22 Jan
2013
22 Jan
'13
10:37 p.m.
Here's one with contra-ish moves that I wrote for an English audience:
BONNY AT MORN
Alan Winston
10/27/2005; revised 10/30; 11/05; 11/06.
Tune: per Barnes (black book), but 32-bar (16-bar A, BB)
Minor-key waltz; moderate/slow
Longways duple IMPROPER or Sicilian Circle (but probably better as a
longways
so that halfway around lines up with a wall).
A: 1-4: Neighbors gypsy 1.5 finishing close to neighbor for
5-8: neighbor ballroom position waltz halfway round, opening facing
in on
other side of set with man on L, women on R; keep hold of
inside hands.
9-10: women give right hand to each other as in chain and pull by
11-12: women give left hand to partner's RIGHT hand; raise joined hands in
arch as she goes under and he goes forward to finish in ballroom
position, pointy end facing in line of direction.
13-16: waltz halfway around set; open up facing in, with man on L.
[MEN progressed and on original side of the set; WOMEN not progressed and
crossed over.]
B1: 1-2: Holding near hands on the side of the set, Set r&l
3-4: Petronella turn (traveling turn single) one place to right around
the minor set.
5-8: Face NEIGHBOR up and down; three changes of a circular hey,
no hands. (In more detail, that's two brisk changes and a
leisurely
one, more like a half gypsy.)
B2: 1-2: Men cross (first corner places)
3-4: Women cross (second corner places)
5-8: Partners turn two hands all the way around;
open facing new couple to start again.
Teaching notes:
(1) Men Start the gypsy in A1 on LEFT FOOT, women on RIGHT FOOT, in order to
be on the correct foot for the waltz round. Emphasize spiraling
in and taking all the music for the gypsy.
(2) Make sure people get the timing on the three changes of R&L (1 bar,
1 bar,
2 bars) so that they're in place to cross at B2. There's a tendency to
either
stand stupefied for a bar and start late or take two bars for each pass.
(3) Some people require to be told that you waltz CCW around your minor set.
On 1/22/2013 7:15 PM, Keith Tuxhorn wrote:
I wrote a waltz contra this summer, as a tribute to
Tulsa, OK caller and
dance organizer Wesley Brown, who died in July. It's very easy, just make
sure the dancers get halfway around to the beat.
Tulsa Tribute/becket
A1 Circle L 1/2; ring balance
Circle L 1/2; ring balance
A2 Open Women's chain, over and back
B1 Hey for 4, W start R (with OR without hands pull-by)
B2 P waltz in place (8), the waltz L to new cpl (8)
(Variation)
A! Circle L 1/2; ring balance
Open W chain
A2 Circle L 1/2; ring balance
Open W chain
B1 Hey for 4, M start L (with OR without hands)
B2 Waltz w P, then waltz L to new cpl
Keith Tuxhorn
Austin, TX
On Tue, Jan 22, 2013 at 3:46 PM, Michael Barraclough <
michael(a)michaelbarraclough.com> wrote:
I have occasionally called All The Threes by John
Meechan. However,
this would be more suitable in the UK than the USA as it does not have
any swing in it!
Michael Barraclough
www.michaelbarraclough.com
On Tue, 2013-01-22 at 13:34 -0800, Alan Winston wrote:
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http://www.sharedweight.net/mailman/listinfo/callers On 1/22/2013 1:10 PM, Hanny Budnick wrote:
> Many contra events have a couple waltz during intermission or at the
> last dance. BUT does anyone ever due a contra (duple or triple minor)
in
waltz
time?
I certainly do dances that would function as waltz contras - eg, Gary
Roodman's "Winter Dreams" - at English dances all the time, but I
don't
recall having encountered one at a contra dance.
-- Alan
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