I have yet to call a dance with a cloverleaf in it because I am not
comfortable with teaching the walk thru. The Connectrix by Rick Mohr has
such a cloverleaf.
Any suggestions on good teaching language, and any other dances with such a
cloverleaf would be welcomed.
Thanks,
Rich Sbardella
CT
Tom asked about combinations of Chassee and Heel & Toe in old English
dances.
Well first of all, these days in England we usually say Gallop rather than
Chassee.
It depends on what you mean by old. I have these in my box:
Pat-a-Cake Polka
The Swedish Masquerade (thought that is a polka rather than a gallop)
Ping
Wee Willie
Redwing Mixer (1950s I think)
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
Laurie,
Jim makes good points. Think of the "pass through, circle left,
pass through" as one extended 16 beat figure rather than trying to break
it into 2 8 beat figures with the circle crossing the middle of the
phrase. When I'm calling this dance the 2nd half of the dance goes
something like this (as best I can recall sitting at my computer).
(starting on the last 2 beats of the previous phrase)
pass through, (pause for a beat), turn alone, circle left, (pause for a
few beats), pass through, (pause for a beat or so), balance and swing
The "turn alone, circle left" goes very quickly, taking maybe only 2
beats. The rest tends to be slower, one word per beat. Writing this
out may not be the best way to convey my meaning, but hopefully it gives
you some idea.
Jonathan
-----
Jonathan Sivier
Caller of Contra, Square, English and Early American Dances
jsivier AT illinois DOT edu
Dance Page: http://www.sivier.me/dance_leader.html
-----
Q: How many angels can dance on the head of a pin?
A: It depends on what dance you call!
On 3/31/2016 12:34 AM, James Saxe via Callers wrote:
> On Mar 30, 2016, at 9:35 PM, Laur via Callers <callers(a)lists.sharedweight.net> wrote:
>
>> I am not comfortable with the timing in Boomerang. Am I off or .. is there something I'm missing???
>>
>> I've tried (with my imaginary friends) several theories but - always the timing isn't quite there.
>>
>> Laurie
>> West MI
>
> Laurie,
>
> You don't say what part of the dance you're uncomfortable with, but
> I'm going to guess that it's the B1 part. The timing as given by
> Gene Hubert in _Dizzy Dances, Volume II_ is:
>
> Pass thru ACROSS the set and turn alone(4).
> Circle left, go all the way around(8).
> Pass thru ALONG the set to meet your partner(4).
>
> The timing is a bit unusual in that the circle crosses the middle
> of the phrase, but I don't think there's anything wrong with it.
> Dancers who aren't used to circling all the way around in 8 beats
> can make up time on the pass thru (or pull thru) along and on the
> forward part of the subsequent balance. On the other hand, if the
> dancers can easily circle once in 8 beats and if they think that 4
> beats for pass thru along is a bit leisurely, they can try rearing
> back at the end of the circle, or even add a spin during the pass
> thru.
>
> You can see a video of _Boomerang_ here:
>
> https://www.youtube.com/watch?v=zj49YHAMGnk
>
> (Thanks to Chris Page for supplying the title in a comment, so that
> the video was easy to find.) If you study the video, you'll see
> many examples of dancers managing to meet their partners just in
> time for the balance at the start of the B2 music--and also a few
> examples of dancers being either early or late. Beware that there
> are a number of places where the video cuts to a different camera
> angle and the new cut doesn't pick up at the same place in the tune
> as the previous cut ended.
>
> I hope some of this is helpful.
>
> Cheers,
> --Jim
I am not comfortable with the timing in Boomerang. Am I off or .. is there something I'm missing???
I've tried (with my imaginary friends) several theories but - always the timing isn't quite there.
LaurieWest MI ~ When I dance, I cannot judge, I cannot hate, I cannot separate myself from life. I can only be joyful and whole, that is why I dance. ~Hans Bos~ ~
Hi, Claire,
One triplet I have enjoyed is Rick Mohr's Triplet #2 (I've copied his notes
below). once dancers get the feel, the momentum of the 1's leading into the
circle at the beginning of A2 is very satisfying, as is the wave into the
hey.
