11 Feb
2014
11 Feb
'14
5:53 p.m.
Dave wrote:
Logistically, I think Greg's approach is difficult
to make work. There's
always a new move happening after the pass through, so in effect, you'll be
calling four beats of "pass through, something something," usually
"balance
here" or whatnot. Because there's no break between the instruction "pass
through" and the instruction that follows it, I don't think dancers
generally realize from that phrasing that the pass through is intended to
occur after exactly six beats of the circle.
You are absolutely correct Dave! Structuring calls precisely is often very
difficult and I sometimes simply drop a dance because the prompts become
too jumbled when actually given at the correct beat. I posted to this
thread because I was, coincidentally, working on a dance called Kiss the
Bride by Jeffery Spero.
Kiss the Bride is particularly difficult because it uses the circle 3/4,
pass through transition at the end and the last call I need to fit in is
"dosido" which takes two beats. Because it is where the progression takes
place I also want to say "With the NEXT" to make that clear as well. On my
current dance card I "solved" the problem by giving the "Pass Through"
call
early. That is unacceptable to me and I was trying to come up with a good
way to make it work using calls that are precisely in time with the
phrasing.
My current card reads:
B2: _ _ _ _ [Hands Four and] Circle RIGHT!
_ [Three Places], Pass Through, with the NEXT Dosido
To fix the timing I'm considering something like:
B2: _ _ _ _ [Hands Four and] Circle RIGHT!
_ _ [Three Places], Pass Through, NEXT Dosido
...But that's a lot of words to cram in at the very end of the dance
phrase. If the dance started with "Balance and swing" for example, I could
fit in the word "Balance" which only takes one beat.
I'm thinking of just dropping the dance from my repertoire.
Thanks for reading.
Greg McKenzie
West Coast, USA