18 Sep
2007
18 Sep
'07
9:29 a.m.
I've composed three dances that I'd like to put out to the list for
feedback. I'd appreciate any comments you might have.
Walter
Sadie and theBack door
Duple, Improper
Walter Daves
A1: Neighbor gypsy and swing
A2: Gents allemande left 1.5 to partner; partner swing
B1: Gents start hey for 4, passing left shoulders in the center
B2: Circle left 3 places; balance the ring; partner California twirl to
face next
This dance was inspired by Jere Canote's tune of the same name about his
cat, Sadie, who would meow at the front door to get out, then
immediately go around to the back door and meow to get back in. It
works pretty well with that tune.
Nail That Catfish to the Tree
Duple, Improper
Walter Daves and Bob Dalsemer
A1: In ring of 4, balance the ring; circle left 2 places; balance the
ring; circle left two places, back to starting point.
A2: Couple # 1 balance and swing
B1: Neighbor do-si-do and swing; end facing down the hall with #2
couple in the middle
B2: Down the hall 4 in line, turn single, return, #2s arch and #1s duck
thru to next.
To avoid the rush from B2 to the next A1, encourage the dancers to turn
around after only 4 steps down the hall.
I wrote this dance 3 years ago at the John C. Campbell Folk School Dance
Caller's workshop. Bob Dalsemer made a couple of improvements.
It was inspired by Steve Rosen's tune of the same name, and works well
with that tune. We play it in a medley with Squirrel Heads and Gravy,
which also works well.
Little Nell
Duple, impoper
Walter Daves
Line up in a wavy line of 4, with ladies in the center
A1: Balance the line; allemande right .5 to wavy line with gents in
center; balance the line;
Gents allemande left to partner
A2: Partner balance and swing
B1: Ladies allemande right 1.5 to neighbor; neighbor swing
B2: Circle left; balance the circle; ladies roll away to change places
with partner; pass thru to next
Inspired by Tony Mates' tune of the same name.
*/ / *
18 Sep
18 Sep
9:55 a.m.
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Walter Daves
I *LOVE* your dance Nail That Catfish to the Tree. I was humming the
tune and the dance fits perfectly! Wow! That is going to be one
satisfying dance/tune combination.
Sadie and theBack door
A1: Neighbor gypsy and swing
A2: Gents allemande left 1.5 to partner; partner swing
B1: Gents start hey for 4, passing left shoulders in the center
B2: Circle left 3 places; balance the ring; partner California twirl to
face next
Has "Sadie and the Back Door" been called in the wild? I love the flow
in this dance - and it's always a nice change to have the gents lead the
hey. At the end of the hey, are you suggesting the gents loop right (to
flow into the Circle Left) or left (which is the natural hey movement,
but to make work with the circle would have to be basically a turn
single)? When you've called it, have the dancers been confused by the
transition from the hey to the circle?
Little Nell
I don't know the tune Little Nell - where can we hear it? Is it recorded
anywhere?
12:11 p.m.
Hi, Seth,
Thanks for your feedback on Catfish. I hope you enjoy it.
I have called Sadie at the Back Door in the wild. The hey seems to
flow OK into the circle left. When the gent gets back to the starting
side he loops around and keeps moving into the circle, bringing his
partner along.
I'll have to find a recording of Little Nell. I learned it from David
Kaynor and Susan Conger. It's notated in the Portland Collection,
Volume 2.
Walter
Tepfer, Seth wrote:
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Walter Daves
I *LOVE* your dance Nail That Catfish to the Tree. I was humming the
tune and the dance fits perfectly! Wow! That is going to be one
satisfying dance/tune combination.
Sadie and theBack door
A1: Neighbor gypsy and swing
A2: Gents allemande left 1.5 to partner; partner swing
B1: Gents start hey for 4, passing left shoulders in the center
B2: Circle left 3 places; balance the ring; partner California twirl to
face next
Has "Sadie and the Back Door" been called in the wild? I love the flow
in this dance - and it's always a nice change to have the gents lead the
hey. At the end of the hey, are you suggesting the gents loop right (to
flow into the Circle Left) or left (which is the natural hey movement,
but to make work with the circle would have to be basically a turn
single)? When you've called it, have the dancers been confused by the
transition from the hey to the circle?
Little Nell
I don't know the tune Little Nell - where can we hear it? Is it recorded
anywhere?
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1:16 p.m.
Walter,
I pulled up a recording of Catfish here at my desk and
air danced. I can't wait to try it out. Fun.
Laurie
--- Walter Daves <walterdaves(a)alltel.net> wrote:
Hi, Seth,
Thanks for your feedback on Catfish. I hope you
enjoy it.
I have called Sadie at the Back Door in the wild.
The hey seems to
flow OK into the circle left. When the gent gets
back to the starting
side he loops around and keeps moving into the
circle, bringing his
partner along.
I'll have to find a recording of Little Nell. I
learned it from David
Kaynor and Susan Conger. It's notated in the
Portland Collection,
Volume 2.
Walter
Tepfer, Seth wrote:
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-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On
Behalf Of Walter Daves
I *LOVE* your dance Nail That Catfish to the Tree.
I was humming the
tune and the dance fits perfectly! Wow! That is
going to be one
satisfying dance/tune combination.
Sadie and theBack door
A1: Neighbor gypsy and swing
A2: Gents allemande left 1.5 to partner; partner
swing
B1: Gents start hey for 4, passing left shoulders
in the center
B2: Circle left 3 places; balance the ring;
partner California twirl to
face next
Has "Sadie and the Back Door" been called in the
wild? I love the flow
in this dance - and it's always a nice change
to
have the gents lead the
hey. At the end of the hey, are you suggesting
the
gents loop right (to
flow into the Circle Left) or left (which is the
natural hey movement,
but to make work with the circle would have to be
basically a turn
single)? When you've called it, have the
dancers
been confused by the
transition from the hey to the circle?
Little Nell
I don't know the tune Little Nell - where can we
hear it? Is it recorded
anywhere?
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
1:45 p.m.
Tepfer, Seth wrote:
Sadie and the Back door
B1: Gents start hey for 4, passing left shoulders in the center
At the end of the hey, are you suggesting the gents
loop right (to
flow into the Circle Left) or left (which is the natural hey movement,
but to make work with the circle would have to be basically a turn
single)?
Gents start by passing left in the center, so the end loop is right --
wrong?
--Tara
3:19 p.m.
right. (not wrong)
Walter
Tara Bolker wrote:
Tepfer, Seth wrote:
Sadie and the Back door
B1: Gents start hey for 4, passing left shoulders in the center
At the end of the hey, are you suggesting the
gents loop right (to
flow into the Circle Left) or left (which is the natural hey movement,
but to make work with the circle would have to be basically a turn
single)?
Gents start by passing left in the center, so the end loop is right --
wrong?
--Tara
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
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8:11 p.m.
On 9/18/07, Walter Daves <walterdaves(a)alltel.net> wrote:
I've composed three dances that I'd like to
put out to the list for
feedback. I'd appreciate any comments you might have.
Walter
Sadie and the Back Door seems quite nice, though I'd
have to think how best to teach the hey->circle transition.
However, Little Nell has a spot that worries me:
Little Nell
B2: Circle left; balance the circle; ladies roll away
to change places
with partner; pass thru to next
Here you seem to have a roll-away, a pass through, and a get
organized with new neighbors in a wave in only four beats.
On (metaphorical) paper it seems dreadfully rushed. Seems like
the logical choice would be to ditch the circle balance altogether,
giving the nice bonus of the circle->rollaway transition.
-Chris Page
San Diego
14 Oct
14 Oct
10:18 p.m.
Waler -
I called Nail the Catfish one night last month, right
after your post, in fact.
The band was excited about playing the tune since they
typically have only played this informally, in a jam,
not for a dance. (Steve Rosen is someone familiar to
us.) Although other tunes could have worked, whenever
I called they kept asking - do we play it this time?
I'd say no, it's the second to last dance IF
there's time.. but because we had a more intermediate
crowd, and the other caller and I did efficient walk
throughs, I was able to fit it in before break!
I did ONE walk through (not usual in this community in
West MI).
From what I observed, and what a few dancer/ callers
told me, the dance went into memory easy. And as
confirmation, I felt little need to do more than
prompt every so often after a few times through the
dance. The dance was "tight" or not flexible with
timing - so if someone was 'late' it really tossed
a cog in the flow. I made a very big point of the four
steps and why in the walk-through, and I prompted the
first few dances specifically about when to turn and
when to arch. Unfortunately, in that community there
are long time dancers without any sense of music or
timing... and so -
The feedback I got was positive in terms of flow. And
some felt that they could relax into the dance
because of the physical memory. one caller felt that
it became boring to him because he didn't have time
for flourishes. But there's the old push and pull -
does florishability make a dance?
I'm quite annoyed by those dancers, young or old, that
loose the sense of timing and flow to get an extra
twirl or swing extraordinaire or swap the neighbor. Do
ALL that and more - but be ON TIME.
Although I'm cautious about associating a dance with
one tune, its a good measurer. If the band knows the
tune then they can play it or anything similar to it.
I trust the band. I'd say, this tune was written for
Nail the Catfish, and if they know that tune they can
get the feeling for the flow, playing it or not.
And the author IS correct, it is a tight fit for four
down the hall, and I'd say that they have to prepare
to lift at four so the ends can turn in to pass
through as they walk back up the hall.
I'd call it again, (and again). People were smiling.
Folks applauded. Full credit to the author awarded...
Laurie
--- Walter Daves <walterdaves(a)alltel.net> wrote:
I've composed three dances that I'd like to
put out
to the list for
feedback. I'd appreciate any comments you might
have.
Walter
Sadie and theBack door
Duple, Improper
Walter Daves
A1: Neighbor gypsy and swing
A2: Gents allemande left 1.5 to partner; partner
swing
B1: Gents start hey for 4, passing left shoulders
in the center
B2: Circle left 3 places; balance the ring; partner
California twirl to
face next
This dance was inspired by Jere Canote's tune of the
same name about his
cat, Sadie, who would meow at the front door to get
out, then
immediately go around to the back door and meow to
get back in. It
works pretty well with that tune.
Nail That Catfish to the Tree
Duple, Improper
Walter Daves and Bob Dalsemer
A1: In ring of 4, balance the ring; circle left 2
places; balance the
ring; circle left two places, back to starting
point.
A2: Couple # 1 balance and swing
B1: Neighbor do-si-do and swing; end facing down
the hall with #2
couple in the middle
B2: Down the hall 4 in line, turn single, return,
#2s arch and #1s duck
thru to next.
To avoid the rush from B2 to the next A1, encourage
the dancers to turn
around after only 4 steps down the hall.
I wrote this dance 3 years ago at the John C.
Campbell Folk School Dance
Caller's workshop. Bob Dalsemer made a couple of
improvements.
It was inspired by Steve Rosen's tune of the same
name, and works well
with that tune. We play it in a medley with
Squirrel Heads and Gravy,
which also works well.
Little Nell
Duple, impoper
Walter Daves
Line up in a wavy line of 4, with ladies in the
center
A1: Balance the line; allemande right .5 to wavy
line with gents in
center; balance the line;
Gents allemande left to partner
A2: Partner balance and swing
B1: Ladies allemande right 1.5 to neighbor;
neighbor swing
B2: Circle left; balance the circle; ladies roll
away to change places
with partner; pass thru to next
Inspired by Tony Mates' tune of the same name.
*/ / *
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____________________________________________________________________________________
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15 Oct
15 Oct
9:19 a.m.
Laurie,
Thanks so much for the detailed feedback. I'm glad you and they enjoyed
it, flourish or not.
Walter
Laur wrote:
Waler -
I called Nail the Catfish one night last month, right
after your post, in fact.
The band was excited about playing the tune since they
typically have only played this informally, in a jam,
not for a dance. (Steve Rosen is someone familiar to
us.) Although other tunes could have worked, whenever
I called they kept asking - do we play it this time?
I'd say no, it's the second to last dance IF
there's time.. but because we had a more intermediate
crowd, and the other caller and I did efficient walk
throughs, I was able to fit it in before break!
I did ONE walk through (not usual in this community in
West MI).
From what I observed, and what a few dancer/
callers
told me, the dance went into memory easy. And as
confirmation, I felt little need to do more than
prompt every so often after a few times through the
dance. The dance was "tight" or not flexible with
timing - so if someone was 'late' it really tossed
a cog in the flow. I made a very big point of the four
steps and why in the walk-through, and I prompted the
first few dances specifically about when to turn and
when to arch. Unfortunately, in that community there
are long time dancers without any sense of music or
timing... and so -
The feedback I got was positive in terms of flow. And
some felt that they could relax into the dance
because of the physical memory. one caller felt that
it became boring to him because he didn't have time
for flourishes. But there's the old push and pull -
does florishability make a dance?
I'm quite annoyed by those dancers, young or old, that
loose the sense of timing and flow to get an extra
twirl or swing extraordinaire or swap the neighbor. Do
ALL that and more - but be ON TIME.
Although I'm cautious about associating a dance with
one tune, its a good measurer. If the band knows the
tune then they can play it or anything similar to it.
I trust the band. I'd say, this tune was written for
Nail the Catfish, and if they know that tune they can
get the feeling for the flow, playing it or not.
And the author IS correct, it is a tight fit for four
down the hall, and I'd say that they have to prepare
to lift at four so the ends can turn in to pass
through as they walk back up the hall.
I'd call it again, (and again). People were smiling.
Folks applauded. Full credit to the author awarded...
Laurie
--- Walter Daves <walterdaves(a)alltel.net> wrote:
I've composed three dances that I'd like
to put out
to the list for
feedback. I'd appreciate any comments you might
have.
Walter
Sadie and theBack door
Duple, Improper
Walter Daves
A1: Neighbor gypsy and swing
A2: Gents allemande left 1.5 to partner; partner
swing
B1: Gents start hey for 4, passing left shoulders
in the center
B2: Circle left 3 places; balance the ring; partner
California twirl to
face next
This dance was inspired by Jere Canote's tune of the
same name about his
cat, Sadie, who would meow at the front door to get
out, then
immediately go around to the back door and meow to
get back in. It
works pretty well with that tune.
Nail That Catfish to the Tree
Duple, Improper
Walter Daves and Bob Dalsemer
A1: In ring of 4, balance the ring; circle left 2
places; balance the
ring; circle left two places, back to starting
point.
A2: Couple # 1 balance and swing
B1: Neighbor do-si-do and swing; end facing down
the hall with #2
couple in the middle
B2: Down the hall 4 in line, turn single, return,
#2s arch and #1s duck
thru to next.
To avoid the rush from B2 to the next A1, encourage
the dancers to turn
around after only 4 steps down the hall.
I wrote this dance 3 years ago at the John C.
Campbell Folk School Dance
Caller's workshop. Bob Dalsemer made a couple of
improvements.
It was inspired by Steve Rosen's tune of the same
name, and works well
with that tune. We play it in a medley with
Squirrel Heads and Gravy,
which also works well.
Little Nell
Duple, impoper
Walter Daves
Line up in a wavy line of 4, with ladies in the
center
A1: Balance the line; allemande right .5 to wavy
line with gents in
center; balance the line;
Gents allemande left to partner
A2: Partner balance and swing
B1: Ladies allemande right 1.5 to neighbor;
neighbor swing
B2: Circle left; balance the circle; ladies roll
away to change places
with partner; pass thru to next
Inspired by Tony Mates' tune of the same name.
*/ / *
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____________________________________________________________________________________
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Answers - Check it out.
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8 comments
5 participants
participants (5)
-
Chris Page -
Laur -
Tara Bolker -
Tepfer, Seth -
Walter Daves