How scheduling was done in the days before computers is beyond me. -- Robert Jon Golder 164 Maxfield St New Bedford, MA 02740 (508) 999-2486

4 years, 6 months

48 BAR Dance

by mavis mcgaugh

Hi I saw a 48 bar dance called Beatrice by Erik Hoffmann - intrigued me. I am planning to use it in December --- spoke with the band about a 48 Bar tune set. Never called a 48 Bar dance before ---- anything tricky about it - aside from the length issue - staying focused for that extra section? thanks for any insights. Mavis L McGaugh 510-814-8118 (answering machine-leave message) ____________________________________________________________________________________ Sponsored Link Get an Online or Campus degree Associate's, Bachelor's, or Master's - in less than one year. http://www.findtherightschool.com

17 years, 1 month

searching for Oddville

by Tina Fields

-- the dance, not the mental state. <g> Erik Weber called it at Folklife in Seattle last weekend, to his tune of a similar name "Oddville Cupola," and I *loved* it. He said the call is posted on his website, but I can't seem to locate him online. Can anyone hook me up with how to call this dance? Thanks! Tina Fields Tina R. Fields, Ph.D. (707) 824-9318 "Hindsight Now!"

17 years, 6 months

slow down...

by Chris Weiler

Had an interesting gig this weekend (a good one, just interesting). Things were going along smoothly, I thought. The fiddler had made a comment earlier that I had a high ratio of playing time to down time, but I didn't think much of it. Before we started the 2nd to last dance of the first half, and I was waiting for the band to be ready to start the music, the fiddler snaps at me that I'm teaching too fast and it's much to stressful for choosing tunes! I looked him straight in the eye, apologized, and then promised to slow down. I spent the next bit of time trying to figure out how to slow down. Couldn't think of too many ways. I slowed my pace of teaching down. I made sure to take a minute and talk to the band before even requesting that people line up. I introduced the band before the next dance (although this probably didn't add any time for the fiddler to think about tune selection). We made nice at the break and he explained that he was under stress in other areas of his life. I had done my homework (so I thought) and done my pre-dance interview - turns out with the wrong musician! The fiddler was the real leader and he had shown up at the last minute and was too busy setting up to talk. Some other fun points: I announced in the 2nd half that we were going to dance Chorus Jig and the crowd ohhhed and ahhhed and scrambled to line up!! For the 2nd dance of the evening, we had about 15-20 kids show up. Some had danced before and they did fine! I had to adjust my language because I would call a ladies chain and a bunch of the dancers would go over and back. 8^) All in all a fun dance! I'd love to hear your thoughts about slowing down the teaching for musicians who need more time for tune selection. Any techniques? Since I really try to match my dances to the level of the dancers, I rarely need a 2nd walkthrough. And since I time my teaching off of the dancer's speed of doing the moves (calling the next while they're finishing the previous move), not much time to add there. Happy Dancing! Chris Weiler Goffstown, NH www.chrisweiler.ws

17 years, 6 months

Re: [Callers] Slow down?

