11 Mar
2023
11 Mar
'23
2:36 p.m.
To turn it around a bit, Ashley (Broder) Hoyer has written tunes to match two of my
dances. Each of these links has the choreo, the tune sheet, and videos of the dance.
Be Cheery <http://www.jacquigrennan.com/be-cheery> - On the webpage, there is only
one video for this dance and they are playing the tune “Be Cheery"
Mad Orbin <http://www.jacquigrennan.com/mad-orbin> - On the webpage, the 2nd video
with the Syncopaths has the tune at the beginning (Ashley is playing mandolin in this
band). Then they medley into Tom Kruskal’s (le sigh).
On Mar 11, 2023, at 08:51, John Rogers via Contra
Callers <contracallers(a)lists.sharedweight.net> wrote:
Here’s one I wrote in 2006:
Jump at the Sun
A1)Cir L 0.75, Pass through, next N DSD 1.25
A2) Rory o More: Balance in wave, Slide R, Bal wave, slide to L.
B1) Pull by that N by RH to start a full hey
B2) Same N AR 0.75, W cross by LS, P Sw.
Written 2006, at the suggestion of Emil Olguin, specifically for the jig of the same
name. However, I have called and danced it to other music, and haven't found anything
that doesn't work. (Rory O'More and Petronella work very well.)
I have had discussions with other callers as to whether the the first move in B1 is a
half allemande or a pull-by, and I have come to realize that men and women experience this
move differently. For the men, it is a pull-by, leading into a hey with no direction
change. Women, after the move in question, need to turn to their right to face in for the
hey, so to them it feels more like a half allemande. Certainly, teaching it as a half
allemande establishes the floor pattern unambiguously. However, when watching the
dancers, I see that they tend to use a shake-hands grip (forearms parallel to the dance
floor) during the dance. Because of the different grip required, I teach the dance as
noted above. Both work, take your pick.
Sent from my iPad
On Mar 8, 2023, at 8:02 PM, Don Veino via Contra
Callers <contracallers(a)lists.sharedweight.net> wrote:
I'm looking for recommendations for contras written to specifically match a given
tune, square or crooked. Obviously, there's singing squares, the Chestnuts and some
well known examples like David Kaynor's Cherokee Shuffle. I'm looking for other
examples of excellent "modern era" dances perfectly crafted to fit an
outstanding or unusual tune - such that it surpasses the standard "pick the dance,
then a suitable tune" approach to foster dance floor joy.
I've written a few such dances but would love to augment my repertoire with others.
Thanks,
Don
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