know the tune!) Gale's comment points to a problem that's developing. As fewer callers use the old dances, many of which have a tune associated with them, fewer musicians coming into the tradition are learning those particular tunes. That in turn makes it harder to call the older dances so callers might shy away from that material. I suppose you _could_ dance Money Musk to a generic tune played AAB, but it surely wouldn't be the same and I don't think I'd want to try it. And the balances for Hull's Victory just fit that tune perfectly. So, callers, I'd encourage everyone to get those chestnuts into your repertoire and to let bands know in advance that you'd like to be able to call Rory O'More, for example, and if the musicians don't already know the tune, perhaps they'll learn it. And yes, there are lots and lots of old dances and tunes, but a list of ones that I'd love to see in every New England dance musician's repertoire might include: Chorus Jig Devil's Dream Green Mountain Petronella Hull's Victory Lady of the Lake Lady Walpole's Reel Lamplighter's Hornpipe Money Musk O'Donal Abhu (for British Sorrow) Opera Reel Petronella Portland Fancy Rory O'More Steamboat/Washington Quickstep Vinton's Hornpipe and tunes for a couple of the older couple dances, such as the Gie Gordon's and Road to the Isles. Heck, just get a copy of the New England Chestnuts albums (now out in a double CD from Great Meadow Music) and hand that to the band and say, "Here! Please learn these!" And if they want dots to read, direct them to the New England Fiddler's Repertoire tunebook. And, of course, tunes for some of the traditional singing squares such as Redwing, Crooked Stovepipe... Well, you get the idea... David Millstone