by Amy Larkin

I consider it part of my job as a fiddler to be ready when the caller is ready to start the dance. Though there can be something to recommend giving people time to talk to each other between dances, there are some fast paced urban dances where folks seem to prefer launching right in to the next dance. They do their talking during the walk-through, or during the dance. (I like those kinds of dances evenings myself!) That's why we use amplification! More music and dancing, people can talk anytime. Though I was recently on stage with another fiddler who told the caller to slow down because we weren't used to working together, and it was challenging to pick tunes in time. Always useful to have the odd joke in your pocket..." the frog who says: "if you kiss me I'll turn into a handsome contradance caller" and the fiddler who says: "you're worth more to me as a talking frog!" well, you get the idea... Enjoying the list, Amy Larkin callers-request(a)sharedweight.net wrote: > Send Callers mailing list submissions to > callers(a)sharedweight.net > > To subscribe or unsubscribe via the World Wide Web, visit > http://www.sharedweight.net/mailman/listinfo/callers > or, via email, send a message with subject or body 'help' to > callers-request(a)sharedweight.net > > You can reach the person managing the list at > callers-owner(a)sharedweight.net > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Callers digest..." > > > Today's Topics: > > 1. slow down... (Chris Weiler) > 2. Re: slow down... (Peter Amidon) > 3. Re: slow down... (Dan Black) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Tue, 29 May 2007 06:57:01 -0400 > From: Chris Weiler <chris.weiler(a)weirdtable.org> > Subject: [Callers] slow down... > To: Shared Weight <callers(a)sharedweight.net> > Message-ID: <465C06FD.5090907(a)weirdtable.org> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > Had an interesting gig this weekend (a good one, just interesting). > Things were going along smoothly, I thought. The fiddler had made a > comment earlier that I had a high ratio of playing time to down time, > but I didn't think much of it. Before we started the 2nd to last dance > of the first half, and I was waiting for the band to be ready to start > the music, the fiddler snaps at me that I'm teaching too fast and it's > much to stressful for choosing tunes! I looked him straight in the eye, > apologized, and then promised to slow down. I spent the next bit of time > trying to figure out how to slow down. Couldn't think of too many ways. > I slowed my pace of teaching down. I made sure to take a minute and talk > to the band before even requesting that people line up. I introduced the > band before the next dance (although this probably didn't add any time > for the fiddler to think about tune selection). > > We made nice at the break and he explained that he was under stress in > other areas of his life. I had done my homework (so I thought) and done > my pre-dance interview - turns out with the wrong musician! The fiddler > was the real leader and he had shown up at the last minute and was too > busy setting up to talk. > > Some other fun points: I announced in the 2nd half that we were going to > dance Chorus Jig and the crowd ohhhed and ahhhed and scrambled to line > up!! For the 2nd dance of the evening, we had about 15-20 kids show up. > Some had danced before and they did fine! I had to adjust my language > because I would call a ladies chain and a bunch of the dancers would go > over and back. 8^) > > All in all a fun dance! I'd love to hear your thoughts about slowing > down the teaching for musicians who need more time for tune selection. > Any techniques? Since I really try to match my dances to the level of > the dancers, I rarely need a 2nd walkthrough. And since I time my > teaching off of the dancer's speed of doing the moves (calling the next > while they're finishing the previous move), not much time to add there. > > Happy Dancing! > > Chris Weiler > Goffstown, NH > www.chrisweiler.ws > > > > > ------------------------------ > > Message: 2 > Date: Tue, 29 May 2007 07:31:09 -0400 > From: Peter Amidon <peter(a)amidonmusic.com> > Subject: Re: [Callers] slow down... > To: "Caller's discussion list" <callers(a)sharedweight.net> > Message-ID: <p06230925c281be4decef(a)[192.168.1.100]> > Content-Type: text/plain; charset="us-ascii" ; format="flowed" > > When I first called in Greenfield I was filling in for David Kaynor, > and Mary Cay, wanting to keep it a David Kaynor-styled dance, said > that David always let the folks chat for a bit after they have lined > up. Now I do that at all my dances. I just stand there and do > nothing for a while. A touch of Zen. > > This makes the evening more relaxed and social, helps keep the > dancers from getting exhausted, gives the musicians more time > to figure out their music, and allows me to do a mental rehearsal > of the teaching and calling of the dance before I do a walk through. > > I think walk throughs should always be efficient. I only slow > them down when that benefits the dancers. > > Thanks for the interesting question. > > -Peter Amidon > > >> Had an interesting gig this weekend (a good one, just interesting). >> Things were going along smoothly, I thought. The fiddler had made a >> comment earlier that I had a high ratio of playing time to down time, >> but I didn't think much of it. Before we started the 2nd to last dance >> of the first half, and I was waiting for the band to be ready to start >> the music, the fiddler snaps at me that I'm teaching too fast and it's >> much to stressful for choosing tunes! I looked him straight in the eye, >> apologized, and then promised to slow down. I spent the next bit of time >> trying to figure out how to slow down. Couldn't think of too many ways. >> I slowed my pace of teaching down. I made