I had it nearly fall apart one time when the group of people left were all
beginners, but they were having a good time and laughed throughout - either
caught up on the circle left or straightened out the set at the partner
swing at the end, so it worked well enough.
I used to coordinate an open band/open caller dance that got tons of
musicians but was often short on dancers, so it was handy to have
interesting dances that worked for very short sets. I also once improvised
Rory O'more as a triplet, but the memory is hazy now. I think I just had
the #1 couple swing to the bottom of the set at the end.
-Valerie Cohen, Seattle
Rick's Triplet #2
By Rick Mohr; January 28, 2002
Triplet, 1's Improper
Level: Intermediate/Advanced
A1: 1's cross *(passing right shoulders)*, go outside below 2's who move up
(6)
1's cross *(passing right shoulders)*, turn right, go outside around two
people *(ending proper)* (10)
A2: Circle left 6 hands round (12)
Allemande right with partner 3/4 (4)
*(Join left hands with neighbor to form a wave of six)*
B1: Balance the wave (4)
Half hey for 6 *(neighbors pass left shoulders to start)* (12)
B2: Balance and swing partner (16)
The figures of this dance fit the music phrases exactly, so it can be quite
satisfying if dancers are on the ball but somewhat unforgiving if they get
confused.
The active couple moves continuously in A1. First they cross around the 2's
to the middle position, and then without stopping they cross again and both
turn right—the man loops around the bottom couple while the woman loops
around the top couple. As the active dancers return to the middle position
(proper) all join hands and match their motion smoothly into a circle left.
The circle left in A2 takes 12 steps, so be aware to call the allemande
right in time for its four steps to end the phrase in time to balance the
wave at the start of B1. Then 12 weaving hey steps invert the set in time
for the partner balance and swing at the start of B2.
In terms of the original numbering, once through the dance leaves the
couples in a 3, 1, 2 sequence.
>
> Message: 1
> Date: Sat, 26 Mar 2016 11:22:05 -0400
> From: Bob Isaacs via Callers <callers(a)lists.sharedweight.net>
> To: Claire Takemori <cht(a)mac.com>, Shared Weight
> <callers(a)sharedweight.net>
> Subject: Re: [Callers] Favorite Triplet ?
> Message-ID: <SNT151-W13A3370BE1CAB812BBB30BAA840(a)phx.gbl>
> Content-Type: text/plain; charset="windows-1252"
>
>
>
>
> Hi Claire:
> If you want a triplet with contra corners and a hey for 6 (and very much
> for experienced dancers) then try:
> Cinnamon CrullerTriplet, properBI / 10-23-05
> A1. 1s cast to bottom, 1s up the center and 1/2 figure 8 below (2s move
> up)A2. 1s turn contra cornersB1. All partner allemande R 3/4, 1/2 hey for
> 6B2. Partner balance, swing - face up progressed (3-1-2)
> Bob
>
> > Date: Wed, 16 Mar 2016 22:51:38 -0700
> > To: callers(a)lists.sharedweight.net
> > Subject: [Callers] Favorite Triplet ?
> > From: callers(a)lists.sharedweight.net
> >
> > Hi everyone. I?m enjoying all the great information that is shared on
> this list. Thank you!
> >
> > I?m wondering if you have a favorite Triplet that would work for a very
> small but experienced contra dance with just 6 dancers left after the
> break? Ideally
Thank you all for the great triplets! I did call Dave’s Triplet #5 with a hey for 6 that they loved, but I was guest calling and so we had 3 triplets during my slot, but after the break it was down to 6-8 dancers and we were looking for choreography for small groups.
I appreciate your time and very helpful explanations of the choreography!
Claire Takemori (Bay Area, CA)
On Mar 30, 2016, at 1:01 PM, via Callers <callers(a)lists.sharedweight.net> wrote:
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Today's Topics:
1. Re: Favorite Triplet ? (Valerie Cohen via Callers)
2. Re: Favorite Triplet ? (Michael Barraclough via Callers)
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Message: 1
Date: Wed, 30 Mar 2016 10:50:31 -0700
From: Valerie Cohen via Callers <callers(a)lists.sharedweight.net>
To: callers(a)lists.sharedweight.net,
callers-request(a)lists.sharedweight.net
Subject: Re: [Callers] Favorite Triplet ?
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Hi, Claire,
One triplet I have enjoyed is Rick Mohr's Triplet #2 (I've copied his notes
below). once dancers get the feel, the momentum of the 1's leading into the
circle at the beginning of A2 is very satisfying, as is the wave into the
hey.
I had it nearly fall apart one time when the group of people left were all
beginners, but they were having a good time and laughed throughout - either
caught up on the circle left or straightened out the set at the partner
swing at the end, so it worked well enough.
I used to coordinate an open band/open caller dance that got tons of
musicians but was often short on dancers, so it was handy to have
interesting dances that worked for very short sets. I also once improvised
Rory O'more as a triplet, but the memory is hazy now. I think I just had
the #1 couple swing to the bottom of the set at the end.
-Valerie Cohen, Seattle
Rick's Triplet #2
By Rick Mohr; January 28, 2002
Triplet, 1's Improper
Level: Intermediate/Advanced
A1: 1's cross *(passing right shoulders)*, go outside below 2's who move up
(6)
1's cross *(passing right shoulders)*, turn right, go outside around two
people *(ending proper)* (10)
A2: Circle left 6 hands round (12)
Allemande right with partner 3/4 (4)
*(Join left hands with neighbor to form a wave of six)*
B1: Balance the wave (4)
Half hey for 6 *(neighbors pass left shoulders to start)* (12)
B2: Balance and swing partner (16)
The figures of this dance fit the music phrases exactly, so it can be quite
satisfying if dancers are on the ball but somewhat unforgiving if they get
confused.
The active couple moves continuously in A1. First they cross around the 2's
to the middle position, and then without stopping they cross again and both
turn right?the man loops around the bottom couple while the woman loops
around the top couple. As the active dancers return to the middle position
(proper) all join hands and match their motion smoothly into a circle left.
The circle left in A2 takes 12 steps, so be aware to call the allemande
right in time for its four steps to end the phrase in time to balance the
wave at the start of B1. Then 12 weaving hey steps invert the set in time
for the partner balance and swing at the start of B2.
In terms of the original numbering, once through the dance leaves the
couples in a 3, 1, 2 sequence.
>
> Message: 1
> Date: Sat, 26 Mar 2016 11:22:05 -0400
> From: Bob Isaacs via Callers <callers(a)lists.sharedweight.net>
> To: Claire Takemori <cht(a)mac.com>, Shared Weight
> <callers(a)sharedweight.net>
> Subject: Re: [Callers] Favorite Triplet ?
> Message-ID: <SNT151-W13A3370BE1CAB812BBB30BAA840(a)phx.gbl>
> Content-Type: text/plain; charset="windows-1252"
>
>
>
>
> Hi Claire:
> If you want a triplet with contra corners and a hey for 6 (and very much
> for experienced dancers) then try:
> Cinnamon CrullerTriplet, properBI / 10-23-05
> A1. 1s cast to bottom, 1s up the center and 1/2 figure 8 below (2s move
> up)A2. 1s turn contra cornersB1. All partner allemande R 3/4, 1/2 hey for
> 6B2. Partner balance, swing - face up progressed (3-1-2)
> Bob
>
>> Date: Wed, 16 Mar 2016 22:51:38 -0700
>> To: callers(a)lists.sharedweight.net
>> Subject: [Callers] Favorite Triplet ?
>> From: callers(a)lists.sharedweight.net
>>
>> Hi everyone. I?m enjoying all the great information that is shared on
> this list. Thank you!
>>
>> I?m wondering if you have a favorite Triplet that would work for a very
> small but experienced contra dance with just 6 dancers left after the
> break? Ideally
Thank you for the helpful comments when I shared this dance a few weeks
ago. I called the dance as written on 3/18/2016 at the Memorial Dance
for Charlie Fellows. It went ok but, as forecast, it was hard work to
ensure that the B2/A1 transition went smoothly. I have therefore changed
the dance slightly which I hope makes it a better dance. The original
B1and B2 have been swapped and the two 'trades' have been changed for a
'turn single' and a 'California Twirl'.
The final dance is as follows:
FOR HE'S A JOLLY GOOD FELLOW
Michael Barraclough (2016)
Longways improper
A1 Balance the ring, Petronella, Balance the ring, Turn Single
A2 Give & take (men take, neighbor swing)
B1 Give & take (men take, partner swing)
B2 Balance the ring, Petronella, Balance the ring, California Twirl
This keeps most of the symmetry/simplicity from the original but
improves the B2/A1 transition. Dancers eemed to like the double Give &
Take.
The full dance is available at
http://www.michaelbarraclough.com/24-dances-i-have-written/1090-for-he-s-a-…
--
Michael Barraclough
michael(a)michaelbarraclough.com
www.michaelbarraclough.com
While preparing to teach the beginners' session for tonight's dance in
Olympia, WA, I jotted down several figures I could teach that would be
simple enough, flow reasonably well and get them dancing. I looked at
my list and said, "Huh! This looks like an actual dance." I was
missing one figure to complete it. Today, while waiting for our caucus
to begin, I decided on the final figure. My caller/musician friend,
Valerie Cohen, who was sitting next to us, said I should call it the
Caucus Shuffle. I said I was planning to call it "Feelin' the Bern,"
to which she responded, "Then it should progress left." You're
welcome.
I think the dance works whether one starts at A1 or A2. Starting at A2
would end with a partner swing, which is always nice at the end of the
evening.
At any rate, here's the dance. My questions are, 1) does this already
exist? and 2) do you see any major problems with it?
Feelin' the Bern
Becket, improper contra
A1 Partner swing (16)
A2 Long lines forward and back (8)
Mad robin (ladies go in front) (8)
B1 Circle right 3 places (~8)
New neighbors star right (8)
B2 Neighbor allemande right (8)
Half hey (gents pass left), ladies ricochet (8)
-Amy
P.S. I'm going to call it tonight, but not for the beginner session.
I'll start by having everyone shuffle, single-file, around the oval of
the set, until they return to where they started.
I called Young Adult Rose last night and experienced a near-complete
dancer revolt about the shadow allemande. The dance is written with a
circle left 3/4, pass P by R along the line then allemande shadow R 1x,
before coming back to P for a balance and swing. The dancers all
_really_ wanted to do the allemande by the left. I tried calling it a
few times with the R hand, then gave up and called it L and they were
all much happier. Anyone else experienced this?
Kalia
Some thoughts on timing, in part inspired by the recent discussion of
"Young Adult Rose" (btw, I hope we get a series of dances up to and
including "Revered Elder Rose" -- alternatively "That Old Rascal Rose").
As the dancers get the dance into their body, I'll shift from calling early
for direction to calling on the beat for timing. Of course it would be
ideal to be able to do both; I think it's possible with artful word choice,
but not always, not for me.
Sometimes I get the control thing going and want to exert a strong
influence over the timing -- "balance Now!". It's often more fun to shut
up and let the dancers sort out the timing - it's great to see people
adjust to make a dance flow.
Sometimes I enjoy dancing a dance with imperfect timing or flow, just to
see how the hall will adjust and make sense of it. A lot of the figures we
dance are not so precise as we think they are; for example, many "allemande
once" figures are really more like 1/2, to reverse direction. This is why I
prefer to teach with "far enough so you can..." rather than "exactly N" --
I want the dancers to think about flow and connection, not about completing
one figure before attending to the next.
On the other hand, I'm a total curmudgeon about lazy not-quite-far-enough
circles. And being late for your neighbor? Awful. Breaks down the trust
that builds up when we're all there for each other, on time and in the
right place.
- Roger Hayes
