That's why the dance I help run has a policy re: single tips for squares and discourages them if the crowd is small (particularly if not whole multiples of 8 in the hall). -Don Concord, MA Scout House On Fri, Sep 6, 2024 at 12:09 AM Joe Harrington via Contra Callers < contracallers(a)lists.sharedweight.net&gt; wrote:

Ah, the time signature debate: 4/4, 2/2, or 2/4? 4/4 means four beats in the measure and the quarter note gets one beat. The way we talk about reels for dancing, this doesn’t work. But when many musicians start talking about the phrase the call the 2nd & 4th beats are when dancers feet are in the air. Thus: 2/2 and 2/4 both describe a reel the way stepping with the beat correctly. Cut time is 2/2, not 2/4. Think cut the 4s in 4/4 in half and you get 2/2. Cut time lets the shortest note be the eighth note. Writing out in 2/4 requires the shortest note be a sixteenth. Cut time eliminates the fear of the 16th note but—the reason I write out reels in 2/4 — 2/4 lets one use standard beaming grouping helping to see the rhythmic structure of the measure. At least, it 2/4 makes it easier for a not fast reader like me to see the beat structure of a tune more readily. I believe I’m in the 20 or 25 percent of tune transcribers. Cheers, ~Erik From: Rich Goss via Contra Callers &lt;contracallers(a)lists.sharedweight.net&gt; Sent: Thursday, September 5, 2024 12:56 AM To: Neal Schlein &lt;nschlein(a)gmail.com&gt; Cc: Caller's discussion list &lt;callers(a)sharedweight.net&gt; Subject: [Callers] Re: Resources to turn musicians into dance musicians? It makes more sense if you think of a beat as a step. Callers would think of each part (A1, A2, B1, B2) as 16 steps, or beats, each. 64 steps to a dance. Same with the music. A reel is 4/4 or 2/4. 2/4 External (contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net>) Report This Email<https://protection.inkyphishfence.com/report?id=bmV0b3JnZnQxNTA4MD… FAQ<https://www.godaddy.com/help/report-email-with-advanced-email-securi… GoDaddy Advanced Email Security, Powered by INKY<https://www.inky.com/protection-by-inky> It makes more sense if you think of a beat as a step. Callers would think of each part (A1, A2, B1, B2) as 16 steps, or beats, each. 64 steps to a dance. Same with the music. A reel is 4/4 or 2/4. 2/4 is cut time. A jig is 6/8. Professional musicians would know that by looking at the music. Tempo is usually the challenge for a new-to-dance band. There is an app called LiveBPM the band can use to measure their tempo. The sweet spot for most dances is 116bpm (beats per minute). The range is generally 108-120. For a one night stand, I would shoot for the low end. If I’m working with a band with tempo issues, I will frequently pull up LiveBPM so they can see it and know what their tempo is. Sometimes they will simply self correct, sometimes not. My 2 cents at 4am. Good discussion. Rich Goss Vancouver, WA or Austin, TX (depending on the time of year). On Sep 4, 2024, at 6:27 PM, Neal Schlein via Contra Callers <contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net>> wrote:  It’s true—they’re either written in 2/4 time or 4/4 cut time. 2 beats per measure x 8 measures = 16 beats per phrase. Neal Schlein Librarian, MSLIS On Wed, Sep 4, 2024 at 4:00 PM Mac Mckeever <macmck@ymail.com<mailto:macmck@ymail.com>> wrote: OK - I have had several very knowledgeable musicians explain this to me and I still don't understand how a reel has 8 measurers to a phrase - or even if that is true. Mac McKeever St. Louis On Wednesday, September 4, 2024 at 04:55:06 PM CDT, Neal Schlein via Contra Callers <contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net>> wrote: What dancers and callers understand as “a measure” or “a beat” is not necessarily the same as what professional musicians will understand, depending on how the sheet music was written. (My wife is a classically trained clarinetist who can also play violin and fiddles a little; she has gotten used to my terminology, but we still have miscommunications occasionally.) I strongly second the advice of communicating the concept of potatoes and practicing exactly how long you expect the band to play before you start calling, and how to signal the end of tunes. The advantage you do have on that particular front (assuming these are classical musicians) is that they are used to watching a conductor for gestures. They may have difficulty setting a good starting pace for tunes. I’d tell them to be careful with recordings as those frequently are paced differently and are flourished for listening. One of the finest fiddlers I know once recorded a 9 minute track for me with the preface that it would be great for dancing, but not much to listen to. I will ask my significant other if she has other advice. Neal Schlein Librarian, MSLIS _______________________________________________ Contra Callers mailing list -- contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net> To unsubscribe send an email to contracallers-leave@lists.sharedweight.net<mailto:contracallers-leave@lists.sharedweight.net> _______________________________________________ Contra Callers mailing list -- contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net> To unsubscribe send an email to contracallers-leave@lists.sharedweight.net<mailto:contracallers-leave@lists.sharedweight.net> _______________________________________________ Contra Callers mailing list -- contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net> To unsubscribe send an email to contracallers-leave@lists.sharedweight.net<mailto:contracallers-leave@lists.sharedweight.net>

