24 Oct
2012
24 Oct
'12
1:40 a.m.
Tempo, tempo, tempo....oh, and did I mention tempo? I'll let the musicians
respond with specific tune suggestions, because I have no idea which tunes
are easier or harder to play, but as a caller and a dancer, one of the
things that makes a tune or a medley work is being able to play it at the
right speed for the dance that is being called and for the crowd that is
dancing it. Part of it is also having a repertoire of tunes to match the
mood of a specific dance - a very flowing to tune to match a flowing dance,
or an accented tune to highlight balances and long line. A part of what
makes a tune work well is how it fits that particular dance.
Great project!
Bob
On Tue, Oct 23, 2012 at 10:32 PM, Leslie Gotfrit <lgotfrit(a)me.com> wrote:
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.
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