Contra Callers

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4417 discussions

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

18 years, 9 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/

18 years, 9 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/

18 years, 10 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.

18 years, 10 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

18 years, 10 months

Earth and Sky, Slapping the Wood and The Rendezvous

by Rickey

Earth and Sky Rick Mohr I am preparing for a gig and just got back from calling Earth and Sky to a few friends for practice. Everyone loved the dance but we did have trouble with the transition from the hey to the left shoulder gypsy with our old neighbors. People found it more natural to gypsy right at this point, but of course we did not want to, and did not, so we could enjoy the transition from gypsy left with old neighbor to gypsy right with new neighbor. The men did not end the hey quite back where they started. Rather we ended the hey in a line across the set, looking at old neighbors from there. That seemed to fit the music. We found that if the men turned a bit extra to the right after the last change of the hey, then they could comfortably get into that gypsy left. But that took some getting used to. It is a great dance and well worth the trouble. Does anyone have an easier way of setting this up? Slapping the Wood Don Flaherty The version I have has a B2 that goes: Circle left ¾ Balance the Ring (once) and California Twirl with your partner. Someone suggested that if we took 6 counts for the circle left ¾ we would have time to balance the ring twice. Once seemed to leave a bit of time empty, but twice seems pretty tight. How do people call this? The Rendezvous Dan Pearl B2 has Circle left once, then with the men leading slide on to the next couple and circle left ¾. There was some confusion about where the neutral couple should wait out the dance, to be ready to dance with the couple that is sliding to meet them. Have you called (or danced this dance)? What worked best? Thanks for your help as always. It is wonderful to be able to ask you, and even more wonderful to hear from you. Rickey Holt.

18 years, 10 months

Do you know the name and author of this dance?

by jeffrey.petrovitch＠verizon.net

Hello Everyone: Discovered this dance on a video of LEAF. Wondering if anyone knows the name and author. I believe this is the correct dance sequence: Becket Formation A1: (8) Circle Left 3/4 (8) Neighbors Swing A2: (8) Right And Left Through (8) Star Left B1: (8) With New Neighbors Star Right 7/8 (4) Previous Gentlemen (from A1) Allemande Left (4) Partners Allemenade Right B2: (4) Shadows Allemenade Left (4) Partners Gypsy (8) Partners Swing, Slide Left Thanks, Jeff

18 years, 10 months

throat again, oops

by TF

Hi all - Oops - I forgot to give you the full recipe for the honey/lemon/whisky concoction. You should not eat it straight, but rather add those to a cupful of hot water. Much better that way! Tina Hindsight Now! ____________________________________________________________________________________Yahoo! oneSearch: Finally, mobile search that gives answers, not web links. http://mobile.yahoo.com/mobileweb/onesearch?refer=1ONXIC

