27 Apr
2022
27 Apr
'22
7:50 p.m.
A local band here plays Beaumont Rag As a part of their routine dance set. It’s a popular
band.
I’ve never experienced a contra dance The band has chosen to play for a dance work. It
doesn’t work for the dancers and it’s agonizing for the caller.
Can anyone suggest a dance that could fit? At this point I’m planning to request they
don’t include the tune.
I know there’s an English dance written to match but not interested in that for this
set.
Laurie
Sent from Yahoo Mail for iPhone
27 Apr
27 Apr
8:08 p.m.
Laur, where are you? Not quite sure I understand here.. The BAND is suggesting the dance
that you should call to a tune they want to play?? uhhhh...
That ain't how it works. Make it easy on yourself.. You are in control here.. Just
tell the band NOT to play the tune..
That all said, there are SO many ways Beaumont Rag is played. Not all of them are 32 bars
long. and it is often played as a "show off' tune at Bluegrass festivals, i.e.
REALLY FAST!!! the tune is pretty much fun if played AABB at a reasonable tempo.. Not sure
what your local band does with it in a contra dance setting, but I'd just politely say
'we're not gonna use that one'..
my $.02 - bill
________________________________
From: Laur via Contra Callers <contracallers(a)lists.sharedweight.net>
Sent: Wednesday, April 27, 2022 7:50 PM
To: Contra Callers <contracallers(a)sharedweight.net>
Subject: [Callers] Need help fitting to a tune
A local band here plays Beaumont Rag As a part of their routine dance set. It’s a popular
band.
I’ve never experienced a contra dance The band has chosen to play for a dance work. It
doesn’t work for the dancers and it’s agonizing for the caller.
Can anyone suggest a dance that could fit? At this point I’m planning to request they
don’t include the tune.
I know there’s an English dance written to match but not interested in that for this set.
Laurie
Sent from Yahoo Mail for
iPhone<https://nam12.safelinks.protection.outlook.com/?url=https%3A%2F%2…
28 Apr
28 Apr
2:24 p.m.
On Wed, 27 Apr 2022 20:08:28 +0000, Bill Olson via Contra Callers wrote:
The BAND is suggesting the dance that you should call
to a tune they want to play?? uhhhh...
That ain't how it works. Make it easy on yourself.. You are in control here.. Just
tell the band NOT to play the
tune..
I don't agree, Bill. I think a good dance is when dancers, caller and band all enjoy
it, so I try not to be the man
saying "I'm in charge - you do what I say". For instance, I'm calling
the opening contra dance at May Heydays tomorrow:
http://mayheydays.org.uk/programme.html
and the band said they had two good sets of jigs going into reels and asked whether these
would fit any of my dances, so
I told them which two and they'll enjoy the change and so will the dancers and the
caller.
Surely the way to approach it is: "That's a great tune, and it goes well to this
dance, but it needs to go faster than
you normally play it" - and then give a tempo indication. If they're a dance
band (rather than a bunch of prima donnas)
they'll welcome the opportunity to get the whole room dancing to a tune they really
like playing.
Colin Hume
2:42 p.m.
If they're a dance band (rather than a bunch of
prima donnas)
-- Colin Hume
Ay, there’s the rub!
-- Hamlet
The origin of the term lies in the ancient game of
bowls (which Americans may know as lawn bowling; nothing to do with tenpin). A rub is some
fault in the surface of the green that stops a bowl or diverts it from its intended
direction. The term is recorded first a few years before Shakespeare’s time and is still
in use. It appears, too, in golf, in the expression "rub of the green", which
refers to an accident that stops a ball in play and for which no relief is allowed under
the rules.
-- The Internet
:)
On 4/28/22, Colin Hume via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
On Wed, 27 Apr 2022 20:08:28 +0000, Bill Olson via
Contra Callers wrote:
The BAND is suggesting the dance that you should
call to a tune they want
to play?? uhhhh...
That ain't how it works. Make it easy on yourself.. You are in control
here.. Just tell the band NOT to play the
tune..
I don't agree, Bill. I think a good dance is when dancers, caller and band
all enjoy it, so I try not to be the man
saying "I'm in charge - you do what I say". For instance, I'm calling
the
opening contra dance at May Heydays tomorrow:
http://mayheydays.org.uk/programme.html
and the band said they had two good sets of jigs going into reels and asked
whether these would fit any of my dances, so
I told them which two and they'll enjoy the change and so will the dancers
and the caller.
Surely the way to approach it is: "That's a great tune, and it goes well to
this dance, but it needs to go faster than
you normally play it" - and then give a tempo indication. If they're a
dance band (rather than a bunch of prima donnas)
they'll welcome the opportunity to get the whole room dancing to a tune they
really like playing.
Colin Hume
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
7:49 p.m.
Laur,
It's hard to describe stuff about music in words and be sure of being clear, so
I'm going to illustrate my remarks by citing some recordings.
First, there's at least one version of "Beaumont Rag" that's a perfectly
fine contra dance contra dance tune. Check out these videos. (Times in parentheses tell
when the band switches into "Beaumont Rag" from another tune.)
https://www.youtube.com/watch?v=pG0i8NTYGvc (4:08)
https://www.youtube.com/watch?v=SlOk-UULmVc (1:43)
https://www.youtube.com/watch?v=dOOYAMcYVBg (5:28)
https://www.youtube.com/watch?v=ynafcljHXhk
https://www.youtube.com/watch?v=13PQT9ubOdc
https://www.youtube.com/watch?v=ArLulDsc-fg
All the music in these six videos strikes me as quite suitable for contra dancing. In the
ones that give a good view of the dancers, they don't seem to be struggling. Even when
you can't see the dancers, you can tell by the sound that things are going well. In
particular, you won't hear any callers who sound like they're sweating bullets
trying to keep the dance together.
The versions of the tune in the videos above certainly aren't note for note identical,
and some bands put in a fair amount of variation from one round of the tune to the next,
but they all stick closely to the same basic phrasing.
If your local band plays "Beaumont Rag" and it doesn’t work for the dancers and
it’s agonizing for the callers, then I wonder what they're doing that's different
from what's happening in the videos above.
Bill Olson wrote:
... there are SO many ways Beaumont Rag is played. Not
all of them are 32 bars long. and it is often played as a "show off' tune at
Bluegrass festivals, i.e. REALLY FAST!!!
The tempos in the videos above range from about 111 to 127 beats per minute. Illustrating
Bill's point about people sometimes playing real fast, here's a recording I found
at a beat or two above 140:
https://www.youtube.com/watch?v=v3HxHClfJso
And here are some examples, at various tempos, illustrating Bill's point about not all
versions being 32 bars long:
https://www.youtube.com/watch?v=JNhcKJTW9Hg
https://www.youtube.com/watch?v=d2IRu8quLRs
https://www.youtube.com/watch?v=_NB8IPHdiXo&t=1347s
https://www.youtube.com/watch?v=1WRCyqaNxas
https://www.youtube.com/watch?v=eQeNPeQpZJY
https://www.youtube.com/watch?v=yKdAupCMDPw
In fact, none of these six is entirely in 8-bar (16-beat) phrases. If you listen to any of
them and try counting along from 1 to 16 over and over, you'll find that at some point
you get to "8" or "4" and the music signals strongly that it's
time to start again at "1".
If your local band's version of "Beaumont Rag" is like any of those last
six, then regardless of the tempo it won't be a good fit for any standard-length
contra dance and it won't be a good fit for "Balance the Star" or "Anna
Turn's Five" or other dances that people have been suggesting, either.
Another thing that could be going wrong is that there's something about the band's
style of playing for that particular tune that somehow obscures the phrasing. Take a
listen to this guitar version of "Beaumont Rag" played with undeniable skill by
Mark O'Connor:
https://www.youtube.com/watch?v=OJuXNiybth0
I _think_ it's mostly (perhaps entirely?) in 8-bar phrases, but there are places
where, at least for me, it's a struggle to keep track. And I don't think it's
just on account of the high speed. It's something about the ornamentation. That sort
of playing could be great for a concert, but at a contra dance, I think that even if the
dancers could dance to it, a lot of them would find it more work than fun. (Possibly,
however, it could make all the difference in the world if another band member were giving
the dancers rock-solid phrasing.)
Bill also wrote:
the tune is pretty much fun if played AABB at a
reasonable tempo. ...
Returning to my opening observation
It's hard to describe stuff about music in words
and be sure of being clear,
let me offer a final word of caution. If the issue turns out to be that the band plays a
"crooked" version of "Beaumont Rag", then even _if_ your relationship
with the band is such that you could appropriately suggest that a different version would
work better for contra dancing, and even _if_ you could get them completely sold on the
idea, and even _if_ they were not merely willing but eager to try it (all VERY BIG
"if"s), I can almost guarantee (without going into the details) that saying
"AABB" would _not_ be an adequate way to describe the version you're
suggesting.
I hope some of this is helpful.
--Jim
27 Apr
27 Apr
8:08 p.m.
Ragtime tunes actually often go *slower* than flat-out reels.
Their grove isn't a fast
deedlediddledeedlediddledeedlediddledeedlediddledeedlediddledeedlediddle
like note-y Irish, or
diggachukkadiggachukkadiggachukkadiggachukka
like hot southern.
They go more like:
DAda, da, d'da Da - UH!
DAda, da, d'da Da - UH!
DAda, DAAdada, DAda, DAAdada,
dadada DA d'da DA - UH!
SO -- do NOT do dances that are sinuous and connected and snake-y spaghetti-y.
They will feel weird and pointless.
Instead, try dances that have that 1 - 2 - 3 - UH!
built right in.
Long lines forward and back.
Allemande 1/2 way to form a line and balance the line.
Petronella type turns.
Balance and box the gnat.
That kind of stuff, where your body makes shapes on the floor that are
sharp four-beat lines that reverse and turn around and stop/start on a
dime.
Steve Zakon's ZigZag has the right idea, but the zigzag thing happens
in the B, I think, and Beaumont needs it in the A. The B is where the
more connected-y stuff is, where you want the swings.
On 4/27/22, Laur via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
A local band here plays Beaumont Rag As a part of
their routine dance set.
It’s a popular band.
I’ve never experienced a contra dance The band has chosen to play for a
dance work. It doesn’t work for the dancers and it’s agonizing for the
caller.
Can anyone suggest a dance that could fit? At this point I’m planning to
request they don’t include the tune.
I know there’s an English dance written to match but not interested in that
for this set.
Laurie
Sent from Yahoo Mail for iPhone
8:28 p.m.
Thanks for detail and yes that’s the deal - its too stylized to know how they will choose
to play it and callers that haven’t danced to the band aren’t prepared for the tune and
the disconnection the dancers feel on the floor.
The musicians are not inexperienced, they are good musicians so it confuses me a bit how
they cant see or feel how the dancers on the floor with the dance.
I will be respectful when I make the request not to choose to play during the evening. And
be prepared to offer a response if they ask.
LSent from Yahoo Mail for iPad
On Wednesday, April 27, 2022, 4:08 PM, Amy Cann <acann(a)putneyschool.org> wrote:
Ragtime tunes actually often go *slower* than flat-out reels.
Their grove isn't a fast
deedlediddledeedlediddledeedlediddledeedlediddledeedlediddledeedlediddle
like note-y Irish, or
diggachukkadiggachukkadiggachukkadiggachukka
like hot southern.
They go more like:
DAda, da, d'da Da - UH!
DAda, da, d'da Da - UH!
DAda, DAAdada, DAda, DAAdada,
dadada DA d'da DA - UH!
SO -- do NOT do dances that are sinuous and connected and snake-y spaghetti-y.
They will feel weird and pointless.
Instead, try dances that have that 1 - 2 - 3 - UH!
built right in.
Long lines forward and back.
Allemande 1/2 way to form a line and balance the line.
Petronella type turns.
Balance and box the gnat.
That kind of stuff, where your body makes shapes on the floor that are
sharp four-beat lines that reverse and turn around and stop/start on a
dime.
Steve Zakon's ZigZag has the right idea, but the zigzag thing happens
in the B, I think, and Beaumont needs it in the A. The B is where the
more connected-y stuff is, where you want the swings.
On 4/27/22, Laur via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
A local band here plays Beaumont Rag As a part of
their routine dance set.
It’s a popular band.
I’ve never experienced a contra dance The band has chosen to play for a
dance work. It doesn’t work for the dancers and it’s agonizing for the
caller.
Can anyone suggest a dance that could fit? At this point I’m planning to
request they don’t include the tune.
I know there’s an English dance written to match but not interested in that
for this set.
Laurie
Sent from Yahoo Mail for iPhone
9:02 p.m.
I frequently will choose a “silly“ dance to go with a rag set. I have
frequently used happy as a cold pig in warm mud in that slot and encouraged
significant silliness in forming the stars that are theoretically with
shadows but can also be five pointed stars or six pointed stars. As long
as they play the tune Square it should work. But really any
straightforward dance with eight or 16 count phrases that isn’t especially
Flowey will probably still work. If you can get a recording of them playing
it for another dance and confirm the phrasing, Amy’s approach to pairing
tunes and dances is still pretty much my ideal - both of what I hope is
going through the band’s head when they match tunes to dances and the way I
try to think about it when matching dances to tunes (ever since a post some
years ago on this very list).
On Wed, Apr 27, 2022 at 4:28 PM Laur via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
Thanks for detail and yes that’s the deal - its too
stylized to know how
they will choose to play it and callers that haven’t danced to the band
aren’t prepared for the tune and the disconnection the dancers feel on the
floor.
The musicians are not inexperienced, they are good musicians so it
confuses me a bit how they cant see or feel how the dancers on the floor
with the dance.
I will be respectful when I make the request not to choose to play during
the evening. And be prepared to offer a response if they ask.
L
Sent from Yahoo Mail for iPad <https://overview.mail.yahoo.com/?.src=iOS>
On Wednesday, April 27, 2022, 4:08 PM, Amy Cann <acann(a)putneyschool.org>
wrote:
Ragtime tunes actually often go *slower* than flat-out reels.
Their grove isn't a fast
deedlediddledeedlediddledeedlediddledeedlediddledeedlediddledeedlediddle
like note-y Irish, or
diggachukkadiggachukkadiggachukkadiggachukka
like hot southern.
They go more like:
DAda, da, d'da Da - UH!
DAda, da, d'da Da - UH!
DAda, DAAdada, DAda, DAAdada,
dadada DA d'da DA - UH!
SO -- do NOT do dances that are sinuous and connected and snake-y
spaghetti-y.
They will feel weird and pointless.
Instead, try dances that have that 1 - 2 - 3 - UH!
built right in.
Long lines forward and back.
Allemande 1/2 way to form a line and balance the line.
Petronella type turns.
Balance and box the gnat.
That kind of stuff, where your body makes shapes on the floor that are
sharp four-beat lines that reverse and turn around and stop/start on a
dime.
Steve Zakon's ZigZag has the right idea, but the zigzag thing happens
in the B, I think, and Beaumont needs it in the A. The B is where the
more connected-y stuff is, where you want the swings.
On 4/27/22, Laur via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
A local band here plays Beaumont Rag As a part of
their routine dance
set.
It’s a popular band.
I’ve never experienced a contra dance The band has chosen to play for
a
dance work. It doesn’t work for the dancers and
it’s agonizing for the
caller.
Can anyone suggest a dance that could fit? At this point I’m planning to
request they don’t include the tune.
I know there’s an English dance written to match but not interested in
that
for this set.
Laurie
Sent from Yahoo Mail for iPhone
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
9:13 p.m.
Here's a link for Balance The Star:
https://www.youtube.com/watch?v=Pu17uSab8gI
On Wed, Apr 27, 2022 at 5:02 PM Jack Mitchell via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
I frequently will choose a “silly“ dance to go with a
rag set. I have
frequently used happy as a cold pig in warm mud in that slot and encouraged
significant silliness in forming the stars that are theoretically with
shadows but can also be five pointed stars or six pointed stars. As long
as they play the tune Square it should work. But really any
straightforward dance with eight or 16 count phrases that isn’t especially
Flowey will probably still work. If you can get a recording of them playing
it for another dance and confirm the phrasing, Amy’s approach to pairing
tunes and dances is still pretty much my ideal - both of what I hope is
going through the band’s head when they match tunes to dances and the way I
try to think about it when matching dances to tunes (ever since a post some
years ago on this very list).
On Wed, Apr 27, 2022 at 4:28 PM Laur via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
--
jandnbloom(a)gmail.com
http://jacobbloom.net/
Thanks for detail and yes that’s the deal - its
too stylized to know how
they will choose to play it and callers that haven’t danced to the band
aren’t prepared for the tune and the disconnection the dancers feel on the
floor.
The musicians are not inexperienced, they are good musicians so it
confuses me a bit how they cant see or feel how the dancers on the floor
with the dance.
I will be respectful when I make the request not to choose to play during
the evening. And be prepared to offer a response if they ask.
L
Sent from Yahoo Mail for iPad <https://overview.mail.yahoo.com/?.src=iOS>
On Wednesday, April 27, 2022, 4:08 PM, Amy Cann <acann(a)putneyschool.org>
wrote:
Ragtime tunes actually often go *slower* than flat-out reels.
Their grove isn't a fast
deedlediddledeedlediddledeedlediddledeedlediddledeedlediddledeedlediddle
like note-y Irish, or
diggachukkadiggachukkadiggachukkadiggachukka
like hot southern.
They go more like:
DAda, da, d'da Da - UH!
DAda, da, d'da Da - UH!
DAda, DAAdada, DAda, DAAdada,
dadada DA d'da DA - UH!
SO -- do NOT do dances that are sinuous and connected and snake-y
spaghetti-y.
They will feel weird and pointless.
Instead, try dances that have that 1 - 2 - 3 - UH!
built right in.
Long lines forward and back.
Allemande 1/2 way to form a line and balance the line.
Petronella type turns.
Balance and box the gnat.
That kind of stuff, where your body makes shapes on the floor that are
sharp four-beat lines that reverse and turn around and stop/start on a
dime.
Steve Zakon's ZigZag has the right idea, but the zigzag thing happens
in the B, I think, and Beaumont needs it in the A. The B is where the
more connected-y stuff is, where you want the swings.
On 4/27/22, Laur via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
A local band here plays Beaumont Rag As a part of
their routine dance
set.
It’s a popular band.
I’ve never experienced a contra dance The band has chosen to play
for a
dance work. It doesn’t work for the dancers and
it’s agonizing for the
caller.
Can anyone suggest a dance that could fit? At this point I’m planning to
request they don’t include the tune.
I know there’s an English dance written to match but not interested in
that
for this set.
Laurie
Sent from Yahoo Mail for iPhone
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to
contracallers-leave(a)lists.sharedweight.net
9:14 p.m.
My take: Ask them to play it during the sound check.
At the Concord (MA) Scout House the band used to play a “sound check polka” just before
the first contra. Don’t know how widespread a custom that is. Most dancers did a Norwegian
polka, though a few did a “standard” polka.
Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)
From: Laur via Contra Callers <contracallers(a)lists.sharedweight.net>
Sent: Wednesday, April 27, 2022 3:50 PM
To: Contra Callers <contracallers(a)sharedweight.net>
Subject: [Callers] Need help fitting to a tune
A local band here plays Beaumont Rag As a part of their routine dance set. It’s a popular
band.
I’ve never experienced a contra dance The band has chosen to play for a dance work. It
doesn’t work for the dancers and it’s agonizing for the caller.
Can anyone suggest a dance that could fit? At this point I’m planning to request they
don’t include the tune.
I know there’s an English dance written to match but not interested in that for this
set.
Laurie
Sent from Yahoo Mail for iPhone<https://overview.mail.yahoo.com/?.src=iOS>
28 Apr
28 Apr
1:44 a.m.
Good one. I also thought of playing it as a end of break come back to dance tune.
Sent from Yahoo Mail for iPad
On Wednesday, April 27, 2022, 5:14 PM, Tony Parkes <tony(a)hands4.com> wrote:
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My take: Ask them to play it during the sound check.
At the Concord (MA) Scout House the band used to play a “sound check polka” just before
the first contra. Don’t know how widespread a custom that is. Most dancers did a Norwegian
polka, though a few did a “standard” polka.
Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)
From: Laur via Contra Callers <contracallers(a)lists.sharedweight.net>
Sent: Wednesday, April 27, 2022 3:50 PM
To: Contra Callers <contracallers(a)sharedweight.net>
Subject: [Callers] Need help fitting to a tune
A local band here plays Beaumont Rag As a part of their routine dance set. It’s a popular
band.
I’ve never experienced a contra dance The band has chosen to play for a dance work. It
doesn’t work for the dancers and it’s agonizing for the caller.
Can anyone suggest a dance that could fit? At this point I’m planning to request they
don’t include the tune.
I know there’s an English dance written to match but not interested in that for this
set.
Laurie
Sent from Yahoo Mail for iPhone
2 May
2 May
5:09 a.m.
Beaumont Rag is a tune that is incredibly versionated. Without knowing
their particular version, no way to create a dance that fits.
Another way to look at the problem ... If they really want to play the
tune for dancing, there is no reason they cannot concoct a version of
there own, using the grab-bag of pieces that are laying around, to
create a square version. Next questions: Do they actually understand
what a square version is? Do they have a feel for the kinds of things,
in actual square tunes, that sometimes confuse the caller and/or
dancers? Do you or they know a musician or caller that could help with
that?
If they feel like they'd like to use more pieces than can be
accommodated by typical A-A-B-B construction, there are several
possibilities. Think about A-A and B-B each being rectangles that form
a square You could concoct a C-C part. Then play the tune,
alternately, A-A B-B / A-A C-C. Also possible - perhaps a 16 bar
rectangle that does not internally repeat [as chestnut Maggie Brown's
Favorite does] Or A-B-C-D, [like chestnuts Opera Reel and Chorus Jig]
If I were doing this project, I would be inclined to play the A-A
rectangle alternating with other rectangles, beginning by alternating
A-A B-B until the dancers get a grip, then throw in other alternations,
but always the A-A in the lead.
I have a batch of dances that fit variants of A-A-B-B-C, if they'd go
for that. Could even be A-B-C-D-E. If anyone is interested, I'll
supply those dances. Most are old contra-corners patterns, which
deserve more circulation than they get - with some stretch limousine
treatment.
Roger Diggle
--
Food for thought is no substitute for the real thing.
-- Walt Kelly, cartoonist extraordinaire
*From:* Laur via Contra Callers
*Sent:* Wednesday, April 27, 2022 3:50 PM
*To:* Contra Callers <contracallers(a)sharedweight.net>
*Subject:* [Callers] Need help fitting to a tune
A local band here plays Beaumont Rag As a part of their routine dance
set. It’s a popular band.
I’ve never experienced a contra dance The band has chosen to play for
a dance work. It doesn’t work for the dancers and it’s agonizing for the
caller.
Can anyone suggest a dance that could fit? At this point I’m planning to
request they don’t include the tune.
I know there’s an English dance written to match but not interested in
that for this set.
Laurie
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
2:48 p.m.
Here's a common version of Beaumont Rag that's square and well phrased:
https://www.youtube.com/watch?v=8FTuWotf7TQ
Jeff
On Mon, May 2, 2022 at 1:09 AM Roger Diggle via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
Beaumont Rag is a tune that is incredibly versionated.
Without knowing
their particular version, no way to create a dance that fits.
Another way to look at the problem ... If they really want to play the
tune for dancing, there is no reason they cannot concoct a version of
there own, using the grab-bag of pieces that are laying around, to
create a square version. Next questions: Do they actually understand
what a square version is? Do they have a feel for the kinds of things,
in actual square tunes, that sometimes confuse the caller and/or
dancers? Do you or they know a musician or caller that could help with
that?
If they feel like they'd like to use more pieces than can be
accommodated by typical A-A-B-B construction, there are several
possibilities. Think about A-A and B-B each being rectangles that form
a square You could concoct a C-C part. Then play the tune,
alternately, A-A B-B / A-A C-C. Also possible - perhaps a 16 bar
rectangle that does not internally repeat [as chestnut Maggie Brown's
Favorite does] Or A-B-C-D, [like chestnuts Opera Reel and Chorus Jig]
If I were doing this project, I would be inclined to play the A-A
rectangle alternating with other rectangles, beginning by alternating
A-A B-B until the dancers get a grip, then throw in other alternations,
but always the A-A in the lead.
I have a batch of dances that fit variants of A-A-B-B-C, if they'd go
for that. Could even be A-B-C-D-E. If anyone is interested, I'll
supply those dances. Most are old contra-corners patterns, which
deserve more circulation than they get - with some stretch limousine
treatment.
Roger Diggle
--
Food for thought is no substitute for the real thing.
-- Walt Kelly, cartoonist extraordinaire
*From:* Laur via Contra Callers
*Sent:* Wednesday, April 27, 2022 3:50 PM
*To:* Contra Callers <contracallers(a)sharedweight.net>
*Subject:* [Callers] Need help fitting to a tune
A local band here plays Beaumont Rag As a part of their routine dance
set. It’s a popular band.
I’ve never experienced a contra dance The band has chosen to play for
a dance work. It doesn’t work for the dancers and it’s agonizing for the
caller.
Can anyone suggest a dance that could fit? At this point I’m planning to
request they don’t include the tune.
I know there’s an English dance written to match but not interested in
that for this set.
Laurie
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to
contracallers-leave(a)lists.sharedweight.net
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
3:27 p.m.
versionated
Oh, now THAT's a keeper!
***
I've been wondering during this whole thread if their version involves
punching the heck out of the hemiola in the B part?
(hemiola: Italian for "I'm going to mess with your head by moving the
emPHAsis to a new syLAHble")
People who aren't paper-trained, don't flinch, ok?
You can do this visually.
Look at this version: http://www.folktunefinder.com/tunes/113330
and look **carefully** at the beginning of the sixth and seventh lines.
Look at the three heavy black horizontal "BEAMS" -- do you see how
they bind the notes into groups of four? That's the grouping we dance
to - we put our feet down on those "diggachucka, diggachucka"'s.
ONE-234 ONE -234. Our feet land on the ONEs.
Now look carefully at the blobby dark oval HEADS of the notes.
Do you see the four little slanty LOW-MEDIUM-HIGH, LOW-MEDIUM-HIGH bunches?
That's the hemiola.
For fiddlers, whacking that LOW note comes natural. The bow just
automatically stomps on it. ONE-23 ONE-23 ONE-23 ONE-23
So you end up with an internally conflicted
ONE-two-three-ONE two-three-ONE-two three-ONE-two-three.
which in playwriting is delicious. Internal conflicts are the spice of drama.
But in a dance?
IF the fiddlers whack the threes AND the rhythm section stays true and honest,
the bass/guitar/piano keep up a steady BOOM chuck BOOM chuck,
you have zesty syncopation on top of expected solidity and all is well.
BUT.
If the band decides to be all cool and EVERYbody hits the threes,
everyone jumps on the hemiola accents with both feet, the dancers will
start to fall over theirs.
There's an obscure tune called "Catharsis" that sometimes inspires
this same unfortunate circumstance, which the composer regrets.
On 5/2/22, Jeff Kaufman via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
Here's a common version of Beaumont Rag that's
square and well phrased:
https://www.youtube.com/watch?v=8FTuWotf7TQ
Jeff
On Mon, May 2, 2022 at 1:09 AM Roger Diggle via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
Beaumont Rag is a tune that is incredibly
versionated. Without knowing
their particular version, no way to create a dance that fits.
Another way to look at the problem ... If they really want to play the
tune for dancing, there is no reason they cannot concoct a version of
there own, using the grab-bag of pieces that are laying around, to
create a square version. Next questions: Do they actually understand
what a square version is? Do they have a feel for the kinds of things,
in actual square tunes, that sometimes confuse the caller and/or
dancers? Do you or they know a musician or caller that could help with
that?
If they feel like they'd like to use more pieces than can be
accommodated by typical A-A-B-B construction, there are several
possibilities. Think about A-A and B-B each being rectangles that form
a square You could concoct a C-C part. Then play the tune,
alternately, A-A B-B / A-A C-C. Also possible - perhaps a 16 bar
rectangle that does not internally repeat [as chestnut Maggie Brown's
Favorite does] Or A-B-C-D, [like chestnuts Opera Reel and Chorus Jig]
If I were doing this project, I would be inclined to play the A-A
rectangle alternating with other rectangles, beginning by alternating
A-A B-B until the dancers get a grip, then throw in other alternations,
but always the A-A in the lead.
I have a batch of dances that fit variants of A-A-B-B-C, if they'd go
for that. Could even be A-B-C-D-E. If anyone is interested, I'll
supply those dances. Most are old contra-corners patterns, which
deserve more circulation than they get - with some stretch limousine
treatment.
Roger Diggle
--
Food for thought is no substitute for the real thing.
-- Walt Kelly, cartoonist extraordinaire
*From:* Laur via Contra Callers
*Sent:* Wednesday, April 27, 2022 3:50 PM
*To:* Contra Callers <contracallers(a)sharedweight.net>
*Subject:* [Callers] Need help fitting to a tune
A local band here plays Beaumont Rag As a part of their routine dance
set. It’s a popular band.
I’ve never experienced a contra dance The band has chosen to play
for
a dance work. It doesn’t work for the dancers and it’s agonizing for
the
caller.
Can anyone suggest a dance that could fit? At this point I’m planning
to
request they don’t include the tune.
I know there’s an English dance written to match but not interested in
that for this set.
Laurie
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to
contracallers-leave(a)lists.sharedweight.net
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to
contracallers-leave(a)lists.sharedweight.net
4:49 p.m.
Amy,
Thanks for the lesson about hemiolas.
Since your ears are far more musically educated than mine, perhaps you can say somethinng
informative about this rendition of Beaumont Rag by Mark O'Connor that I cited in an
earlier message:
https://www.youtube.com/watch?v=OJuXNiybth0
For the first 30 or 40 seconds, I find both the beat and the phrasing pretty clear. Then
he starts doing some things that I think wouldn't work well at a contra dance unless
there were some other band member(s) keeping the dancers on track, Then he goes back to
playing with clear beat and phrasing for a while, then off on another flight of fancy,
etc.
On any of those "flights of fancy" is he doing the "punchign the
hemiola" thing that you write about? Can you offer any technical insight into what
other things he's doing--and just why they may be confusing for dances though
enjoyable for listeners--at a level that would be accessible to us musical muggles out
here?
--Jim
On May 2, 2022, at 8:27 AM, Amy Cann via Contra
Callers <contracallers(a)lists.sharedweight.net> wrote:
...
I've been wondering during this whole thread if
their version involves
punching the heck out of the hemiola in the B part?
(hemiola: Italian for "I'm going to mess with your head by moving the
emPHAsis to a new syLAHble")
People who aren't paper-trained, don't flinch, ok?
You can do this visually.
Look at this version: http://www.folktunefinder.com/tunes/113330
and look **carefully** at the beginning of the sixth and seventh lines.
Look at the three heavy black horizontal "BEAMS" -- do you see how
they bind the notes into groups of four? That's the grouping we dance
to - we put our feet down on those "diggachucka, diggachucka"'s.
ONE-234 ONE -234. Our feet land on the ONEs.
Now look carefully at the blobby dark oval HEADS of the notes.
Do you see the four little slanty LOW-MEDIUM-HIGH, LOW-MEDIUM-HIGH bunches?
That's the hemiola.
For fiddlers, whacking that LOW note comes natural. The bow just
automatically stomps on it. ONE-23 ONE-23 ONE-23 ONE-23
So you end up with an internally conflicted
ONE-two-three-ONE two-three-ONE-two three-ONE-two-three.
which in playwriting is delicious. Internal conflicts are the spice of drama.
But in a dance?
IF the fiddlers whack the threes AND the rhythm section stays true and honest,
the bass/guitar/piano keep up a steady BOOM chuck BOOM chuck,
you have zesty syncopation on top of expected solidity and all is well.
BUT.
If the band decides to be all cool and EVERYbody hits the threes,
everyone jumps on the hemiola accents with both feet, the dancers will
start to fall over theirs.
There's an obscure tune called "Catharsis" that sometimes inspires
this same unfortunate circumstance, which the composer regrets.
<snip>
4 May
4 May
6:58 a.m.
On 5/2/22 10:27 AM, Amy Cann wrote:
Roger Diggle typed:
Yours to keep! Use it wisely.
=====
Hemiola -
When songs are sung with harmony parts, someone gotta be singin' the
melody. When jazz musicians use all-at-once hemiola, sometimes even
*they* get lost. Contra dance music, someone *always* gotta be plowin'
the groove. Don't always gotta be the same someone. Short, decorative
excursions are best. Be cautious of the phrase boundaries, except for
dance endings. Dandy for endings!
My 3¢.
Roger
=====
versionated
Oh, now THAT's a keeper!
I've been wondering during this whole thread if their version involves
punching the heck out of the hemiola in the B part?
(hemiola: Italian for "I'm going to mess with your head by moving the
emPHAsis to a new syLAHble")
People who aren't paper-trained, don't flinch, ok?
You can do this visually.
Look at this version: http://www.folktunefinder.com/tunes/113330
and look **carefully** at the beginning of the sixth and seventh lines.
Look at the three heavy black horizontal "BEAMS" -- do you see how
they bind the notes into groups of four? That's the grouping we dance
to - we put our feet down on those "diggachucka, diggachucka"'s.
ONE-234 ONE -234. Our feet land on the ONEs.
Now look carefully at the blobby dark oval HEADS of the notes.
Do you see the four little slanty LOW-MEDIUM-HIGH, LOW-MEDIUM-HIGH bunches?
That's the hemiola.
For fiddlers, whacking that LOW note comes natural. The bow just
automatically stomps on it. ONE-23 ONE-23 ONE-23 ONE-23
So you end up with an internally conflicted
ONE-two-three-ONE two-three-ONE-two three-ONE-two-three.
which in playwriting is delicious. Internal conflicts are the spice of drama.
But in a dance?
IF the fiddlers whack the threes AND the rhythm section stays true and honest,
the bass/guitar/piano keep up a steady BOOM chuck BOOM chuck,
you have zesty syncopation on top of expected solidity and all is well.
BUT.
If the band decides to be all cool and EVERYbody hits the threes,
everyone jumps on the hemiola accents with both feet, the dancers will
start to fall over theirs.
There's an obscure tune called "Catharsis" that sometimes inspires
this same unfortunate circumstance, which the composer regrets.
On 5/2/22, Jeff Kaufman via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
> Here's a common version of Beaumont Rag that's square and well phrased:
> https://www.youtube.com/watch?v=8FTuWotf7TQ
>
> Jeff
>
> On Mon, May 2, 2022 at 1:09 AM Roger Diggle via Contra Callers <
> contracallers(a)lists.sharedweight.net> wrote:
>
>> Beaumont Rag is a tune that is incredibly versionated. Without knowing
>> their particular version, no way to create a dance that fits.
>>
>> Another way to look at the problem ... If they really want to play the
>> tune for dancing, there is no reason they cannot concoct a version of
>> there own, using the grab-bag of pieces that are laying around, to
>> create a square version. Next questions: Do they actually understand
>> what a square version is? Do they have a feel for the kinds of things,
>> in actual square tunes, that sometimes confuse the caller and/or
>> dancers? Do you or they know a musician or caller that could help with
>> that?
>>
>> If they feel like they'd like to use more pieces than can be
>> accommodated by typical A-A-B-B construction, there are several
>> possibilities. Think about A-A and B-B each being rectangles that form
>> a square You could concoct a C-C part. Then play the tune,
>> alternately, A-A B-B / A-A C-C. Also possible - perhaps a 16 bar
>> rectangle that does not internally repeat [as chestnut Maggie Brown's
>> Favorite does] Or A-B-C-D, [like chestnuts Opera Reel and Chorus Jig]
>> If I were doing this project, I would be inclined to play the A-A
>> rectangle alternating with other rectangles, beginning by alternating
>> A-A B-B until the dancers get a grip, then throw in other alternations,
>> but always the A-A in the lead.
>>
>> I have a batch of dances that fit variants of A-A-B-B-C, if they'd go
>> for that. Could even be A-B-C-D-E. If anyone is interested, I'll
>> supply those dances. Most are old contra-corners patterns, which
>> deserve more circulation than they get - with some stretch limousine
>> treatment.
>>
>> Roger Diggle
>>
>> --
>> Food for thought is no substitute for the real thing.
>> -- Walt Kelly, cartoonist extraordinaire
>>
>>
>>> *From:* Laur via Contra Callers
>>> *Sent:* Wednesday, April 27, 2022 3:50 PM
>>> *To:* Contra Callers <contracallers(a)sharedweight.net>
>>> *Subject:* [Callers] Need help fitting to a tune
>>>
>>> A local band here plays Beaumont Rag As a part of their routine dance
>>> set. It’s a popular band.
>>> I’ve never experienced a contra dance The band has chosen to play
>>> for
>>> a dance work. It doesn’t work for the dancers and it’s agonizing for
>>> the
>>> caller.
>>>
>>> Can anyone suggest a dance that could fit? At this point I’m planning
>>> to
>>> request they don’t include the tune.
>>>
>>> I know there’s an English dance written to match but not interested in
>>> that for this set.
>>>
>>> Laurie
>>>
>>>
>>> _______________________________________________
>>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
>>> To unsubscribe send an email to
>> contracallers-leave(a)lists.sharedweight.net
>>
>> _______________________________________________
>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
>> To unsubscribe send an email to
>> contracallers-leave(a)lists.sharedweight.net
>>
>
--
Food for thought is no substitute for the real thing.
-- Walt Kelly, cartoonist extraordinaire
2 May
2 May
4:23 p.m.
Jeff,
How would you describe the phrase structure of the version of Beaumont Rag that you just
cited? A A B B? A1 A2 B1 B2? A B? Something else?
In the instructional video
https://www.youtube.com/watch?v=ZS2Wb6nIjlU
the narrator begins (0:00-0:39) by playing a similar version of the tune. At about 1:19,
he says, "It's in A B form." At about 2:00 tablature appears in the upper
right corner for what the narrator describes as "measure number one." The time
signature isn't shown, but from the beaming of the notes, I'd infer that it's
4/4. In any case, each "measure" of music in the tablature includes what contra
dance writers and callers would typically refer to as "four beats" or "four
counts" or "two measures" or "two bars" of music.
--Jim
On May 2, 2022, at 7:48 AM, Jeff Kaufman via Contra
Callers <contracallers(a)lists.sharedweight.net> wrote:
Here's a common version of Beaumont Rag that's square and well phrased:
https://www.youtube.com/watch?v=8FTuWotf7TQ
Jeff
<older merssages snipped>
4:26 p.m.
Can I just say that I really enjoy the depth of the rabbit holes we're
willing to go down on here, and how much fun it is to take a dive
along with *other people* who don't think it's weird at all?
On 5/2/22, jim saxe via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
Jeff,
How would you describe the phrase structure of the version of Beaumont Rag
that you just cited? A A B B? A1 A2 B1 B2? A B? Something else?
In the instructional video
https://www.youtube.com/watch?v=ZS2Wb6nIjlU
the narrator begins (0:00-0:39) by playing a similar version of the tune. At
about 1:19, he says, "It's in A B form." At about 2:00 tablature appears
in
the upper right corner for what the narrator describes as "measure number
one." The time signature isn't shown, but from the beaming of the notes,
I'd
infer that it's 4/4. In any case, each "measure" of music in the tablature
includes what contra dance writers and callers would typically refer to as
"four beats" or "four counts" or "two measures" or
"two bars" of music.
--Jim
On May 2, 2022, at 7:48 AM, Jeff Kaufman via
Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
Here's a common version of Beaumont Rag that's square and well phrased:
https://www.youtube.com/watch?v=8FTuWotf7TQ
Jeff
<older merssages snipped>
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
5:32 p.m.
Hi Jim,
I'd describe the one I linked (https://www.youtube.com/watch?v=8FTuWotf7TQ)
as AABB. He's not playing it the same each time through, and parts have
various fancy endings, but I still hear AABB.
Jeff
On Mon, May 2, 2022 at 12:23 PM jim saxe <jim.saxe(a)gmail.com> wrote:
Jeff,
How would you describe the phrase structure of the version of Beaumont Rag
that you just cited? A A B B? A1 A2 B1 B2? A B? Something else?
In the instructional video
https://www.youtube.com/watch?v=ZS2Wb6nIjlU
the narrator begins (0:00-0:39) by playing a similar version of the tune.
At about 1:19, he says, "It's in A B form." At about 2:00 tablature
appears
in the upper right corner for what the narrator describes as "measure
number one." The time signature isn't shown, but from the beaming of the
notes, I'd infer that it's 4/4. In any case, each "measure" of music in
the
tablature includes what contra dance writers and callers would typically
refer to as "four beats" or "four counts" or "two measures"
or "two bars"
of music.
--Jim
On May 2, 2022, at 7:48 AM, Jeff Kaufman via
Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
Here's a common version of Beaumont Rag that's square and well phrased:
https://www.youtube.com/watch?v=8FTuWotf7TQ
Jeff
<older merssages snipped>
8:30 p.m.
Jeff,
Based on how I hear the tune with my not-very-musically-educated ears, I can understand
why you might describe it as AABB (with the A and B parts both having first and second
endings). But if you happen to have published sources for the tune, I'd be interested
in knowing whether they notate it that way.
--Jim
On May 2, 2022, at 10:32 AM, Jeff Kaufman
<jeff(a)alum.swarthmore.edu> wrote:
Hi Jim,
I'd describe the one I linked (https://www.youtube.com/watch?v=8FTuWotf7TQ) as AABB.
He's not playing it the same each time through, and parts have various fancy endings,
but I still hear AABB.
Jeff
On Mon, May 2, 2022 at 12:23 PM jim saxe <jim.saxe(a)gmail.com> wrote:
Jeff,
How would you describe the phrase structure of the version of Beaumont Rag that you just
cited? A A B B? A1 A2 B1 B2? A B? Something else?
In the instructional video
https://www.youtube.com/watch?v=ZS2Wb6nIjlU
the narrator begins (0:00-0:39) by playing a similar version of the tune. At about 1:19,
he says, "It's in A B form." At about 2:00 tablature appears in the upper
right corner for what the narrator describes as "measure number one." The time
signature isn't shown, but from the beaming of the notes, I'd infer that it's
4/4. In any case, each "measure" of music in the tablature includes what contra
dance writers and callers would typically refer to as "four beats" or "four
counts" or "two measures" or "two bars" of music.
--Jim
On May 2, 2022, at 7:48 AM, Jeff Kaufman via
Contra Callers <contracallers(a)lists.sharedweight.net> wrote:
Here's a common version of Beaumont Rag that's square and well phrased:
https://www.youtube.com/watch?v=8FTuWotf7TQ
Jeff
<older merssages snipped>
3 May
3 May
1:09 p.m.
I think the reason I hear it as AABB is that it has two 32-beat sections:
one that starts on the IV (I think -- I don't have an instrument in front
of me) and one that starts on the I. And each of those sections divides
into two 16-beat sections, each of which start with the same ~8 beats
before diverging.
I learned the tune by dancing to it and playing it, though, so I don't know
how it would typically be written down.
Jeff
On Mon, May 2, 2022 at 4:30 PM jim saxe <jim.saxe(a)gmail.com> wrote:
Jeff,
Based on how I hear the tune with my not-very-musically-educated ears, I
can understand why you might describe it as AABB (with the A and B parts
both having first and second endings). But if you happen to have published
sources for the tune, I'd be interested in knowing whether they notate it
that way.
--Jim
On May 2, 2022, at 10:32 AM, Jeff Kaufman
<jeff(a)alum.swarthmore.edu>
wrote:
Hi Jim,
I'd describe the one I linked (
https://www.youtube.com/watch?v=8FTuWotf7TQ)
as AABB. He's not playing
it the same each time through, and parts have various fancy endings, but I
still hear AABB.
Jeff
On Mon, May 2, 2022 at 12:23 PM jim saxe <jim.saxe(a)gmail.com> wrote:
Jeff,
How would you describe the phrase structure of the version of Beaumont
Rag that
you just cited? A A B B? A1 A2 B1 B2? A B? Something else?
In the instructional video
https://www.youtube.com/watch?v=ZS2Wb6nIjlU
the narrator begins (0:00-0:39) by playing a similar version of the
tune. At about
1:19, he says, "It's in A B form." At about 2:00 tablature
appears in the upper right corner for what the narrator describes as
"measure number one." The time signature isn't shown, but from the beaming
of the notes, I'd infer that it's 4/4. In any case, each "measure" of
music
in the tablature includes what contra dance writers and callers would
typically refer to as "four beats" or "four counts" or "two
measures" or
"two bars" of music.
--Jim
> On May 2, 2022, at 7:48 AM, Jeff Kaufman via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
>
> Here's a common version of Beaumont Rag that's square and well
phrased: https://www.youtube.com/watch?v=8FTuWotf7TQ
Jeff
<older merssages snipped>
2:49 p.m.
Curse you callers & musicians. I am now infected with one of the most
insidious of parasites: The earworm Baumontum Raggus. The nasty little
creature is crawling through my subconscious at a leisurely 86 bpm,
frequently raising its volume and causing erratic shoulder shimmies and the
occasional bobbing of the head. Shame on all of you for allowing
this beastly little bug to spread.
3:23 p.m.
You need an EarwormCancellationDevice (I forget how to say it in German).
It's a tune -- personal to you, everyone has their own -- that when
you sing or hum it will nudge the parasite out and take its place, and
then you can stop singing *it*. It's a two-step process.
The person who educated me about this uses "Simple Gifts", my own is
Le Marche De Rois from Bizet's L'Arlesienne.
On 5/3/22, Ridge Kennedy via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
Curse you callers & musicians. I am now infected
with one of the most
insidious of parasites: The earworm Baumontum Raggus. The nasty little
creature is crawling through my subconscious at a leisurely 86 bpm,
frequently raising its volume and causing erratic shoulder shimmies and the
occasional bobbing of the head. Shame on all of you for allowing
this beastly little bug to spread.
3:52 p.m.
I find earworm relief in Clair de Lune by Claude Debussy (solo piano). Best wishes … Bob
On May 3, 2022, at 11:23 AM, Amy Cann via Contra
Callers <contracallers(a)lists.sharedweight.net> wrote:
You need an EarwormCancellationDevice (I forget how to say it in German).
It's a tune -- personal to you, everyone has their own -- that when
you sing or hum it will nudge the parasite out and take its place, and
then you can stop singing *it*. It's a two-step process.
The person who educated me about this uses "Simple Gifts", my own is
Le Marche De Rois from Bizet's L'Arlesienne.
On 5/3/22, Ridge Kennedy via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
Curse you callers & musicians. I am now
infected with one of the most
insidious of parasites: The earworm Baumontum Raggus. The nasty little
creature is crawling through my subconscious at a leisurely 86 bpm,
frequently raising its volume and causing erratic shoulder shimmies and the
occasional bobbing of the head. Shame on all of you for allowing
this beastly little bug to spread.
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net 
5:20 p.m.
The key to ear worm relief is that the substitute tune must (a) not have any
tempting/endless-loop repeats in it, (b) should be interesting/varied enough to hold your
attention long enough to blot out the ear worm, and (c) must have a clear &
final/satisfying ending.
My go-to is Stars & Stripes Forever (yes, there are repeats, but first you add the
trombones, then you add the piccolo, and trying to keep both countermelodies going in your
head at the same time is enough of a challenge to stamp out any worm).
Becky
On May 3, 2022, at 11:52 AM, Robert Golder via Contra
Callers <contracallers(a)lists.sharedweight.net> wrote:
I find earworm relief in Clair de Lune by Claude Debussy (solo piano). Best wishes … Bob
On May 3, 2022, at 11:23 AM, Amy Cann via Contra
Callers <contracallers(a)lists.sharedweight.net
<mailto:contracallers@lists.sharedweight.net>> wrote:
You need an EarwormCancellationDevice (I forget how to say it in German).
It's a tune -- personal to you, everyone has their own -- that when
you sing or hum it will nudge the parasite out and take its place, and
then you can stop singing *it*. It's a two-step process.
The person who educated me about this uses "Simple Gifts", my own is
Le Marche De Rois from Bizet's L'Arlesienne.
On 5/3/22, Ridge Kennedy via Contra Callers
<contracallers(a)lists.sharedweight.net
<mailto:contracallers@lists.sharedweight.net>> wrote:
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net Curse you callers & musicians. I am now
infected with one of the most
insidious of parasites: The earworm Baumontum Raggus. The nasty little
creature is crawling through my subconscious at a leisurely 86 bpm,
frequently raising its volume and causing erratic shoulder shimmies and the
occasional bobbing of the head. Shame on all of you for allowing
this beastly little bug to spread.
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
<mailto:contracallers@lists.sharedweight.net>
To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
<mailto:contracallers-leave@lists.sharedweight.net> 
4 May
4 May
2:47 a.m.
Mark Twain was familiar with the concept of an ear worm.
https://acephalous.typepad.com/acephalous/mark-twain-a-literary-nig.html
Robert McCloskey's Homer Price also encountered an ear worm in "Pie and
Punch and You-Know-Whats", the last chapter of "Centerburg Tales".
https://www.audible.com/pd/Homer-Price-and-Centerburg-Tales-by-Robert-McClo…
On 5/3/2022 12:20 PM, Becky Liddle via Contra Callers wrote:
The key to ear worm relief is that the substitute tune
must (a) not
have any tempting/endless-loop repeats in it, (b) should be
interesting/varied enough to hold your attention long enough to blot
out the ear worm, and (c) must have a clear & final/satisfying ending.
My go-to is Stars & Stripes Forever (yes, there are repeats, but first
you add the trombones, then you add the piccolo, and trying to keep
both countermelodies going in your head at the same time is enough of
a challenge to stamp out any worm).
Becky
On May 3, 2022, at 11:52 AM, Robert Golder via
Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
I find earworm relief in /Clair de Lune/ by Claude Debussy (solo
piano). Best wishes … Bob
_______________________________________________
Contra Callers mailing list --contracallers(a)lists.sharedweight.net
To unsubscribe send an email tocontracallers-leave(a)lists.sharedweight.net On May 3, 2022, at 11:23 AM, Amy Cann via Contra
Callers
<contracallers(a)lists.sharedweight.net> wrote:
You need an EarwormCancellationDevice (I forget how to say it in
German).
It's a tune -- personal to you, everyone has their own -- that when
you sing or hum it will nudge the parasite out and take its place, and
then you can stop singing *it*. It's a two-step process.
The person who educated me about this uses "Simple Gifts", my own is
Le Marche De Rois from Bizet's L'Arlesienne.
On 5/3/22, Ridge Kennedy via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to
contracallers-leave(a)lists.sharedweight.net
Curse you callers & musicians. I am now
infected with one of the most
insidious of parasites: The earworm Baumontum Raggus. The nasty little
creature is crawling through my subconscious at a leisurely 86 bpm,
frequently raising its volume and causing erratic shoulder shimmies
and the
occasional bobbing of the head. Shame on all of you for allowing
this beastly little bug to spread.
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to
contracallers-leave(a)lists.sharedweight.net
3:54 a.m.
I read the Mark Twain and now I'm frankly afraid to read the Homer Price.
But I did get a chuckle from Twain before the relentless earworm returned
right there, PUNCH in the presence of the passenjare. Allemande left like a
rabbit and a hare, then promenade all with nare' a bear care.
Jerome
On Tue, May 3, 2022, 9:47 PM David Harding via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
Mark Twain was familiar with the concept of an ear
worm.
https://acephalous.typepad.com/acephalous/mark-twain-a-literary-nig.html
Robert McCloskey's Homer Price also encountered an ear worm in "Pie and
Punch and You-Know-Whats", the last chapter of "Centerburg Tales".
https://www.audible.com/pd/Homer-Price-and-Centerburg-Tales-by-Robert-McClo…
On 5/3/2022 12:20 PM, Becky Liddle via Contra Callers wrote:
The key to ear worm relief is that the substitute tune must (a) not have
any tempting/endless-loop repeats in it, (b) should be interesting/varied
enough to hold your attention long enough to blot out the ear worm, and (c)
must have a clear & final/satisfying ending.
My go-to is Stars & Stripes Forever (yes, there are repeats, but first you
add the trombones, then you add the piccolo, and trying to keep both
countermelodies going in your head at the same time is enough of a
challenge to stamp out any worm).
Becky
On May 3, 2022, at 11:52 AM, Robert Golder via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
I find earworm relief in *Clair de Lune* by Claude Debussy (solo piano).
Best wishes … Bob
On May 3, 2022, at 11:23 AM, Amy Cann via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
You need an EarwormCancellationDevice (I forget how to say it in German).
It's a tune -- personal to you, everyone has their own -- that when
you sing or hum it will nudge the parasite out and take its place, and
then you can stop singing *it*. It's a two-step process.
The person who educated me about this uses "Simple Gifts", my own is
Le Marche De Rois from Bizet's L'Arlesienne.
On 5/3/22, Ridge Kennedy via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
Curse you callers & musicians. I am now infected with one of the most
insidious of parasites: The earworm Baumontum Raggus. The nasty little
creature is crawling through my subconscious at a leisurely 86 bpm,
frequently raising its volume and causing erratic shoulder shimmies and the
occasional bobbing of the head. Shame on all of you for allowing
this beastly little bug to spread.
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
_______________________________________________
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To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
_______________________________________________
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7:28 a.m.
Ridge,
Sorry to hear of your infection. I confess I don't get unwanted
earworms often. When I do, I usually re-imagine it in some way. Most
often, I change the time signature. Turn it into a waltz or a jig or
something else that it's not. If you can, imagine it in some Eastern
European time signature. An interesting one for contra tunes is
actually a change in rhythm emphasis rather than the time signature
itself. 123.123.12 is still 8 beats. Another good one is
123.123.12.12.12.
Good luck!
Roger
On 5/3/22 9:49 AM, Ridge Kennedy via Contra Callers wrote:
Curse you callers & musicians. I am now infected
with one of the most
insidious of parasites: The earworm Baumontum Raggus. The nasty little
creature is crawling through my subconscious at a leisurely 86 bpm,
frequently raising its volume and causing erratic shoulder shimmies and
the occasional bobbing of the head. Shame on all of you for allowing
this beastly little bug to spread.
_______________________________________________
Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
--
Food for thought is no substitute for the real thing.
-- Walt Kelly, cartoonist extraordinaire
27 Apr
27 Apr
9:14 p.m.
Hi Laurir,
If the band likes to play Beaumont Rag and can do a good job with it, try asking them to
slow down to 120-124 and call a square dance to it. Particularly a Western or Southern
style square (like Texas Star) where you would have lots of flexibility with your calls.
No matter how the band phrases the tune, you could adapt the movements and also your
calling and timing so that when the band comes around again to A1, you could start a new
section of the dance, which is always very satisfying for the dancers. That way, you can
get the upbeat lilting music of that tune to work for you. And the band will be happy
because they played that tune.
(Says me who once tried calling a square to the tune "Take Five")
Good luck,
Woody
--
Woody Lane
Caller, Percussive Dancer
Roseburg, Oregon
http://www.woodylanecaller.com
cell: 541-556-0054
________________________________
On 4/27/2022 12:51 PM, Laur via Contra Callers wrote:
A local band here plays Beaumont Rag As a part of their routine dance set. It’s a popular
band.
I’ve never experienced a contra dance The band has chosen to play for a dance work. It
doesn’t work for the dancers and it’s agonizing for the caller.
Can anyone suggest a dance that could fit? At this point I’m planning to request they
don’t include the tune.
I know there’s an English dance written to match but not interested in that for this set.
Laurie
Sent from Yahoo Mail for iPhone<https://overview.mail.yahoo.com/?.src=iOS>
28 Apr
28 Apr
3:46 a.m.
Thank you nice idea
Sent from Yahoo Mail for iPad
On Wednesday, April 27, 2022, 10:38 PM, Woody Lane via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
Hi Laurir,
If the band likes to play Beaumont Rag and can do a good job with it, try asking them to
slow down to 120-124 and call a square dance to it. Particularly a Western or Southern
style square (like Texas Star) where you would have lots of flexibility with your calls.
No matter how the band phrases the tune, you could adapt the movements and also your
calling and timing so that when the band comes around again to A1, you could start a new
section of the dance, which is always very satisfying for the dancers. That way, you can
get the upbeat lilting music of that tune to work for you. And the band will be happy
because they played that tune.
(Says me who once tried calling a square to the tune "Take Five")
Good luck,
Woody
--
Woody Lane
Caller, Percussive Dancer
Roseburg, Oregon
http://www.woodylanecaller.com
cell: 541-556-0054
On 4/27/2022 12:51 PM, Laur via Contra Callers wrote:
A local band here plays Beaumont Rag As a part of their routine dance set. It’s a popular
band.
I’ve never experienced a contra dance The band has chosen to play for a dance work. It
doesn’t work for the dancers and it’s agonizing for the caller.
Can anyone suggest a dance that could fit? At this point I’m planning to request they
don’t include the tune.
I know there’s an English dance written to match but not interested in that for this
set.
Laurie
Sent from Yahoo Mail for iPhone
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To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
12:54 a.m.
As many have said, much depends on HOW a band plays a tune, but I do often like rags for
dances with contra corners.
J.
--
Jeffrey Spero
Culver City, CA
On Apr 27, 2022, at 12:50 PM, Laur via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
A local band here plays Beaumont Rag As a part of their routine dance set. It’s a popular
band.
I’ve never experienced a contra dance The band has chosen to play for a dance work. It
doesn’t work for the dancers and it’s agonizing for the caller.
Can anyone suggest a dance that could fit? At this point I’m planning to request they
don’t include the tune.
I know there’s an English dance written to match but not interested in that for this set.
Laurie
Sent from Yahoo Mail for iPhone <https://overview.mail.yahoo.com/?.src=iOS>
_______________________________________________
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29 Apr
29 Apr
1:14 p.m.
Hi Laurie,
If your experience is that their Beaumont Rag set doesn't work for dancing,
then you can let them know you don't want them to play it with you.
Ideally in advance before your next gig with them so they can work up
something else.
On the other hand, this may be fixable. I've played Beaumont Rag many times
for dances, and it's gone well. Do you know why the dances are falling
apart? Are they playing too fast? Is the phrasing not matching the dance?
Is the beat unclear?
Jeff
On Wed, Apr 27, 2022 at 3:50 PM Laur via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
A local band here plays Beaumont Rag As a part of
their routine dance set.
It’s a popular band.
I’ve never experienced a contra dance The band has chosen to play for a
dance work. It doesn’t work for the dancers and it’s agonizing for the
caller.
Can anyone suggest a dance that could fit? At this point I’m planning to
request they don’t include the tune.
I know there’s an English dance written to match but not interested in
that for this set.
Laurie
Sent from Yahoo Mail for iPhone
<https://overview.mail.yahoo.com/?.src=iOS>
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days inactive
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32 comments
17 participants
participants (17)
-
Amy Cann -
Becky Liddle -
Bill Olson -
Colin Hume -
David Harding -
Jack Mitchell -
Jacob or Nancy Bloom -
jeff - syncopaths -
Jeff Kaufman -
Jerome Grisanti -
jim saxe -
Laur -
Ridge Kennedy -
Robert Golder -
Roger Diggle -
Tony Parkes -
Woody Lane