sure to take a minute and talk >> to the band before even requesting that people line up. I introduced the >> band before the next dance (although this probably didn't add any time >> for the fiddler to think about tune selection). >> >> We made nice at the break and he explained that he was under stress in >> other areas of his life. I had done my homework (so I thought) and done >> my pre-dance interview - turns out with the wrong musician! The fiddler >> was the real leader and he had shown up at the last minute and was too >> busy setting up to talk. >> >> Some other fun points: I announced in the 2nd half that we were going to >> dance Chorus Jig and the crowd ohhhed and ahhhed and scrambled to line >> up!! For the 2nd dance of the evening, we had about 15-20 kids show up. >> Some had danced before and they did fine! I had to adjust my language >> because I would call a ladies chain and a bunch of the dancers would go >> over and back. 8^) >> >> All in all a fun dance! I'd love to hear your thoughts about slowing >> down the teaching for musicians who need more time for tune selection. >> Any techniques? Since I really try to match my dances to the level of >> the dancers, I rarely need a 2nd walkthrough. And since I time my >> teaching off of the dancer's speed of doing the moves (calling the next >> while they're finishing the previous move), not much time to add there. >> >> Happy Dancing! >> >> Chris Weiler >> Goffstown, NH >> www.chrisweiler.ws >> >> >> _______________________________________________ >> Callers mailing list >> Callers(a)sharedweight.net >> http://www.sharedweight.net/mailman/listinfo/callers >> > > > > ------------------------------ > > Message: 3 > Date: Tue, 29 May 2007 05:08:52 -0700 (PDT) > From: Dan Black <blackjunier(a)yahoo.com> > Subject: Re: [Callers] slow down... > To: Caller's discussion list <callers(a)sharedweight.net> > Message-ID: <645212.36567.qm(a)web52206.mail.re2.yahoo.com> > Content-Type: text/plain; charset=ascii > > Chris, > > I have had the band comment time to play again so soon. Since we have similiar professions, efficiency is so important. Just standing there is a challenge for me. When it is hot like it was this Sat in Bethlehem Pa, I have to force myself to let the dancers talks for a minute or two. Also, I forget the band may want to talk to each other. The band was the Contrapolitans with Rich Mohr sitting in, they were incredible and had alot of fun on stage. There was a few times I just had to watch the clock and not say anything until the digital clock on stage changed to the next minute. It was reassuring noticing the dancers talking all along the line and letting them talk for a minute or so felt good to me. It may benefit me to reread the section of Give & Take regarding time management. For a numbers guy like me, this information was so helpful. Thanks for the reminder Chris > > ----- Original Message ---- > From: Chris Weiler <chris.weiler(a)weirdtable.org> > To: Shared Weight <callers(a)sharedweight.net> > Sent: Tuesday, May 29, 2007 6:57:01 AM > Subject: [Callers] slow down... > > > Had an interesting gig this weekend (a good one, just interesting). > Things were going along smoothly, I thought. The fiddler had made a > comment earlier that I had a high ratio of playing time to down time, > but I didn't think much of it. Before we started the 2nd to last dance > of the first half, and I was waiting for the band to be ready to start > the music, the fiddler snaps at me that I'm teaching too fast and it's > much to stressful for choosing tunes! I looked him straight in the eye, > apologized, and then promised to slow down. I spent the next bit of time > trying to figure out how to slow down. Couldn't think of too many ways. > I slowed my pace of teaching down. I made sure to take a minute and talk > to the band before even requesting that people line up. I introduced the > band before the next dance (although this probably didn't add any time > for the fiddler to think about tune selection). > > We made nice at the break and he explained that he was under stress in > other areas of his life. I had done my homework (so I thought) and done > my pre-dance interview - turns out with the wrong musician! The fiddler > was the real leader and he had shown up at the last minute and was too > busy setting up to talk. > > Some other fun points: I announced in the 2nd half that we were going to > dance Chorus Jig and the crowd ohhhed and ahhhed and scrambled to line > up!! For the 2nd dance of the evening, we had about 15-20 kids show up. > Some had danced before and they did fine! I had to adjust my language > because I would call a ladies chain and a bunch of the dancers would go > over and back. 8^) > > All in all a fun dance! I'd love to hear your thoughts about slowing > down the teaching for musicians who need more time for tune selection. > Any techniques? Since I really try to match my dances to the level of > the dancers, I rarely need a 2nd walkthrough. And since I time my > teaching off of the dancer's speed of doing the moves (calling the next > while they're finishing the previous move), not much time to add there. > > Happy Dancing! > > Chris Weiler > Goffstown, NH > www.chrisweiler.ws > > > _______________________________________________ > Callers mailing list > Callers(a)sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > > > > ____________________________________________________________________________________Looking for a deal? Find great prices on flights and hotels with Yahoo! FareChase. > http://farechase.yahoo.com/ > > > ------------------------------ > > _______________________________________________ > Callers mailing list > Callers(a)sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > > > End of Callers Digest, Vol 33, Issue 11 > *************************************** > >

17 years, 6 months

Re: [Callers] slow down...

by David.Millstone＠VALLEY.NET

Jeff wrote: "My thinking is that dancers are there to dance, so that is what I am going to provide for them." What are the implications of this for those people who come to the dance as an opportunity to socialize with other members of their community? Yes, they want to dance-- they did come to the dance, after all, not to the turkey supper-- but having an opportunity to talk with friends and neighbors may be high on their list of reasons why they came. > I am looking to do 14 dances and looking to go 14 times through ... [snip] Even amounts of time (12, 14, 16) all that the top couple be in the for the last time of the dance. Assuming you're calling duple minor dances, which I suspect is the case, doesn't even amounts of time through the dance have the opposite effect, that the top couple is left standing out? # of times 1 Top couple is involved 2 New top couple is waiting out 3 Top couple involved again etc. I heartily agree with Jeff that I don't generally want a dance to run on too long, although there are exceptions: * If the band has a set of three tunes that they want to play, they may want more room to stretch out. Four times through a tune is often not enough for the musicians to show their stuff, and dancers do appreciate hearing a well-planned medley of tunes. * If there's a dance with a lot of newcomers present, sometimes it's worth running it longer so that they can feel successful. It may take them longer than more experienced dancers to catch on to the choreography of a particular dance, and then once they've got it, it's nice to give 'em a chance to just dance. * Similarly, if there's a dance that is unequal (#1s have more activity than #2s, for example), I might run it longer so that more couples get a chance to be #1s. (Of course, another way to achieve that effect is to ask for shorter sets, but not all dance series have dancers who will agree to such a request from the caller.) * I think the main reason I'd keep dances shorter, though-- and this is just one of many reasons why I like to include triplets, or a mixer, or a square, or some other odd formation dance-- is that shorter repetitions means dancers have more opportunity to switch around. David Millstone

17 years, 6 months

Re: [Callers] slow down...

by Dan Black

Chris, I have had the band comment time to play again so soon. Since we have similiar professions, efficiency is so important. Just standing there is a challenge for me. When it is hot like it was this Sat in Bethlehem Pa, I have to force myself to let the dancers talks for a minute or two. Also, I forget the band may want to talk to each other. The band was the Contrapolitans with Rich Mohr sitting in, they were incredible and had alot of fun on stage. There was a few times I just had to watch the clock and not say anything until the digital clock on stage changed to the next minute. It was reassuring noticing the dancers talking all along the line and letting them talk for a minute or so felt good to me. It may benefit me to reread the section of Give & Take regarding time management. For a numbers guy like me, this information was so helpful. Thanks for the reminder Chris ----- Original Message ---- From: Chris Weiler <chris.weiler(a)weirdtable.org> To: Shared Weight <callers(a)sharedweight.net> Sent: Tuesday, May 29, 2007 6:57:01 AM Subject: [Callers] slow down... Had an interesting gig this weekend (a good one, just interesting). Things were going along smoothly, I thought. The fiddler had made a comment earlier that I had a high ratio of playing time to down time, but I didn't think much of it. Before we started the 2nd to last dance of the first half, and I was waiting for the band to be ready to start the music, the fiddler snaps at me that I'm teaching too fast and it's much to stressful for choosing tunes! I looked him straight in the eye, apologized, and then promised to slow down. I spent the next bit of time trying to figure out how to slow down. Couldn't think of too many ways. I slowed my pace of teaching down. I made sure to take a minute and talk to the band before even requesting that people line up. I introduced the band before the next dance (although this probably didn't add any time for the fiddler to think about tune selection). We made nice at the break and he explained that he was under stress in other areas of his life. I had done my homework (so I thought) and done my pre-dance interview - turns out with the wrong musician! The fiddler was the real leader and he had shown up at the last minute and was too busy setting up to talk. Some other fun points: I announced in the 2nd half that we were going to dance Chorus Jig and the crowd ohhhed and ahhhed and scrambled to line up!! For the 2nd dance of the evening, we had about 15-20 kids show up. Some had danced before and they did fine! I had to adjust my language because I would call a ladies chain and a bunch of the dancers would go over and back. 8^) All in all a fun dance! I'd love to hear your thoughts about slowing down the teaching for musicians who need more time for tune selection. Any techniques? Since I really try to match my dances to the level of the dancers, I rarely need a 2nd walkthrough. And since I time my teaching off of the dancer's speed of doing the moves (calling the next while they're finishing the previous move), not much time to add there. Happy Dancing! Chris Weiler Goffstown, NH www.chrisweiler.ws _______________________________________________ Callers mailing list Callers(a)sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers ____________________________________________________________________________________Looking for a deal? Find great prices on flights and hotels with Yahoo! FareChase. http://farechase.yahoo.com/

17 years, 6 months

New SharedWeight lists

by Chris Weiler

I apologize if I sent this to anyone twice. Some of you know about an e-mail list that Seth Seeger and I have been running called Shared Weight. The list callers(a)sharedweight.net has been running for 2 1/2 years now and we consider it to be a great success. It was intended to be and has become a resource for people new to calling for traditional dance to come and learn from experienced people. If you are not familiar with the list, please check it out. The archives are public, so you can read what the posts are like: http://www.sharedweight.net/ I am considering starting two new lists on the website: organizers(a)sharedweight.net and musicians(a)sharedweight.net. It should be obvious that these new lists would be targeted at organizers and musicians for traditional dancing. We would hope to have a core group of experienced people and also new people to share information about these subjects. You have been included in this e-mail because you either subscribe to the callers list, or are an organizer or musician that I have an e-mail address for. Since I am a caller who is also an organizer and is working on jumping into the 3rd category, I have an interest in promoting the growth of all of these. Please take some time and consider whether or not you would be interested in joining either of these new lists. I welcome any comments or questions as well. Please feel free to forward this to anyone who you think might be interested. Thank you for your time. Happy Dancing!!! (and calling, organizing and playing!!) Chris Weiler Goffstown, NH http://www.sharedweight.net/ http://www.chrisweiler.ws/

17 years, 7 months

Caller's Throat Responds

by Rickey

Hi, I want to thank you all for all of your suggestions about my throat problems. I have made a list of your suggestions and followed many. While I have so far skipped booze, I do have a nice collection of rather interesting teas. I wanted to tell you what the Ear Nose and Throat Specialist said. He took a look, I won't describe how, and said that the cause of my discomfort was acid reflux, which had caused some of the tissue below the vocal chords to swell a bit. So I'm on (tasteless) meds. He said that this was so common that in his practice he had almost seen no other cause of this, and he said that acid reflux problems were very very common. So be warned. I will continue to follow (most of) your wonderful advice, and take my medicine. Rickey Holt.

17 years, 7 months

Re: [Callers] Earth and Sky, Slapping the Wood and The Rendezvous

by David.Millstone＠VALLEY.NET

Hi Rickey, Slapping the Wood B2- Circle left 3/4 Balance the ring, California twirl to face new neighbors That seems to me to time out comfortably-- a leisurely circle left ion eight counts, balance in four, and twirl with the remaining four. Doing what your friend suggested-- double balance-- seems mighty frenzied. You'd need to circle left in six counts-- certainly possible, but needs everyone rarin' to go, double balance for eight, and race through the twirl in two counts. Why the rush? The Rendezvous The couple waiting out could wait on one side as if they were progressing around in the more common clockwise progression Becket formation dance. In this way, they'd be in place on the side when the next couple slid into place to circle left with them. In practice, though, it doesn't matter a whole lot. If they wait out at the end in the way they normally for a duple improper dance-- i.e., improper at the top of the set, proper at the bottom-- the couple approaching them will get them into position soon enough. Dan's composition appears in Zesty Contras way back in 1983, and Larry gave it high praise: "No question about it: a fully zesty dance!" This from a man who did not use exclamation points lightly. And I haven't danced Earth and Sky, but it certainly looks interesting. So many dances, so little time... David Millstone

17 years, 7 months

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Contra Callers May 2007