18 years, 10 months

Re: [Callers] Caller's Throat

by TF

I'm new to calling, but have been singing for many years, some of that in musical theater, which can easily strain one's voice. When I've overdone it, I've found that slippery elm bark can help quite a bit - and it's healthy to boot. Thayer's makes a good slippery elm bark lozenge. It's inexpensive, easily portable, and even comes in two flavors. Honey with lemon is another old standard for soothing the throat (and after the gig, you can add a slug of whiskey). Drinking a lot of water is a very good idea, especially if you're getting that thick mucusy quality to your voice. You can also use expectorants like guaifenesin if necessary (a rainforest plant product); this isn't an emergency fix though, so start early. For general toning, there are many herbs that support the respiratory system in general - such as mullein, nettles, fritillaria. These should be fixed up in tincture or tea formulation and taken fairly often. If you're interested in playing with these, I suggest you consult an herbalist or good book by someone like David Hoffmann, Rosemary Gladstar, Susun Weed, or Michael Tierra for more info before making them; that way you can make something perfect for your situation. There's also an over-the-counter homeopathic concoction out called "Sore Throat Relief" by Natra-Bio. I've been trying that recently and had some luck. Whatever you do, do *not* use that anesthetic throat spray. All it does is make you unconscious of the damage being done. Yes, it can get you through a gig but I've seen people permanently ruin their voices through its use. If you're not already doing this, I'd also suggest several tips that singers use regularly: *practice calling from your chest voice instead of your throat voice (causes less strain overall) *practice breathing from deep in the chest (imagine your lungs as a vase being filled from the bottom up) - this also gives you more staying power and groundedness *loosen your jaw muscles overall through goofy-looking yoga type exercises (like the lion pose where the mouth is wide open w/ tongue stuck far out, & eyes rolled upward); neck & shoulder rolls *whenever you think of it, relax your jaw by opening your mouth a bit & letting your jaw hang slack, and breathing deep. These might not work in the middle of a call <g>, but if practiced regularly, will make calling easier on your body, therefore less likely to get strained. Best of luck to you and your throat's health! Tina Fields > I have been suffering some with what may be mild > laryngitis. I had been > practicing pretty regularly for an upcoming gig, but > I did not feel that I > was straining my voice. I have been drinking a lot > of water. What else do > you do - if anything - to help once you have throat > or voice problems? I > still have about 2 weeks before the gig. > > Thanks as always, > > Rickey Hindsight Now! ____________________________________________________________________________________Got a little couch potato? Check out fun summer activities for kids. http://search.yahoo.com/search?fr=oni_on_mail&p=summer+activities+for+kids&…

18 years, 10 months

Re: [Callers] Caller's Throat

by TF

I'm new to calling, but have been singing for many years, some of that in musical theater, which can easily strain one's voice. When I've overdone it, I've found that slippery elm bark can help quite a bit - and it's healthy to boot. Thayer's makes a good slippery elm bark lozenge. It's inexpensive, easily portable, and even comes in two flavors. Honey with lemon is another old standard for soothing the throat (and after the gig, you can add a slug of whiskey). Drinking a lot of water is a very good idea, especially if you're getting that thick mucusy quality to your voice. You can also use expectorants like guaifenesin if necessary (a rainforest plant product); this isn't an emergency fix though, so start early. For general toning, there are many herbs that support the respiratory system in general - such as mullein, nettles, fritillaria. These should be fixed up in tincture or tea formulation and taken fairly often. If you're interested in playing with these, I suggest you consult an herbalist or good book by someone like David Hoffmann, Rosemary Gladstar, Susun Weed, or Michael Tierra for more info before making them; that way you can make something perfect for your situation. There's also an over-the-counter homeopathic concoction out called "Sore Throat Relief" by Natra-Bio. I've been trying that recently and had some luck. Whatever you do, do *not* use that anesthetic throat spray. All it does is make you unconscious of the damage being done. Yes, it can get you through a gig but I've seen people permanently ruin their voices through its use. If you're not already doing this, I'd also suggest several tips that singers use regularly: *practice calling from your chest voice instead of your throat voice (causes less strain overall) *practice breathing from deep in the chest (imagine your lungs as a vase being filled from the bottom up) - this also gives you more staying power and groundedness *loosen your jaw muscles overall through goofy-looking yoga type exercises (like the lion pose where the mouth is wide open w/ tongue stuck far out, & eyes rolled upward); neck & shoulder rolls *whenever you think of it, relax your jaw by opening your mouth a bit & letting your jaw hang slack, and breathing deep. These might not work in the middle of a call <g>, but if practiced regularly, will make calling easier on your body, therefore less likely to get strained. Best of luck to you and your throat's health! Tina Fields > I have been suffering some with what may be mild > laryngitis. I had been > practicing pretty regularly for an upcoming gig, but > I did not feel that I > was straining my voice. I have been drinking a lot > of water. What else do > you do - if anything - to help once you have throat > or voice problems? I > still have about 2 weeks before the gig. > > Thanks as always, > > Rickey Hindsight Now! ____________________________________________________________________________________Get the Yahoo! toolbar and be alerted to new email wherever you're surfing. http://new.toolbar.yahoo.com/toolbar/features/mail/index.php

18 years, 10 months

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