Seth, has anyone mentioned Noah Van Nordstrom's recent publication available from CDSS? Sorry if it's already been mentioned. This thread is getting a lot of replies! New in the store! - Country Dance & Song Society | | | | | | | | | | | New in the store! - Country Dance & Song Society Anne Campbell A Musician’s Guide to Contra Choreography Andrew VanNorstrand, guitarist and fiddler from the beloved contra dan... | | | Vicki MorrisonTCFOOTDTallahassee, FL On Thursday, September 5, 2024 at 11:53:42 AM EDT, Katherine Kitching via Contra Callers &lt;contracallers(a)lists.sharedweight.net&gt; wrote: I think Rich's point about the tempo signals is worth highlighting!! Before I realized that I needed to specifically discuss this with the band in advance, I had a few mishaps where my enthusiastic raising-and-re-raising of my hands was taken to mean that I wanted to the band to play LOUDER, and my calming-lowering-of-my-hands gestures were taken to mean I wanted them to play quieter :) And-- Just for anyone else who wasn't in the know, I wrote to Rich and he explained to me that "piece count" means the number of figures in the dance.  I did not know that :) Kat K Hfx Rich Goss Thursday, September 5, 2024 10:02 AM Just to add a couple of thoughts Katherine triggered.   The piece count of a dance has a bearing on the tempo.  Higher the piece count, generally the slower the tempo and vice versa.  Also, I like to make clear up front my signals for speeding up or slowing down.    Rich Katherine Kitching via Contra Callers Thursday, September 5, 2024 9:43 AM Hi John (and everyone), just catching up on the listserv and went to your "Callers and Music" page-- very helpful info there! I wish I had found it last year when I was looking for resources for this caller-and-musician workshop that we did. In particular, I had searched all over the internet last year for some clue as to how many times through a typical improper duple contra dance would run, and had a real hard time finding that info. I had concluded that with 5 duples in a set (our usual), we might dance through up to 17 times, which would take about 9 minutes at 117bpm..... so that those who started at the top would get back to the top. Do you think that's too long? I was under the impression that in the US the lines are often longer than 5 duples, and that the convention was to dance long enough to let everyone travel up and down the line the whole way....so I was thinking that in a seasoned contra dance group the dance might go on 15 minutes or more? Very curious about this now! Kat Kitching in Halifax NS Sep 4, 2024 3:16:24 PM John Sweeney via Contra Callers &lt;contracallers(a)lists.sharedweight.net&gt;et>: _______________________________________________ Contra Callers mailing list -- contracallers(a)lists.sharedweight.net To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net _______________________________________________ Contra Callers mailing list -- contracallers(a)lists.sharedweight.net To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net

Duples = duple minor = hands four Seth Tepfer, MBA, CSM, PMP (he, him, his) Senior IT Manager, Emory Primate Center [cid:f905ec6d-b7cb-4887-a3a3-62f732e3014a]<https://outlook.office.com/boo… Book time to meet with me<https://outlook.office365.com/owa/calendar/SethTepfer@mscloud.emory.n… ________________________________ From: Amy Wimmer via Contra Callers &lt;contracallers(a)lists.sharedweight.net&gt; Sent: Thursday, September 5, 2024 1:06 PM To: Katherine Kitching &lt;kat(a)outdooractive.ca&gt; Cc: Shared Weight Contra Callers &lt;contracallers(a)lists.sharedweight.net&gt; Subject: [External] [Callers] Re: Resources to turn musicians into dance musicians? - length of a typical dance? Can someone please help my vocabulary? I've seen "duples" mentioned here several times. In my personal dictionary that means two people, as in a couple, or two moves. I think the usage here may be referring to a pair of couples, or 4 people. Either way, it's not the way I'm accustomed to thinking. I won't be using the term, but would appreciate understanding the word as used here. -Amy Wimmer Seattle On Thu, Sep 5, 2024, 5:43 AM Katherine Kitching via Contra Callers <contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net>> wrote: Hi John (and everyone), just catching up on the listserv and went to your "Callers and Music" page-- very helpful info there! I wish I had found it last year when I was looking for resources for this caller-and-musician workshop that we did. In particular, I had searched all over the internet last year for some clue as to how many times through a typical improper duple contra dance would run, and had a real hard time finding that info. I had concluded that with 5 duples in a set (our usual), we might dance through up to 17 times, which would take about 9 minutes at 117bpm..... so that those who started at the top would get back to the top. Do you think that's too long? I was under the impression that in the US the lines are often longer than 5 duples, and that the convention was to dance long enough to let everyone travel up and down the line the whole way....so I was thinking that in a seasoned contra dance group the dance might go on 15 minutes or more? Very curious about this now! Kat Kitching in Halifax NS Sep 4, 2024 3:16:24 PM John Sweeney via Contra Callers <contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net>>: Hi Seth, Linda Game (English Contra Dance Band) ran a session for the Irish musicians who were going to play for the first contra dance that we ran in Paris. I have put a copy of her notes at https://contrafusion.co.uk/documents/LindaGameMusicianWorkshop.jpg - I hope Linda won’t mind. One interesting exercise that she did was to get four dancers to do some Rory O’Mores to a Reel, then the same sequence to a Jig so that the band could see the effect on the dancers. This is meant for callers: https://contrafusion.co.uk/CallersandMusic.html but you might find some useful points there. I have danced (ceilidh, but same challenge) to a band who seemed to think that they were playing for a concert. They put in extra beats and ran improvisations across the phrases. They went so wild that you couldn’t hear the phrasing. It was fantastic to listen to, but a nightmare to try to dance to! It is crucial that the band understand that the dancers are listening to the beat and the phrasing. They especially want to hear the beginning of A1 and B1 clearly and unambiguously. Good luck! Happy dancing, John John Sweeney, Dancer, England john@modernjive.com<mailto:john@modernjive.com> 01233 625 362 & 07802 940 574 http://www.contrafusion.co.uk<http://www.contrafusion.co.uk/> for Dancing in Kent _______________________________________________ Contra Callers mailing list -- contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net> To unsubscribe send an email to contracallers-leave@lists.sharedweight.net<mailto:contracallers-leave@lists.sharedweight.net>

Can someone please help my vocabulary? I've seen "duples" mentioned here several times. In my personal dictionary that means two people, as in a couple, or two moves. I think the usage here may be referring to a pair of couples, or 4 people. Either way, it's not the way I'm accustomed to thinking. I won't be using the term, but would appreciate understanding the word as used here. -Amy Wimmer Seattle On Thu, Sep 5, 2024, 5:43 AM Katherine Kitching via Contra Callers < contracallers(a)lists.sharedweight.net&gt; wrote:

I think Rich's point about the tempo signals is worth highlighting!! Before I realized that I needed to specifically discuss this with the band in advance, I had a few mishaps where my enthusiastic raising-and-re-raising of my hands was taken to mean that I wanted to the band to play LOUDER, and my calming-lowering-of-my-hands gestures were taken to mean I wanted them to play quieter :) And-- Just for anyone else who wasn't in the know, I wrote to Rich and he explained to me that "piece count" means the number of figures in the dance.  I did not know that :) Kat K Hfx

I collected some stats on this, in the northeast US: https://www.jefftk.com/p/contra-dance-lengths What I found matches my impression as a musician that 8-9 minutes (15 or 17 times through) is what's most common here, and in the other parts of the US where we've played. Because the dances are equal-turn there's no need to give everyone an opportunity to be ones or to dance with every other couple. Jeff Kaufman Somerville MA On Thu, Sep 5, 2024 at 9:40 AM John Sweeney via Contra Callers < contracallers(a)lists.sharedweight.net&gt; wrote:

Hi Kat, Glad you like my page on music for callers. The full set of articles is at https://contrafusion.co.uk/DanceNotes.html Larry Jennings Zesty Contras (1983) "The dance should be run long enough to satisfy, but not so long as to bore or tire the dancers or to prevent you from having enough dances within the allotted time." That quote is from Larry's 20 pages of minilectures on calling contra dances in Zesty Contras. Well worth getting yourself a copy just to read them! If you want even more, then try Larry's Give-and-Take - about 70 pages of advice and discussion! In Time Management (pp36) he discusses considering different lengths depending on how much interaction there is with the other dancers, ranging from about 13 to about 17 times through. He says: "Although some producers tolerate or even plan for music for 15 minutes or more, I prefer to have as many partner changes as possible during the evening. I also like to give the musicians a chance to present a varied repertoire." Getting back to the top is a concept from when lines were shorter. I would never use that as a target. I usually go for around 13 times through when calling in America. Also, be aware that, if you run a dance for 10 minutes, all those sitting out (who maybe couldn't get a partner) have to wait 10 minutes before they get a chance to get back into the dancing! Quick rule of thumb: once through at 120 bpm is about half a minute. Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 & 07802 940 574 http://www.contrafusion.co.uk for Dancing in Kent

Kat In response to your question of "how many times to run a typical improper duple minor contra" definitely depends upon context. At a dance festival/weekend, the dances run longer. If you have very long lines - or very short lines - the dance will run a different amount. As I say in caller classes, the perfect answer is to run the dance until people are getting tired, and then stop 2 times before that. Ha! My standard is to run it until the top couple (at the beginning) gets to the bottom, and then start the process of going out. So if you had 5 duples, at around 10x through be looking at the band to tell them 3 times or something like that. So 11-13 times through. BUT that number is dependent upon context. How hard is the dance? If people got it right away, then fewer times. How exciting is the music? If the music is driving the dancers, maybe a few more times. And as always, "less is more". Use the old showbiz maxim, "Leave them wanting more" Seth Seth Tepfer, MBA, CSM, PMP (he, him, his) Senior IT Manager, Emory Primate Center [cid:c25dc44a-1ace-49bc-8a17-b2dc6a07c0ca]<https://outlook.office.com/boo… Book time to meet with me<https://outlook.office365.com/owa/calendar/SethTepfer@mscloud.emory.n… On Sep 5, 2024, at 8:43 AM, Katherine Kitching via Contra Callers &lt;contracallers(a)lists.sharedweight.net&gt; wrote: In particular, I had searched all over the internet last year for some clue as to how many times through a typical improper duple contra dance would run, and had a real hard time finding that info. I had concluded that with 5 duples in a set (our usual), we might dance through up to 17 times, which would take about 9 minutes at 117bpm..... so that those who started at the top would get back to the top. Do you think that's too long? I was under the impression that in the US the lines are often longer than 5 duples, and that the convention was to dance long enough to let everyone travel up and down the line the whole way....so I was thinking that in a seasoned contra dance group the dance might go on 15 minutes or more? Very curious about this now! Kat Kitching in Halifax NS Sep 4, 2024 3:16:24 PM John Sweeney via Contra Callers &lt;contracallers(a)lists.sharedweight.net&gt;et>: Hi Seth, Linda Game (English Contra Dance Band) ran a session for the Irish musicians who were going to play for the first contra dance that we ran in Paris. I have put a copy of her notes at https://contrafusion.co.uk/documents/LindaGameMusicianWorkshop.jpg - I hope Linda won’t mind. One interesting exercise that she did was to get four dancers to do some Rory O’Mores to a Reel, then the same sequence to a Jig so that the band could see the effect on the dancers. This is meant for callers: https://contrafusion.co.uk/CallersandMusic.html but you might find some useful points there. I have danced (ceilidh, but same challenge) to a band who seemed to think that they were playing for a concert. They put in extra beats and ran improvisations across the phrases. They went so wild that you couldn’t hear the phrasing. It was fantastic to listen to, but a nightmare to try to dance to! It is crucial that the band understand that the dancers are listening to the beat and the phrasing. They especially want to hear the beginning of A1 and B1 clearly and unambiguously. Good luck! Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 & 07802 940 574 http://www.contrafusion.co.uk for Dancing in Kent _______________________________________________ Contra Callers mailing list -- contracallers(a)lists.sharedweight.net To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net

Regarding the bands and bpms- (your comment made me laugh! :) ) One of our bands has a keyboard player and it's great- he can actually turn on a metronome beat right on his keyboard. Another has a digital sound board that seems to keep track. For others, either the band leader or I bring up the simple google metronome on our phone right before the dance, and we snap/tap out the beat together with the phone, to ensure we're on the same page :) https://g.co/kgs/otM5T7y Kat k again Sep 5, 2024 10:19:13 AM Mary Collins &lt;nativedae(a)gmail.com&gt;om>:

Thanks Kat for this bpm mention. I try to notated all my cards (as I call/practice) with the type of tune and the practice tune (sometimes I call to recorded so this helps) and the best bpm. Sometimes I note a start at and increase to as well. I attended a workshop once where I was instructed to stomp out the bpm instead of telling the band. Very difficult for me for a variety of reasons but I was told bands don't know bpm which I (on behalf of musicians everywhere) took exception to. My response was, "well, the bands I work with, do." Good information re: beats vs measures too. I have tried for years to explain to a dancer that more notes does not = more beats and more steps. Loving all the comments! Mary Collins On Thu, Sep 5, 2024, 8:17 AM Katherine Kitching via Contra Callers < contracallers(a)lists.sharedweight.net&gt; wrote:

Hi John (and everyone), just catching up on the listserv and went to your "Callers and Music" page-- very helpful info there! I wish I had found it last year when I was looking for resources for this caller-and-musician workshop that we did. In particular, I had searched all over the internet last year for some clue as to how many times through a typical improper duple contra dance would run, and had a real hard time finding that info. I had concluded that with 5 duples in a set (our usual), we might dance through up to 17 times, which would take about 9 minutes at 117bpm..... so that those who started at the top would get back to the top. Do you think that's too long? I was under the impression that in the US the lines are often longer than 5 duples, and that the convention was to dance long enough to let everyone travel up and down the line the whole way....so I was thinking that in a seasoned contra dance group the dance might go on 15 minutes or more? Very curious about this now! Kat Kitching in Halifax NS Sep 4, 2024 3:16:24 PM John Sweeney via Contra Callers &lt;contracallers(a)lists.sharedweight.net&gt;et>:

Update: I went to the Apple App store to look for LiveBPM. No longer available. There are other similar apps. I notice it’s in the Google store. Rich

It’s true—they’re either written in 2/4 time or 4/4 cut time. 2 beats per measure x 8 measures = 16 beats per phrase. Neal Schlein Librarian, MSLIS On Wed, Sep 4, 2024 at 4:00 PM Mac Mckeever &lt;macmck(a)ymail.com&gt; wrote:

What dancers and callers understand as “a measure” or “a beat” is not necessarily the same as what professional musicians will understand, depending on how the sheet music was written. (My wife is a classically trained clarinetist who can also play violin and fiddles a little; she has gotten used to my terminology, but we still have miscommunications occasionally.) I strongly second the advice of communicating the concept of potatoes and practicing exactly how long you expect the band to play before you start calling, and how to signal the end of tunes. The advantage you do have on that particular front (assuming these are classical musicians) is that they are used to watching a conductor for gestures. They may have difficulty setting a good starting pace for tunes. I’d tell them to be careful with recordings as those frequently are paced differently and are flourished for listening. One of the finest fiddlers I know once recorded a 9 minute track for me with the preface that it would be great for dancing, but not much to listen to. I will ask my significant other if she has other advice. Neal Schlein Librarian, MSLIS

Hi Seth, Linda Game (English Contra Dance Band) ran a session for the Irish musicians who were going to play for the first contra dance that we ran in Paris. I have put a copy of her notes at https://contrafusion.co.uk/documents/LindaGameMusicianWorkshop.jpg - I hope Linda won't mind. One interesting exercise that she did was to get four dancers to do some Rory O'Mores to a Reel, then the same sequence to a Jig so that the band could see the effect on the dancers. This is meant for callers: https://contrafusion.co.uk/CallersandMusic.html but you might find some useful points there. I have danced (ceilidh, but same challenge) to a band who seemed to think that they were playing for a concert. They put in extra beats and ran improvisations across the phrases. They went so wild that you couldn't hear the phrasing. It was fantastic to listen to, but a nightmare to try to dance to! It is crucial that the band understand that the dancers are listening to the beat and the phrasing. They especially want to hear the beginning of A1 and B1 clearly and unambiguously. Good luck! Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 & 07802 940 574 http://www.contrafusion.co.uk for Dancing in Kent

Another learning opportunity I’ve run into with new-to-our-world players is mechanics like potatoes, tune changes if there are any, and signaling for last times through. If they have played sessions the latter two may be okay, but in any case I’d suggest practicing starts and stops during setup, just to be sure. Sheet music is a good idea because it can also be vetted. I had an old time band cross over once … they had a couple of veteran contra dancers, yet they still put Cherokee Shuffle in a medley. By luck the extra measure coincided with a swing and was easy to adjust to. -Joseph Sent from my phone, which has odd ideas about formatting sometimes. On Wed, Sep 4, 2024 at 9:07 AM Amy Larkin via Contra Callers < contracallers(a)lists.sharedweight.net&gt; wrote:

Since they're professional musicians, suggest as a creative challenge: What and how do we vary in a tune (texture, dynamics, solos, etc.) without altering tempo. How do we signal to dancers? How do we create a conversation with dancers? How can we build excitement, then release the tension to continue? How can the transition to a different tune change the energy and emotion? I agree a practical guide would be helpful, but I'mj ust guessing some creativity will be inspired by asking musicians to suggest their own solutions before offering existing solutions. Even if they arrive at the same place, it will be grounded like learning through play is remembered more easily than learning through rote. Jerome On Wed, Sep 4, 2024, 11:45 AM Angela DeCarlis via Contra Callers < contracallers(a)lists.sharedweight.net&gt; wrote:

I'm in the same boat right now, Seth! BIDA's Open Band Tune List is a really helpful resource: https://www.bidadance.org/open-band-tune-list But I've been having a hard time communicating about dynamics with them other than pulling up videos of experienced bands to demonstrate how much dance musicians break tunes down, improvise, and play. The energy needed to carry across a 7-minute set is harder to describe!! Following along in case others have ideas. Ang On Wed, Sep 4, 2024, 11:36 AM Tepfer, Seth via Contra Callers < contracallers(a)lists.sharedweight.net&gt; wrote:

Erik, I believe that's Old North State by Dean Snipes. I have been playing with several similar sequences, which I include below for all to enjoy. Please provide feedback if you do so: Warped Waves By Jerome Grisanti Four facing Four [Note your trail buddies are in your line of four, you won't interact with them until later.] A1: In rings of 4, circle Left 3/4, Opposite Neighbor swing. A2: Lines of four, forward and back, Pass the ocean, Ladies trade (aka centers allemamnde left 1/2). B1: Balance, Box Circulate, Balance, Box Circulate. B2: Partners Balance and Swing. [For orientation, you might point out that the box circulates result in you trading places with your trail buddies.] ********** Mee Cro WAH Vay By Jerome Grisanti Four facing Four A1: In rings of 4, circle Left 3/4, Opposite Neighbor swing. A2: Rings of 4 balance, Pass the ocean, Balance, Box Circulate. B1: Balance, Box Circulate, Balance, Swing Thru. ("Swing thru" from a wavy line: everyone allemande right halfway, those who can turn left halfway) B2: Partners Balance and Swing. (NOTE: Title is Italian pronunciation rules applied to the word "Microwave") Jerome On Thu, Jun 20, 2024, 3:07 PM Erik Hoffman via Contra Callers < contracallers(a)lists.sharedweight.net&gt; wrote: