27 Jul
2014
27 Jul
'14
3:33 p.m.
Here's a dance I composed recently. Hope you find it interesting and can
affirm it is new.
Thanks to Linda Leslie for encouraging my composition, reviewing the
progenitor works and providing the shadow identification tip.
Thanks,
Don
*Dirty Rotten Double Crosser* - DI - Don Veino 23 July 2014, Intermediate
(Cross Trails)
*A1*
(4,4) Ring Balance, Petronella Twirl
(4,4) Ring Balance, Cross Trail (Pass N by Right across, P by Left up/down)
*A2*
(8) Shadow Allemande Left (or dancer's choice) back to
(8) P Swing
*B1*
(8) G Allemande Left 1+1/2 (to cross set)
(8) N Swing
*B2*
(8) Circle Left (1x)
(4,4) Ring Balance, Cross Trail (Pass P by Right across, N by Left up/down)
to next Ns for...
Teaching tip: Can circle left 1/4 from start position to identify shadow
(adjacent in next foursome)
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31 Jul
31 Jul
10:17 p.m.
On Sun, Jul 27, 2014, Don Veino via Callers wrote:
*Dirty Rotten Double Crosser* - DI - Don Veino 23 July 2014, Intermediate
(Cross Trails)
*A1*
(4,4) Ring Balance, Petronella Twirl
(4,4) Ring Balance, Cross Trail (Pass N by Right across, P by Left up/down)
You definitely need to be careful explaining this -- I think of Cross
Trail as leaving dancers facing the same direction, although your variant
is also common. (No idea which is more common, particularly given the
collapse of "Cross Trail" in general.)
If I were to call this, I would probably change it to Square Thru 2
(with/without hands) just to reuse vocabulary that dancers are more
likely to know.
--
Hugs and backrubs -- I break Rule 6 http://rule6.info/
<*> <*> <*>
Help a hearing-impaired person: http://rule6.info/hearing.html
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11:08 p.m.
On Thu, Jul 31, 2014 at 7:17 PM, Aahz Maruch via Callers
<callers(a)lists.sharedweight.net> wrote:
You definitely need to be careful explaining this -- I
think of Cross
Trail as leaving dancers facing the same direction, although your variant
is also common. (No idea which is more common, particularly given the
collapse of "Cross Trail" in general.)
Cross Trails facing the same direction is something I've only
encountered in the MWSD Callerlab Advanced definitions. (And even
there, I understand, that decision was contentious.) Every instance
I've seen in a contra dance of crosstrails through has dancers facing
the next. (Pass right across, face along, pass left along the set, and
on to the next.)
My main concern with the dance is the timing. Four beats is fast,
though at least you can steal some timing from the balances.
-Chris Page
San Diego
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11:38 p.m.
New subject: Cross Trails again (was New Dance: Dirty Rotten Double Crosser)
On Thu, Jul 31, 2014, Chris Page wrote:
On Thu, Jul 31, 2014 at 7:17 PM, Aahz Maruch via
Callers
<callers(a)lists.sharedweight.net> wrote:
I've never encountered Cross Trails in contra that I remember (over a
quarter-century, though I make no promises with my hearing that I haven't
danced it and just didn't hear the call name), so square dancing is the
only usage I've ever seen. I've also been square dancing more than a
quarter-century, so per an earlier discussion, I remember when Cross
Trails was part of the Mainstream program.
Anyway, just thought I'd warn about a potential glitch.
Aside to Jim Saxe, can't remember if this came up earlier:
http://www.dosado.com/lists/mshst.doc
--
Hugs and backrubs -- I break Rule 6 http://rule6.info/
<*> <*> <*>
"Just because I'm selling you into slavery doesn't mean we can't be
friends." B-movie cliche Hall of Fame (_Bounty Hunter: 2002_)
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You definitely need to be careful explaining this -- I think of Cross
Trail as leaving dancers facing the same direction, although your variant
is also common. (No idea which is more common, particularly given the
collapse of "Cross Trail" in general.)
Cross Trails facing the same direction is something I've only
encountered in the MWSD Callerlab Advanced definitions. (And even
there, I understand, that decision was contentious.) Every instance
I've seen in a contra dance of crosstrails through has dancers facing
the next. (Pass right across, face along, pass left along the set, and
on to the next.)
11:51 p.m.
The timing of the cross trail here is not dissimilar to that in Joel's in the Kitchen
by Sue Rosen, (to give an example of a x trail where you pass across, pass up and down to
the next) where you Bal, X trail, (8), then Sw a new N (8). Because it's a Sw, there
is some fudging. If one is late, you can shorten the swing. Getting into a ring for a
petronella is another kettle of fish. I agree that a square through, using hands to
propel you, might make it likelier to succeed. Either way, the music had better not be
burning fast. The dance still looks fun, Don!
Sent from my iPad
On Jul 31, 2014, at 11:08 PM, Chris Page via Callers
<callers(a)lists.sharedweight.net> wrote:
On Thu, Jul 31, 2014 at 7:17 PM, Aahz Maruch via Callers
<callers(a)lists.sharedweight.net> wrote:
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You definitely need to be careful explaining this
-- I think of Cross
Trail as leaving dancers facing the same direction, although your variant
is also common. (No idea which is more common, particularly given the
collapse of "Cross Trail" in general.)
Cross Trails facing the same direction is something I've only
encountered in the MWSD Callerlab Advanced definitions. (And even
there, I understand, that decision was contentious.) Every instance
I've seen in a contra dance of crosstrails through has dancers facing
the next. (Pass right across, face along, pass left along the set, and
on to the next.)
My main concern with the dance is the timing. Four beats is fast,
though at least you can steal some timing from the balances.
-Chris Page
San Diego
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1 Aug
1 Aug
2:16 a.m.
Thanks. I understand the concerns on timing wrapping back around to the A1
Petronella. I wonder, would music on the slower side just make folks move
slower overall and be just as late?
Just for the interest of the discussion, below is another of my double
cross-trail concept dances which avoids this issue by (like for Sue's
dance) ending both cross-trails in a swing. This was actually the prior
composition (but never danced). I paused it to try for something with both
cross-trails being in the "conventional" (contra) starting across-set use
and with less "complication" to suit wider applicability. That dance became
Dirty Rotten...
*Veino_Draft_20140721 Rev 2* - Duple Improper (Intermediate/Advanced:
unusual figure orientation, end effects)
[in case of further discussion, let's provisionally call this "Diagonally
Rotten..."]
*A1*(4) Cross-Trail (Pass current N (N1) Right up/down the set, Pass P Left
across)
(12) N1 Swing (on Gent's away side)
*A2*
(8) Left Diagonal Ladies Chain (to Shadow)
(4) Ring Balance (use connection to boost into...)
(4) Cross Trail (pass N2 by right across, pass Shadow by left up/down to
face P).
*B1*
(4,12) P Balance, Swing (on G's home side, opposite N2)
OR simply (16) P Swing?
*B2*
(8) Circle Left (1x)
(4,4) Balance Ring, Petronella 1 place to face up/down, and with THIS
neighbor...
*End effects*: Never out. Wait out on left diagonal for chain, then crossed
over with shadow for P Balance and Swing. Others?
Probably goes without saying to most of you but in both dances the ring
balances are intended to help with set re-alignment/recovery in the absence
of long lines/waves. Yep, square through vs. cross-trail is an option and a
matter of taste and accessibility (are the rings important, does
"handedness" matter in this flow?).
On Thu, Jul 31, 2014 at 11:51 PM, Andrea Nettleton via Callers <
callers(a)lists.sharedweight.net> wrote:
The timing of the cross trail here is not dissimilar
to that in Joel's in
the Kitchen by Sue Rosen, (to give an example of a x trail where you pass
across, pass up and down to the next) where you Bal, X trail, (8), then Sw
a new N (8). Because it's a Sw, there is some fudging. If one is late,
you can shorten the swing. Getting into a ring for a petronella is another
kettle of fish. I agree that a square through, using hands to propel you,
might make it likelier to succeed. Either way, the music had better not be
burning fast. The dance still looks fun, Don!
Sent from my iPad
{snipped - DonV}
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5 comments
4 participants
participants (4)
-
Aahz Maruch via Callers -
Andrea Nettleton via Callers
-
Chris Page via Callers
-
Don Veino via Callers