Since folks generally check here to see whether dance compositions have already been written, I thought I might as well. Tentatively calling this "Charm City Contra".
Becket dance
A1 Circle L 3/4Pass thru, swing next NA2 L chnLH starB1 Al rt shadow #1 to wavy line, gents facing inBal wave, spin rtB2 Bal & Sw P
Perry
This is a category where there is a lot of dances, those that have both Petronella and Rory O'More figures. I know of Bob Isaacs "Flaherty Will Get you Everywhere", plus my own "Cheat Lake Twirl", and there are a few others that I know of but forget the authors/names of dances.
Perry
From: Dugan Murphy via Callers <callers(a)lists.sharedweight.net>
To: callers(a)lists.sharedweight.net
Sent: Monday, April 6, 2015 3:22 PM
Subject: Re: [Callers] Rory slides and Box circulates
Hi Ron,
I don't know of any dances with a Rory O'More figure and a box circulate in the same dance, but if you're looking for a Petronella figure and a Rory O'More figure in the same dance, check "Wave-Particle Duality" by Ryan Smith: http://www.twirlyshirts.com/dances/by-ryan/wave-particle-duality/.
Dugan Murphy
dugan(a)duganmurphy.com
Date: Mon, 30 Mar 2015 13:44:18 -0400
From: Ron Blechner via Callers <callers(a)lists.sharedweight.net>
To: callers(a)lists.sharedweight.net
Subject: [Callers] Rory slides and Box circulates
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Long wave Rory O'Moore balance and slides/spins and box circulates ... in
the same dance, adjacent to one another?
I've not yet seen or danced any. Anyone have?
I have a few dances; trying one or two this week.
In dance,
Ron Blechner
As anyone who has danced with Amy knows, any alternative renderings of Bill's composition ought to collectively entitled:
You WISH You Were Dancing With Amy!
On Apr 30, 2015, at 1:31 PM, Amy Larkin via Callers <callers(a)lists.sharedweight.net> wrote:
> This makes me feel so special!
> :-)
> Amy
>
> On Apr 30, 2015 10:57 AM, "Bill Olson via Callers" <callers(a)lists.sharedweight.net> wrote:
> Funny, because I *almost* danced with (the) Amy at NEFFA this past weekend!
>
> dance is similar but not the same for sure..
>
> DANCING WITH AMY A Becket formation contra by Bill Olson
>
> A1: Circle L 3/4, Sw Neighbor (16) (face couple on RIGHT diagonal*)
> A2: W chain on R diag (to Shadow #1)(8) (face new couple across) L/H star with couple across x 1 (8) (Partner will be coming out of adjoining star give R hand to Partner, L hand to Shadow #1 to form long wavy line ALONG set)
> B1: Bal wave (towards partner first)(4), slide R as in Rory O'More (R/H to Shadow #2, L/H to Partner)(4), Bal wave (towards partner on Left) (4), slide L (4)
> B2: Partner Bal and Sw (16)
>
> for Amy Richardson Larkin
>
> Date: Thu, 30 Apr 2015 00:32:17 +0000
> To: callers(a)lists.sharedweight.net
> Subject: Re: [Callers] Anyone seen this dance?
> From: callers(a)lists.sharedweight.net
>
> Then it should be named "Almost Dancing With Amy"
>
> Michael Fuerst 802 N Broadway Urbana IL 61801 217 239 5844
>
>
>
> On Wednesday, April 29, 2015 7:29 PM, Linda Leslie via Callers <callers(a)lists.sharedweight.net> wrote:
>
>
> Very close to Dancing with Amy, by Bill Olson.
> Linda
>
> On Apr 29, 2015, at 8:25 PM, Perry Shafran via Callers <callers(a)lists.sharedweight.net> wrote:
>
> Since folks generally check here to see whether dance compositions have already been written, I thought I might as well. Tentatively calling this "Charm City Contra".
>
> Becket dance
>
> A1 Circle L 3/4
> Pass thru, swing next N
> A2 L chn
> LH star
> B1 Al rt shadow #1 to wavy line, gents facing in
> Bal wave, spin rt
> B2 Bal & Sw P
>
> Perry
>
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>
>
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"Dancing Near Amy".
-- Alan
On 4/29/2015 5:34 PM, Erik Erhardt via Callers wrote:
> Or "Dancing with Amy Olmos"
> Erik
> (505)480-4462 StatAcumen.com/dance
>
>
> On Wed, Apr 29, 2015 at 6:32 PM, Michael Fuerst via Callers
> <callers(a)lists.sharedweight.net
> <mailto:callers@lists.sharedweight.net>> wrote:
>
> Then it should be named "Almost Dancing With Amy"
> Michael Fuerst 802 N Broadway Urbana IL 61801 217 239
> 5844 <tel:217%20239%205844>
>
>
>
> On Wednesday, April 29, 2015 7:29 PM, Linda Leslie via Callers
> <callers(a)lists.sharedweight.net
> <mailto:callers@lists.sharedweight.net>> wrote:
>
>
> Very close to Dancing with Amy, by Bill Olson.
> Linda
>
> On Apr 29, 2015, at 8:25 PM, Perry Shafran via Callers
> <callers(a)lists.sharedweight.net
> <mailto:callers@lists.sharedweight.net>> wrote:
>
>> Since folks generally check here to see whether dance
>> compositions have already been written, I thought I might as
>> well. Tentatively calling this "Charm City Contra".
>>
>> Becket dance
>>
>> A1 Circle L 3/4
>> Pass thru, swing next N
>> A2 L chn
>> LH star
>> B1 Al rt shadow #1 to wavy line, gents facing in
>> Bal wave, spin rt
>> B2 Bal & Sw P
>>
>> Perry
>>
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>
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Saying "thank you" sincerely and joyfully is a really good, important
thing. I'm glad you did it at a dance that obviously meant a lot to you!
Keith Tuxhorn
Austin, TX
On Sun, Apr 26, 2015 at 6:27 PM, Amy Larkin via Callers <
callers(a)lists.sharedweight.net> wrote:
> This is great! I believe people actually enjoy themselves more when they
> remember to show appreciation.
> Amy Larkin
> On Apr 26, 2015 4:12 PM, "Amy Wimmer via Callers" <
> callers(a)lists.sharedweight.net> wrote:
>
>> I called a dance last night in the town where I grew up (Bellingham, WA).
>> It's always great to go back and see people with whom I learned to dance.
>> Calling there makes me a little nervous, though, because I didn't start
>> calling until I left there about 11 years ago.
>>
>> Anyway, keeping in mind the recent discussion about clapping for the
>> band, I did my utmost to make sure last night's band was well appreciated.
>> They are a really good home-town band, and very fun to work with, so I
>> didn't feel a need to fake it.
>>
>> After the first dance there was a smattering of applause, so I said, "It
>> is customary to applaud the band after each set." This sort of stopped them
>> in their tracks and they responded well. The band was grinning at me. I
>> then said, "I have also heard that bands perform better when they know they
>> are being appreciated." This brought even more applause. I said they were
>> dancing to the playing of "Northern Contraband" and I'd introduce the
>> individual members later.
>>
>> During the evening I smiled broadly at the band members, they responded
>> with the same; I applauded at the ends of each dance, while looking and
>> smiling at them; I whooped when it was appropriate (they threw in some
>> really cool stuff, off the cuff) and the dancers joined in. All-in-all the
>> band was very well-received and appreciated, they responded well to the
>> attention, and the dancers were consistently appreciative the rest of the
>> evening. I introduced the individual band members twice - once in the first
>> half and once in the second. It helps that I know them and didn't have to
>> read their names. I mentioned the sound person a few times, too. Everyone
>> was smiling and happy. It was good.
>>
>> I hope I can spread the joy at other gigs.
>>
>> -Amy
>>
>> _______________________________________________
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>>
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>
I usually warn bands that I tend to run dances just a little shorter
than other callers. My habit is about 5-and-a-bit dances an hour, 12
minutes (give or take) from the start of teaching one to the start of
teaching the next, but that definitely varies. Size, energy, chattiness
and skill level of the crowd make a huge difference, symmetry (or not)
of the dance, the music (does it fit the dance really well? Is it just
a smokin' tune that should run a little longer? Is it really fast, so
the dancers will poop out earlier?), even the floor condition can affect
how long I'll run. I have a really hard time estimating when I'm
halfway through a dance, and much prefer to give bands 3-and-out, though
I frequently flex on that if they've got another tune in the wings, as
Ryan mentions below.
Reading the responses from other callers tells me that my 12-minute
timing sense isn't far off from other folks, but it may be that here in
the Bay Area I run a little shorter than average. Seems like the bands
are always changing tunes right when my spidey-sense tells me it's time
for "last 3".
Kalia Kliban
Sebastopol, CA
On 4/27/2015 2:20 PM, Ryan Smith via Callers wrote:
> There's a band I work with on a pretty regular basis that usually
> follows my lead, but will occasionally ask "For this set, can we choose
> when to go out?" I trust them not to run it too long, and letting them
> choose when they go out gives them a lot of control over the musical
> experience, which ultimately seems to work well for the dancing
> experience. I'll sometimes signal a band when they're not ready to go
> out yet, and I'm usually willing to be negotiated up from 3 more times
> to 5. More than that, and we're starting to wear out the dancers.
>
> I think it's worth mentioning that if you know from the outset that you
> are going to want to run a dance longer or shorter than your average,
> for whatever reason, that if you communicate that to the band in advance
> it will help make sure that you're not cutting them off just as they
> wind up or leaving them sitting on a tune that they really didn't mean
> to play that long. I know some bands that like to be signaled when you
> get to the middle of the dance, and will even ask to be signaled a
> little early for certain sets of tunes.
Kappy Laning and I have organized a new all-ECD weekend at Timber Ridge
camp, May 23-25 (Memorial Day weekend), 2015. Scott Higgs, Gaye Fifer, Tom
Spilsbury calling. Eight fine local musicians. The camp is so eager to make
this a success that they have lowered their price to us. NINETY Dollars,
all inclusive -- we start at 2 pm on Saturday afternoon (so no fighting the
Friday holiday weekend traffic) through Monday afternoon, all means included
(and we'll celebrate CDSS's 100th anniversary with a grand tea on Sunday).
I'd be happy to provide more information. If you already dance ECD, or
have always wanted to try it -- the cost is trifling!!
Website is AnEnglishTrifle.org.
April Blum
Yeesh. This sounds like a recipe for a difficult evening, unless it's
one of those very rare bands where the musicians are really watching
what's happening on the floor.
Do you have the option of not working with this band in the future?
Kalia
On 4/27/2015 1:58 PM, Donald Perley via Callers wrote:
> Just a guess.. they have arrangements for each set and feel miffed if
> they get cut short without getting through each variation.
>
> On Mon, Apr 27, 2015 at 4:52 PM, Amy Wimmer via Callers
> <callers(a)lists.sharedweight.net> wrote:
>
>>
>> I have an oddity coming up: a band for which I am calling has asked to
>> take the lead on when to end the dances. I figure one evening of that
>> can't hurt, if it keeps the band happy. I will take notes. The leader
>> of this band has control issues and knows what's best for everyone.
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>
There's a band I work with on a pretty regular basis that usually follows
my lead, but will occasionally ask "For this set, can we choose when to go
out?" I trust them not to run it too long, and letting them choose when
they go out gives them a lot of control over the musical experience, which
ultimately seems to work well for the dancing experience. I'll sometimes
signal a band when they're not ready to go out yet, and I'm usually willing
to be negotiated up from 3 more times to 5. More than that, and we're
starting to wear out the dancers.
I think it's worth mentioning that if you know from the outset that you are
going to want to run a dance longer or shorter than your average, for
whatever reason, that if you communicate that to the band in advance it
will help make sure that you're not cutting them off just as they wind up
or leaving them sitting on a tune that they really didn't mean to play that
long. I know some bands that like to be signaled when you get to the
middle of the dance, and will even ask to be signaled a little early for
certain sets of tunes.
Part of the reason for using a stopwatch (vs. a timer) is that it doesn't
tell you how much longer to run the dance. It just tells you how long you
have run the dance, making it easy to be responsive to the music and the
dance and the dancers and the weather and all the other environmental
factors that come into play.
On Mon, Apr 27, 2015 at 4:58 PM, Donald Perley via Callers <
callers(a)lists.sharedweight.net> wrote:
> Just a guess.. they have arrangements for each set and feel miffed if
> they get cut short without getting through each variation.
>
> On Mon, Apr 27, 2015 at 4:52 PM, Amy Wimmer via Callers
> <callers(a)lists.sharedweight.net> wrote:
>
> >
> > I have an oddity coming up: a band for which I am calling has asked to
> > take the lead on when to end the dances. I figure one evening of that
> > can't hurt, if it keeps the band happy. I will take notes. The leader
> > of this band has control issues and knows what's best for everyone.
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>
My mileage varies considerably in numbers of dances I get through in
an evening. The biggest factors are 1) number of beginners, 2)
chattiness/inattention of dancers, 3) flexibility of band, 4) length
of break.
I have tried to pay attention to specific couples and track them in a
dance, but ALWAYS get confused. Were they twos and now are ones? That
just doesn't work for me. Nor does counting iterations of a dance, for
the same reasons others have mentioned. I use a watch or clock and
even then I forget what time they started. I mostly go by feel.
I prepare 10-11 dances for a 2 1/2 hour dance (our regular dance),
usually getting 9-10 done, and 12-13 for a 3 hour dance, usually doing
at least 12. I have had to pull out more once in a while.
I have an oddity coming up: a band for which I am calling has asked to
take the lead on when to end the dances. I figure one evening of that
can't hurt, if it keeps the band happy. I will take notes. The leader
of this band has control issues and knows what's best for everyone.
Generally I plan for 15 minutes from start to start of each dance and
if I get in more, that's great.
-Amy
> On Apr 26, 2015, at 5:54 PM, Maia McCormick via Callers <callers(a)lists.sharedweight.net> wrote:
>
> Just polling the masses here--how long do you generally run your dances (in times through the dance, time take, couples going up and back, etc.)? How many dances do you generally manage to fit into a 3-hour contra evening? I've heard different wisdom from different folks and am curious to add some more data points!
>
> Cheers,
> Maia
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