I was going to suggest the same thing. I've called Chorus Jig as a triplet. B-2 just has the 1's swing down to the bottom of the set. I've used this dance in a family dance/barn dance type situation with no problems.. It certainly teaches the contra corners figure. bill ________________________________ From: Callers &lt;callers-bounces(a)lists.sharedweight.net&gt; on behalf of Jacob or Nancy Bloom via Callers &lt;callers(a)lists.sharedweight.net&gt; Sent: Wednesday, February 20, 2019 11:09 PM Cc: callers; hannahchamb(a)gmail.com Subject: Re: [Callers] Building to Contra Corners If you ever do triplets at your dance, you could teach the figure in a triplet first. Ted's Triplet #7 uses it, if I recall correctly. Jacob On Wed, Feb 20, 2019, 5:30 PM Richard Hart via Callers <callers@lists.sharedweight.net<mailto:callers@lists.sharedweight.net> wrote: I’d make sure that the dancers had already successfully danced every other move in the dance you want to call with contra corners. That way you could focus on the contra corners and the dancers would understand where they would be at the beginning and end of the move. Sent from my iPhone _______________________________________________ List Name: Callers mailing list List Address: Callers@lists.sharedweight.net<mailto:Callers@lists.sharedweight.net> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/<https://eur…

Alexandra Deis-Lauby wrote: You can find Melanie Axel-Lute's "Down by the Riverside" here: http://www.maxellute.net/down.html In either a triplet or a three-face-three the "inactives" don't have to do double duty being contra corners to two different "active" dancers. Something I like about the 3-face-3 setup is that the center people get to dance with a variety of different opposites, so that unsure dancers might at least occasionally meet someone who can send them in the correct direction. While the triple-minor setting also avoids having "inactives" do double duty, it could be problematical because most contra dancers these days, except for those who are also English country dancers, are not very familiar with the way progression works in triple minors. Bob Fabinski wrote: For those unfamiliar with Al Olson's dance "Almost Sackett's Harbor," instructions can be found in Larry Jennings's book _Give-and-Take_ and on pages 21=22 of the 1990 Ralph Page Dance Legacy Weekend syllabus: https://www.library.unh.edu/special/forms/rpdlw/syllabus1990.pdf I'd recommend considerable caution about using this dance. The challenging part isn't the contra corners; it's the progression. In the notes on the dance in the RPDLW syllabus cited above, Larry Jennings writes: If the active couples make a point of letting go of the couple above them, it may be easier for the #2 and #3 to keep their roles straight. This point is not to be taken lightly! The action in phrase 7 of the dance (first half of B2) puts the dancers into new groups of six, and it can be very tempting to think that that's all the regrouping they need to do. Not so! After circling right in phrase 8, the dancers must again regroup into NEW(er) groups of six with the active couples, who were in middle positions in the groups that just circled right, are again in top position. To achieve this the actives must let go of the couple above them (who have been the #2 couple in the round of the dance just completed), and those former #2 dancer must attach themselves to the next couple above so as to become a #3 couple in the round about to commence. If there's even one place and time where a sufficient number of dancers cone together who don't understand and remember to do the regrouping that I've just described, the likely result will be that in the phrase 2 (second half of A1) of the new round, instead of the dancers all being in circles of six, there will somewhere be a circle of four and a nearby circle of eight. Once that happens, recovery can be practically impossible and the discombobulation can spread along the set at triple-progression speed. I don't doubt Bob's assertion that he's called the dance successfully, and if he has any specific advice about teaching it, I'd be delighted if he'd share it. But for anyone else who's thinking of calling it, especially to dancers who aren't already familiar with triple minors, I advise you to make sure you understand the dance thoroughly (including end effects) and to think carefully about how to teach it. --Jim

Mine too!PaulaSent from my Verizon, Samsung Galaxy smartphone -------- Original message --------From: Bob Green via Callers &lt;callers(a)lists.sharedweight.net&gt; Date: 2/21/19 2:39 AM (GMT-06:00) To: Jacob or Nancy Bloom &lt;jandnbloom(a)gmail.com&gt; Cc: callers &lt;callers(a)lists.sharedweight.net&gt;et>, hannahchamb(a)gmail.com Subject: Re: [Callers] Building to Contra Corners Ted's Triplet #7 is my go-to dance for introducing contra corners.BobOn Wed, Feb 20, 2019 at 5:10 PM Jacob or Nancy Bloom via Callers &lt;callers(a)lists.sharedweight.net&gt; wrote:If you ever do triplets at your dance, you could teach the figure in a triplet first.  Ted's Triplet #7 uses it, if I recall correctly.JacobOn Wed, Feb 20, 2019, 5:30 PM Richard Hart via Callers &lt;callers(a)lists.sharedweight.net wrote:I’d make sure that the dancers had already successfully danced every other move in the dance you want to call with contra corners. That way you could focus on the contra corners and the dancers would understand where they would be at the beginning and end of the move. Sent from my iPhone _______________________________________________ List Name:  Callers mailing list List Address:  Callers(a)lists.sharedweight.net Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/ _______________________________________________ List Name:  Callers mailing list List Address:  Callers(a)lists.sharedweight.net Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Linda Leslie's Corner Triplet is the dance that I'll often use to teach Contra Corners. I call it every year or two. That said, I call Chorus Jig at roughly every other dance I call (so roughly 3-4 times per year), often as the second-to-last dance of the evening, and I don't really worry about prepping the dancers with anything other than just a careful walk through. Here are my tips for teaching contra corners, for whatever they're worth: - I'll often start by pointing out that although the 1s do most of the moving, it is having engaged 2s that really makes the figure work. (Might have learned that from Erik Hoffman, but I'm not sure.) The 2s have time to think about who should be coming to them next, and assist to make that happen. There really is more to being a 2 than just holding up your left hand. - I'll have 1s identify the corners by pointing both hands at his or her P, then spreading them apart to point at the people next to the P (rt hd is 1st corner, lf hd is 2nd corner). I try to make sure that not only does the 1 identify the corner, but that each corner also connects with the active. Yes, it's exceedingly hokey. I nonetheless do it every single time, because it seems to help. - I'll sometimes walk it through again with the previous 2s being actives, so everybody gets to have the experience before the music starts. I'm on the fence on whether or not that does more harm than good. With Linda's triplet, I'll just walk it through 3 times, and there's something to be said for that. - For reasons I've never understood, my experience has been that new dancers often seem to find Sackett's Harbor easier to dance than Chorus Jig, even if it's their first triple minor dance, and even though the timing for the forward-and-back after the contra corners is so much tighter than the 1s swing in Chorus Jig. Regards, Grant On Wed, Feb 20, 2019 at 9:30 PM Don Veino via Callers < callers(a)lists.sharedweight.net&gt; wrote: -- Grant Goodyear web: http://www.grantgoodyear.org e-mail: grant(a)grantgoodyear.org

My concern with introducing CC in  triplet is if you do that and then turn around and do it in a contra you have done it twice in one program - and probably very close together.  I wouldn't want to do that Mac McKeever On Thursday, February 21, 2019, 12:12:29 AM CST, Chris Page via Callers &lt;callers(a)lists.sharedweight.net&gt; wrote: Like many others, I recommend a triplet or 3-face-3. You're not going out of your minor set, and not everyone's active all the time. I recommend: Corner Triplet (Linda Leslie) Melanie's Triplet (Melanie Axel-Lute) Microchasmic Triplet (Ann Fallon) or Down by the Riverside (3-face-3 by Melanie Axel-Lute) I don't recommend Ted's Triplet #7, because it also includes a proper right-and-left through, which many people these days are more unfamiliar with than contra corners. -Chris Page San Diego, CA On Wed, Feb 20, 2019 at 1:38 PM Hannah Chamb via Callers &lt;callers(a)lists.sharedweight.net&gt; wrote: _______________________________________________ List Name:  Callers mailing list List Address:  Callers(a)lists.sharedweight.net Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

I think there are certain figures that define a dance.  butterfly whirl, rory-o-more, zipper, etc.  I put contra corners in this category.  Heys are not as defining (in my opinion) and can be spread around the program more easily (I include petronella in this same category) - but I till try to avoid calling 2 dances with full heys in the same program. My goal is to keep as much variety in the program as possible.  I would not call contra corners twice n the same evening. I am glad Down by the Riverside has been recommended.  I first danced this on a trip to Scotland with Melanie calling her dance.  I did not like it much on the walk thru but once the dance started it changed my mind quickly.  It is a great dance and certainly adds variety to a program. Mac On Thursday, February 21, 2019, 7:56:44 AM CST, Bob Hofkin &lt;bhofkin(a)middleJ.com&gt; wrote: Mac, Callers do that all the time with hey for four--which I think is harder for inexperienced dancers than contra corners because there's less connection with the other dancers. Bob On 2/21/2019 8:14, Mac Mckeever via Callers wrote:

This is a building block. I would never call another contra corners in the same evening. In St. Louis, where we often dance contra corners, there would rarely be the need for "contra corners for dummies" version. I did call it once inSt. Louis this last year, but that was to help revive the triplet. On Thu, Feb 21, 2019 at 7:14 AM Mac Mckeever via Callers < callers(a)lists.sharedweight.net&gt; wrote: