31 Aug
2012
31 Aug
'12
8:11 p.m.
I'm still gaining basic experience calling and have been noodling for a few
minutes on this - thought I'd seek others' expertise and experience...
I'm looking at my program candidates for an upcoming dance and in reviewing
the dance *Seagull* by Erik Weberg (which can be found at
http://www.kluberg.com/eriksdances.html#Seagull) I started thinking it
would be easier to start the teaching at some other point than the A1, due
to having to set up the initial short waves (which otherwise naturally form
out of the B2). And noticing that the dance ends with a G Allem. Lt. 1+1/2,
I started thinking it might be best to start with the B1, which is a very
conventional Cir. Lt. 3/4 and Pass Thru..., which would leave the dance
ending at the existing A2, finishing with a more satisfying P Swing.
Ok, so this has two implications I see right away:
1. the band's music selection may change
2. the progression moves from the B1 original to the A1 as reshuffled.
Are there any untoward consequences I'm missing? Why would this not be the
default sequence?
Thanks,
Don
31 Aug
31 Aug
8:24 p.m.
If I were calling this dance I would not hesitate to reverse the A&B parts. I would
announce the original name and author and mention it is slightly modified.
I actually do this quite often. There are some things I especially like (or don't
like) and I have no issues tweaking a dance to add or remove those items as long as it
doesn't interfere with the overall flow or intent of the dance.
Ending a Becket dance in a partner swing is one I consider an improvement. The flow of
the dance also seems to make more sense with your suggested change.
I would only show the band the version you plan to use - so they pick the tune they feels
works best with that sequence.
Go for it looks like a fun dance.
Mac McKeever
________________________________
From: Don Veino <sharedweight_net(a)veino.com>
To: Callers(a)sharedweight.net
Sent: Friday, August 31, 2012 7:11 PM
Subject: [Callers] Shifting dance sequences
I'm still gaining basic experience calling and have been noodling for a few
minutes on this - thought I'd seek others' expertise and experience...
I'm looking at my program candidates for an upcoming dance and in reviewing
the dance *Seagull* by Erik Weberg (which can be found at
http://www.kluberg.com/eriksdances.html#Seagull) I started thinking it
would be easier to start the teaching at some other point than the A1, due
to having to set up the initial short waves (which otherwise naturally form
out of the B2). And noticing that the dance ends with a G Allem. Lt. 1+1/2,
I started thinking it might be best to start with the B1, which is a very
conventional Cir. Lt. 3/4 and Pass Thru..., which would leave the dance
ending at the existing A2, finishing with a more satisfying P Swing.
Ok, so this has two implications I see right away:
1. the band's music selection may change
2. the progression moves from the B1 original to the A1 as reshuffled.
Are there any untoward consequences I'm missing? Why would this not be the
default sequence?
Thanks,
Don
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Callers mailing list
Callers(a)sharedweight.net
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9:57 p.m.
I, too, change dances around if I think the change will be
advantageous. I can see why you want to change the As and Bs. Some
thoughts about this:
Keeping the original dance means that the As have the balances, and
the Bs are smooth. This may be an advantage for the band/tune choice.
And the signature move is right at the top.
If you change the dance to end with the P B&S, then the A1 can
certainly be "With the couple on the left diag, circle left 3/4, swing
this neighbor". I universally change to this default, since I find
that the circle left 3/4, pass through, and swing, usually means that
the neighbor swing is shortened. But I still make sure to credit the
original choreographer, stating "this is a slight variation of the
dance........by......"
Have fun calling in Concord!
warmly, Linda
On Aug 31, 2012, at 8:24 PM, Richard Mckeever wrote:
If I were calling this dance I would not hesitate to
reverse the A&B
parts. I would announce the original name and author and mention it
is slightly modified.
I actually do this quite often. There are some things I especially
like (or don't like) and I have no issues tweaking a dance to add or
remove those items as long as it doesn't interfere with the overall
flow or intent of the dance.
Ending a Becket dance in a partner swing is one I consider an
improvement. The flow of the dance also seems to make more sense
with your suggested change.
I would only show the band the version you plan to use - so they
pick the tune they feels works best with that sequence.
Go for it looks like a fun dance.
Mac McKeever
________________________________
From: Don Veino <sharedweight_net(a)veino.com>
To: Callers(a)sharedweight.net
Sent: Friday, August 31, 2012 7:11 PM
Subject: [Callers] Shifting dance sequences
I'm still gaining basic experience calling and have been noodling
for a few
minutes on this - thought I'd seek others' expertise and experience...
I'm looking at my program candidates for an upcoming dance and in
reviewing
the dance *Seagull* by Erik Weberg (which can be found at
http://www.kluberg.com/eriksdances.html#Seagull) I started thinking it
would be easier to start the teaching at some other point than the
A1, due
to having to set up the initial short waves (which otherwise
naturally form
out of the B2). And noticing that the dance ends with a G Allem. Lt.
1+1/2,
I started thinking it might be best to start with the B1, which is a
very
conventional Cir. Lt. 3/4 and Pass Thru..., which would leave the
dance
ending at the existing A2, finishing with a more satisfying P Swing.
Ok, so this has two implications I see right away:
1. the band's music selection may change
2. the progression moves from the B1 original to the A1 as
reshuffled.
Are there any untoward consequences I'm missing? Why would this not
be the
default sequence?
Thanks,
Don
11:09 p.m.
Thanks Mac!
On Fri, Aug 31, 2012 at 8:24 PM, Richard Mckeever <macmck(a)ymail.com> wrote:
If I were calling this dance I would not hesitate to
reverse the A&B
parts. I would announce the original name and author and mention it is
slightly modified.
I actually do this quite often. There are some things I especially like
(or don't like) and I have no issues tweaking a dance to add or remove
those items as long as it doesn't interfere with the overall flow or intent
of the dance.
Ending a Becket dance in a partner swing is one I consider an
improvement. The flow of the dance also seems to make more sense with your
suggested change.
I would only show the band the version you plan to use - so they pick the
tune they feels works best with that sequence.
Go for it looks like a fun dance.
Mac McKeever
________________________________
From: Don Veino <sharedweight_net(a)veino.com>
To: Callers(a)sharedweight.net
Sent: Friday, August 31, 2012 7:11 PM
Subject: [Callers] Shifting dance sequences
I'm still gaining basic experience calling and have been noodling for a few
minutes on this - thought I'd seek others' expertise and experience...
I'm looking at my program candidates for an upcoming dance and in reviewing
the dance *Seagull* by Erik Weberg (which can be found at
http://www.kluberg.com/eriksdances.html#Seagull) I started thinking it
would be easier to start the teaching at some other point than the A1, due
to having to set up the initial short waves (which otherwise naturally form
out of the B2). And noticing that the dance ends with a G Allem. Lt. 1+1/2,
I started thinking it might be best to start with the B1, which is a very
conventional Cir. Lt. 3/4 and Pass Thru..., which would leave the dance
ending at the existing A2, finishing with a more satisfying P Swing.
Ok, so this has two implications I see right away:
1. the band's music selection may change
2. the progression moves from the B1 original to the A1 as reshuffled.
Are there any untoward consequences I'm missing? Why would this not be the
default sequence?
Thanks,
Don
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
1 Sep
1 Sep
2:53 p.m.
Thanks for the inputs! I noticed one other complication with the
re-arrangement - the original top #2 couple would be ejected from the
walk-through right at the start. I like Linda's suggestion re: Lt. Diag.
Cir. 3/4 and Swing. So to fix the walk-through for the top #2s, I would
make an adjustment to have the Cir. be straight across the first time only
(and note this to the dancers) then transition to the Lt. Diag.
subsequently.
Thanks,
Don
On Fri, Aug 31, 2012 at 9:57 PM, Linda Leslie <laleslierjg(a)comcast.net>wrote;wrote:
I, too, change dances around if I think the change
will be advantageous. I
can see why you want to change the As and Bs. Some thoughts about this:
Keeping the original dance means that the As have the balances, and the Bs
are smooth. This may be an advantage for the band/tune choice. And the
signature move is right at the top.
If you change the dance to end with the P B&S, then the A1 can certainly
be "With the couple on the left diag, circle left 3/4, swing this
neighbor". I universally change to this default, since I find that the
circle left 3/4, pass through, and swing, usually means that the neighbor
swing is shortened. But I still make sure to credit the original
choreographer, stating "this is a slight variation of the
dance........by......"
Have fun calling in Concord!
warmly, Linda
On Aug 31, 2012, at 8:24 PM, Richard Mckeever wrote:
If I were calling this dance I would not hesitate to reverse the A&B
parts. I would announce the original name and
author and mention it is
slightly modified.
I actually do this quite often. There are some things I especially like
(or don't like) and I have no issues tweaking a dance to add or remove
those items as long as it doesn't interfere with the overall flow or intent
of the dance.
Ending a Becket dance in a partner swing is one I consider an
improvement. The flow of the dance also seems to make more sense with your
suggested change.
I would only show the band the version you plan to use - so they pick the
tune they feels works best with that sequence.
Go for it looks like a fun dance.
Mac McKeever
______________________________**__
From: Don Veino <sharedweight_net(a)veino.com>
To: Callers(a)sharedweight.net
Sent: Friday, August 31, 2012 7:11 PM
Subject: [Callers] Shifting dance sequences
I'm still gaining basic experience calling and have been noodling for a
few
minutes on this - thought I'd seek others' expertise and experience...
I'm looking at my program candidates for an upcoming dance and in
reviewing
the dance *Seagull* by Erik Weberg (which can be found at
http://www.kluberg.com/**eriksdances.html#Seagull<http://www.kluberg.com…)
I started thinking it
would be easier to start the teaching at some other point than the A1, due
to having to set up the initial short waves (which otherwise naturally
form
out of the B2). And noticing that the dance ends with a G Allem. Lt.
1+1/2,
I started thinking it might be best to start with the B1, which is a very
conventional Cir. Lt. 3/4 and Pass Thru..., which would leave the dance
ending at the existing A2, finishing with a more satisfying P Swing.
Ok, so this has two implications I see right away:
1. the band's music selection may change
2. the progression moves from the B1 original to the A1 as reshuffled.
Are there any untoward consequences I'm missing? Why would this not be the
default sequence?
Thanks,
Don
______________________________**_________________
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Callers(a)sharedweight.net
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3:14 p.m.
Your suggestion is exactly what I do!
Linda
On Sep 1, 2012, at 2:53 PM, Don Veino wrote:
Thanks for the inputs! I noticed one other
complication with the
re-arrangement - the original top #2 couple would be ejected from the
walk-through right at the start. I like Linda's suggestion re: Lt.
Diag.
Cir. 3/4 and Swing. So to fix the walk-through for the top #2s, I
would
make an adjustment to have the Cir. be straight across the first
time only
(and note this to the dancers) then transition to the Lt. Diag.
subsequently.
Thanks,
Don
On Fri, Aug 31, 2012 at 9:57 PM, Linda Leslie
<laleslierjg(a)comcast.net>wrote;wrote:
I, too, change dances around if I think the
change will be
advantageous. I
can see why you want to change the As and Bs. Some thoughts about
this:
Keeping the original dance means that the As have the balances, and
the Bs
are smooth. This may be an advantage for the band/tune choice. And
the
signature move is right at the top.
If you change the dance to end with the P B&S, then the A1 can
certainly
be "With the couple on the left diag, circle left 3/4, swing this
neighbor". I universally change to this default, since I find that
the
circle left 3/4, pass through, and swing, usually means that the
neighbor
swing is shortened. But I still make sure to credit the original
choreographer, stating "this is a slight variation of the
dance........by......"
Have fun calling in Concord!
warmly, Linda
On Aug 31, 2012, at 8:24 PM, Richard Mckeever wrote:
If I were calling this dance I would not hesitate to reverse the A&B
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers parts. I would announce the original name and
author and mention
it is
slightly modified.
I actually do this quite often. There are some things I
especially like
(or don't like) and I have no issues tweaking a dance to add or
remove
those items as long as it doesn't interfere with the overall flow
or intent
of the dance.
Ending a Becket dance in a partner swing is one I consider an
improvement. The flow of the dance also seems to make more sense
with your
suggested change.
I would only show the band the version you plan to use - so they
pick the
tune they feels works best with that sequence.
Go for it looks like a fun dance.
Mac McKeever
______________________________**__
From: Don Veino <sharedweight_net(a)veino.com>
To: Callers(a)sharedweight.net
Sent: Friday, August 31, 2012 7:11 PM
Subject: [Callers] Shifting dance sequences
I'm still gaining basic experience calling and have been noodling
for a
few
minutes on this - thought I'd seek others' expertise and
experience...
I'm looking at my program candidates for an upcoming dance and in
reviewing
the dance *Seagull* by Erik Weberg (which can be found at
http://www.kluberg.com/**eriksdances.html#Seagull<http://www.kluberg.com…
______________________________**_________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/**mailman/listinfo/callers<http://www.shared…
)
I started thinking it
would be easier to start the teaching at some other point than the
A1, due
to having to set up the initial short waves (which otherwise
naturally
form
out of the B2). And noticing that the dance ends with a G Allem. Lt.
1+1/2,
I started thinking it might be best to start with the B1, which is
a very
conventional Cir. Lt. 3/4 and Pass Thru..., which would leave the
dance
ending at the existing A2, finishing with a more satisfying P Swing.
Ok, so this has two implications I see right away:
1. the band's music selection may change
2. the progression moves from the B1 original to the A1 as
reshuffled.
Are there any untoward consequences I'm missing? Why would this
not be the
default sequence?
Thanks,
Don
4:13 p.m.
or you can leave the dance as is and the first time thru just swing your current
neighbor.
________________________________
From: Don Veino <sharedweight_net(a)veino.com>
To: Caller's discussion list <callers(a)sharedweight.net>
Sent: Saturday, September 1, 2012 1:53 PM
Subject: Re: [Callers] Shifting dance sequences
Thanks for the inputs! I noticed one other complication with the
re-arrangement - the original top #2 couple would be ejected from the
walk-through right at the start. I like Linda's suggestion re: Lt. Diag.
Cir. 3/4 and Swing. So to fix the walk-through for the top #2s, I would
make an adjustment to have the Cir. be straight across the first time only
(and note this to the dancers) then transition to the Lt. Diag.
subsequently.
Thanks,
Don
On Fri, Aug 31, 2012 at 9:57 PM, Linda Leslie <laleslierjg(a)comcast.net>wrote;wrote:
I, too, change dances around if I think the change
will be advantageous. I
can see why you want to change the As and Bs. Some thoughts about this:
Keeping the original dance means that the As have the balances, and the Bs
are smooth. This may be an advantage for the band/tune choice. And the
signature move is right at the top.
If you change the dance to end with the P B&S, then the A1 can certainly
be "With the couple on the left diag, circle left 3/4, swing this
neighbor". I universally change to this default, since I find that the
circle left 3/4, pass through, and swing, usually means that the neighbor
swing is shortened. But I still make sure to credit the original
choreographer, stating "this is a slight variation of the
dance........by......"
Have fun calling in Concord!
warmly, Linda
On Aug 31, 2012, at 8:24 PM, Richard Mckeever wrote:
If I were calling this dance I would not hesitate to reverse the A&B
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
parts. I would announce the original name and
author and mention it is
slightly modified.
I actually do this quite often. There are some things I especially like
(or don't like) and I have no issues tweaking a dance to add or remove
those items as long as it doesn't interfere with the overall flow or intent
of the dance.
Ending a Becket dance in a partner swing is one I consider an
improvement. The flow of the dance also seems to make more sense with your
suggested change.
I would only show the band the version you plan to use - so they pick the
tune they feels works best with that sequence.
Go for it looks like a fun dance.
Mac McKeever
______________________________**__
From: Don Veino <sharedweight_net(a)veino.com>
To: Callers(a)sharedweight.net
Sent: Friday, August 31, 2012 7:11 PM
Subject: [Callers] Shifting dance sequences
I'm still gaining basic experience calling and have been noodling for a
few
minutes on this - thought I'd seek others' expertise and experience...
I'm looking at my program candidates for an upcoming dance and in
reviewing
the dance *Seagull* by Erik Weberg (which can be found at
http://www.kluberg.com/**eriksdances.html#Seagull<http://www.kluberg.com…)
I started thinking it
would be easier to start the teaching at some other point than the A1, due
to having to set up the initial short waves (which otherwise naturally
form
out of the B2). And noticing that the dance ends with a G Allem. Lt.
1+1/2,
I started thinking it might be best to start with the B1, which is a very
conventional Cir. Lt. 3/4 and Pass Thru..., which would leave the dance
ending at the existing A2, finishing with a more satisfying P Swing.
Ok, so this has two implications I see right away:
1. the band's music selection may change
2. the progression moves from the B1 original to the A1 as reshuffled.
Are there any untoward consequences I'm missing? Why would this not be the
default sequence?
Thanks,
Don
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6 comments
3 participants
participants (3)
-
Don Veino -
Linda Leslie -
Richard Mckeever