Just a reminder to be kind to our digest receiving friends. Please make
sure the subject line is relevant to your post and trim away any
non-relevant portions of the previous posts from the bottom of your message.
There's a lot of traffic this week, so it makes for very long digests.
Thanks!
Chris Weiler
your friendly neighborhood admin
Craftsbury, VT
Hi,
In trying to organize my dances I have "Melanie's Triplet" and "Star Crazy" (with a note that it's also called "Six Hand Reel") that look to be the same (Circle / Star / Lowest pull out / promenade). And someone gave me yet another name. But in searching online and on this list to see if they indeed are the same, I also found a different "Melanie's Triplet" that is the same as one I have as "Microchasmic" (with Contra Corners).
I know dances often have many names and no matter what you call them they're both great dances, but I'd like to get the names right if possible. Any help sorting this out would be appreciated!
Also, on the "Lowest Pull Out" dance above, which Star first have you found to work best (Right Hand or Left Hand)?
Thanks much,
Sue Robishaw, U.P. MI
Hi folks,
Snagged the following lovely-looking dance from David Kaynor last week,
only he couldn't remember the name of it. Anyone know it?
Thanks!
Maia
________ by Anne Fallon (triplet, proper)
A1: forward and back; partner do-si-do
A2: 2’s start contracorners
B1: all partners balance and swing
B2: peel the banana (1’s lead down, make arch, become 3’s)
This might be a little stretch, but due to a conversation with a colleague
about "what makes a good program", i've given a bit of thought lately to
the question of integrating newcomers vis-a-vis the (common?) programming
model that suggests a caller should focus more on neighbor interaction
early on, with partner-heavy dances later in the evening. In the
theoretical stages right now, but here goes...
Some dance organizations/communities (applause!!) have been quite
successful in creating a culture where experienced dancers identify
themselves in some way and/or actively seek out newbies with whom to
partner, at least early in the evening. In such a situation, it strikes me
that choosing choreography which emphasizes neighbor interaction may
undercut these dancers' efforts; when experienced dancers have successfully
partnered with newbies, using the choreography to help them teach by
emphasizing partner interaction - in swings, california twirl, promenade
across, R&L through, hey, et cetera - might be a way for the caller to
amplify the efforts of a proactively integrative dance culture. (Perhaps
arcing from partner emphasis at the start, to neighbor emphasis as newbies
become more integrated, and back to partner towards the end?) As was said,
announcing a mixer well in advance would also ensure that proactive dancers
aren't being undercut by caller choices.
On the flip side, dance communities/cultures that tend to be cliquey are
often also less open to mixers. In this situation i would think emphasizing
neighbor interaction to be very important, and if a mixer was viable (eg
not too much a threat to the caller's social capital), i would tend to
"spring" it on the dancers so as to confound cliquey dancers' partnering
practices.
The bottom line emerging for me is that programming choices should work in
concert with what's happening on the floor - amplifying the efforts of
proactive dancers, confounding cliquishness when possible - and to some
extent rely on substantial knowledge or observation of the dancers'
partnering behaviors - but these are just half-formed thoughts...
120 bpm is generally considered normal - but one of my best dance
experiences ever, with the band "Old Grey Goose" left me both feeling
sublime, and realizing their tempos were on average a little lower than i
was used to. Ralph Sweet has a great thought about tempo - the idea that,
based on the length of the average human leg, there is a frequency of
motion at which the least force is expended to set it swinging (imagining
the dancer's leg as a pendulum)...
And i suppose that, like everything about dance music and calling, what is
ideal really depends upon the dancers present. Suffice it to say i've had
great experiences as a dancer around 118, but when i'm really "into" a tune
on the fiddle, it's easy to warp up to 126 without realizing it. As a
fiddler new to playing for dancers, if your technique on notey reels is up
to snuff, it's easy to get carried away and confuse "energy" with speed -
sometimes the hardest thing is slowing down. On the dance floor that
confusion never happens, fast is just fast... and less enjoyable to dance.
Hence my making a somewhat conservative suggestion.
tavi
Hi All,
Just curious. We had a dozen local community college students come this past week...
Has anyone seen an increase in Youth attendance at local dances
since the NPR spots aired last week?
Here's the link to one of them. The other was with Bob Boilen, a closet contra-ist
http://www.npr.org/templates/story/story.php?storyId=128273050
bobfab(a)aol.com
Bob mentioned tempo as an important element of making a tune and how it is
played appropriate for contra. I started a discussion on this listserv on
the topic of tempo back in March and from that I got the impression that
120 beats per minute is pretty ideal.
For more details from this discussion, follow this link and click on the
"Next message" link at the bottom of the page to continue:
http://www.sharedweight.net/pipermail/callers/2012-March/004507.html.
People shared some really interesting information.
--
Dugan Murphy
Portland, Maine
http://caller.duganmurphy.com
Date: Tue, 23 Oct 2012 21:32:23 -0600
> From: Leslie Gotfrit <lgotfrit(a)me.com>
> To: callers(a)sharedweight.net
> Subject: [Callers] Ideal contra tunes
> Message-ID: <F5F36501-CAE5-4A69-BB4E-ECB20D204183(a)me.com>
> Content-Type: text/plain; CHARSET=US-ASCII
>
> My teen daughter plays in a performing fiddle group. I sometimes call
> family dances using the group. The director asked me 1. to suggest some
> tunes she could teach the group that would be ideal for contras 2. what
> makes a tune or medley of tunes work well for contras. (There are lots in
> their repertoire that seems to work for "Southern" squares or big circle
> dances). Besides being square, 32 bar tunes with A parts distinguishable
> from B, what makes a great contra tune? I like dancing to medleys where
> the second tune picks up the energy: how is that accomplished? Can anyone
> suggest a couple of tunes and (perhaps which recording of it) that are
> essential to a contra music repertoire?
>
> Thanks very much to those who responded to my question about determining
> space for contra dancing. It was incredibly helpful and I learned something
> new from each response.
>
Andrea brings up a great point, and one that I'd like to address in my own
dance community. My husband and I are the only couple that attends dances
with our young child (4) although I know of at least three other families
in our age range, with kids, who have stopped dancing.
I think the biggest part of it is the time. In Chicago, we dance on Monday
nights, so parents with school-aged kids are not inclined to come out. When
our child gets older and has to be in bed earlier, I'm not sure what we're
going to do. We may end up trading weeks - one parent dances, the other
stays home - or we may end up not coming as often as we do now. Good grief,
we have trouble finding childcare when we are touring as a band and write
in advance to ask for help in locating a reliable local teen or college
student to watch our son on site.
It would be fun if there were a weekend dance, or a family dance, but so
far, finding a venue for either has been difficult.
I'm definitely interested in hearing what other communities have done about
retaining or otherwise serving this particular group ... good conversation!
meg
Leslie,
Dave Casserly hit on some really great points. To add,
- One thing that separates contra repertoire from the repertoire for
squares (etc) is the utility of jigs to provide a feeling of variety
between quite similar dances.
- A cheap trick that works well going from a first tune to a second is
changing tonalities from the major key to a related mode with same or
similar key signature, for example D major into E dorian mode such as
"Whiskey Before Breakfast" into "Cooley's Reel", or from a major to the
relative minor. The reverse of such changes can also create an energetic
burst, though a change of key signatures may be necessary to achieve that
effect when going from a mode (other than the relative minor) to major.
- If the band can execute them solidly, jig to reel transitions add a
MASSIVE energy burst. A jig-reel transition getting a lot of use around
Boston right now is "Seanamhac Tube Station" into "Devil in the Strawstack"
- tunes with similar melodic structures in the same key, but when paired
with an a-part wave balance it's like the dancers are on fire when they
hear that change.
Another tunebook which may be of value is "The New England Fiddler's
Repertoire" by Randy Miller.
Tempo is crucial. As a fiddler i find that it's often easy to play too fast
without realizing it, while as a dancer i find tempos around 118 (even for
reels!) to be the most satisfying.
Besides dancing to really great bands, it might help the fiddle-group
leader to listen to some popular contradance bands and pick up on what they
do. Off the top of my head a few favorites that illustrate great tune
changes are Great Bear Trio, Crowfoot, Wild Asparagus, Airdance, and Wake
the Neighbors (the band Ed Howe and John Cote anchored before they became
Perpetual eMotion).
Give the fiddlers my regards!
tavi merrill
My teen daughter plays in a performing fiddle group. I sometimes call family dances using the group. The director asked me 1. to suggest some tunes she could teach the group that would be ideal for contras 2. what makes a tune or medley of tunes work well for contras. (There are lots in their repertoire that seems to work for "Southern" squares or big circle dances). Besides being square, 32 bar tunes with A parts distinguishable from B, what makes a great contra tune? I like dancing to medleys where the second tune picks up the energy: how is that accomplished? Can anyone suggest a couple of tunes and (perhaps which recording of it) that are essential to a contra music repertoire?
Thanks very much to those who responded to my question about determining space for contra dancing. It was incredibly helpful and I learned something new from each response.
