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
Square-through vs Cross-trail
Can anyone tell me what the difference is between these two figures, if
any? They show up in various different dances in my collection but they
both seem to be the figure that in English country dance we'd call "2
changes of rights and lefts" which is to say right hands to the person
across from you (either neighbor or partner, depending on where the
dance has taken you so far) and then left hands to the person in your
minor set who's next to you in line (again, either N or P). And in ECD
those 2 changes can sometimes start along the line instead of across,
which I assume can happen in contras as well though I haven't yet
encountered it.
And can anyone point to a really thorough online glossary of contra
terminology?
Kalia
I like a good well balanced proper dance
*La Poussette Peculiar* Proper by 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.
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: Callers(a)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
>deliaclark8(a)gmail.com
>
>
>
>
>_______________________________________________
>Callers mailing list
>Callers(a)sharedweight.net
>http://www.sharedweight.net/mailman/listinfo/callers
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
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 JosephPimental Indecent 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
A1 Circle L¾, Pass Thru
SwingNext (**notice this person)
A2 LadiesChain (**identify shadow #1 past partner)
Hey ½
B1 2 (Along line) R Gypsy ½ withShadow #1
4 L swat flea with Shadow #2
8 Ladies ½ hey over with A1 Swing person
2 R 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
A1 Neighborschange 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
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
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.
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
deliaclark8(a)gmail.com
Hi, I've come up with what I believe to be a new dance today... or is
it? A name awaits confirmation.
I'm interested in opinion on the best starting point for the dance. I
originally wrote the first version but it requires explaining the
set-up and I prefer keeping words to a minimum while teaching. The
rotated second version begins very straightforwardly but could mix up
some dancers whom are used to heys at the end of many dances being the
progression leading to a neighbor swing with/to a new neighbor.
Thanks,
Don
DV#3 Alpha A
DI, starts with 1s below 2s (swap places with opp. role N)
A1
4,4 Long Lines Fwd, G Roll L w/HS on way back
8 Mad Robin, G start into middle first
A2
2,2 Mad Robin continued 1/4 more*, all slide to new Ns* (progression)
4,8 G Allem. Rt. 1/2, P Swing
B1
8 L Chain
8 Hey 1/2 (L start by Rt., P Lt., G Rt. ...)
B2
4,12 N Bal. & Swing
* After the 1st 2 beats of A2 there is a transitory line of 4 facing
across the hall - two G are face to face in the center, L is facing
her N's back. All slide dir. of progression w/P so at beat 4 there is
a similar line with new Ns.
The timing in the A2 is "squishy" but generous and the swing should
bring it back into phrase alignment.
At ends, wait out facing P to slide in for G allemande.
=============
DV#3 Alpha B
DI
A1
4,12 N Bal. & Swing
A2
4,4 Long Lines Fwd, G Roll L w/HS on way back
8 Mad Robin, G start into middle first
B1
2,2 Mad Robin continued 1/4 more, all slide to new Ns (progression)
4,8 G Allem. Rt. 1/2, P Swing
B2
8 L Chain
8 Hey 1/2 (L start by Rt., P Lt., G Rt. ...), and WITH THIS N...
