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2524 discussions

by Bob Morgan via Callers

Ooh tricky - you definitely need to tell the band, maybe point out the odd phrasing and that you'll need to see if you can find a really good specific dance for it to work nicely. I'm intrigued as to what the tune is now - maybe the list can suggest something useful if you let us know? Bob On Tue, May 30, 2017 at 10:43 PM, Martha Wild <mawild(a)sbcglobal.net> wrote: > Next dance was rock solid, and easier, and tune was rock solid. So they > did redeem themselves. I have listened to a version on line and it has a > WEIRD B part - it is nominally 16 counts but the emphasis is kind of like > 6, 6 and 4, and it is weird beyond belief. How do I ask them to never play > it for me again? > > On May 30, 2017, at 2:38 PM, Bob Morgan <ceilidh.caller.bob(a)gmail.com> > wrote: > > In the moment, move right along. Next dance needs to be rock-solid, next > tune needs to be rock solid. Drop the difficulty through the floor and get > your dancers dancing again as quickly as possible. Don't dwell and let the > dancers forget it ever happened. > > Afterwards either ask the band to play it for you again if you have time > and see if you can work it out collectively or just say something on the > lines of "It's a shame I just couldn't seem to get the hang of tune X, is > there something unusual about it?" Ideally of course the band will have > been paying attention and be suitably annoyed at themselves that they > didn't get it right (the absolute optimal response of course would have > been for the band to have changed tune). > > Bob > > On Tue, May 30, 2017 at 10:16 PM, Martha Wild via Callers < > callers(a)lists.sharedweight.net> wrote: > >> So, a while back I was working with a band and they played a tune that >> was sort of new for them, and the A part was fine, but the B part was >> unusual anyway, and hard to know where the count was, in particular because >> they were unfamiliar with it, and I tried to count and call so the dancers >> could keep going, and it kept coming back together in the A, but falling >> apart in the B, until things snowballed and the dance completely fell >> apart. What is the best thing to do or say in a situation like that so that >> the band doesn’t feel too much as if it is their fault, and the dancers >> don’t feel it’s their fault? And yes, it’s always the caller’s fault, since >> I couldn’t for the life of me figure out what the heck was going on with >> that tune, but the dancers couldn’t find their way in it either. Anyway, >> back to what to do to make everyone feel a little better after that. >> Martha >> >> _______________________________________________ >> Callers mailing list >> Callers(a)lists.sharedweight.net >> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net >> > > >

7 years, 7 months

[Callers] New Dance

by Andy Shore via Callers

I wrote this earlier this month, and got to give it a national debut at Catapult Showcase 2017 last night during by set with Tempest (awesome!) Pete's Dark Roast by Andy Shore May 2017 Becket A1 ----------- (8) Men allemande Left 1.5x (8) Neighbor swing A2 ----------- (8) Promenade across = face partner across (8) Mad Robin - Women passing in front B1 ----------- (4,4) Partner RH Balance and Box the Gnat (8) Right & left through - COURTESY TURN SOMEONE NEW* B2 ----------- (8) Women Do-si-do 1.5x (8) Partner swing Notes: when out with partner - cross over and get in with the balance & box the gnat (or just wait to turn/be turned) * note that courtesy turn is with your new neighbor this is the progression It looks simple but the surprise factor of the R&L thru can be challenging. The fact that there are 2 courtesy turning actions both ending facing partner (promenade & R&L thru) add to the difficulty. ENJOY! Andy Shore http://site.andyshore.com

7 years, 7 months

[Callers] Two new dances (and two more dances)

by QuiAnn2 via Callers

Hi, I’ve recently written two dances. Both have been tested and called at regular contra dances (one in England, one in California!) to positive feedback from the dancers. I’m running it by the caller’s gauntlet to see if anyone knows if these dances have already been written. Please let me know if you’ve seen them before. Thanks! I’m also adding a couple of other simple dances that I wrote specifically to introduce a some figures in an easy way when I have many beginners. They aren’t fancy dances and I don’t usually announce the names of these dances but since I include my programs in my website, I thought I should probably give correct attribution if the dance has already been written. Thanks for any help! Jacqui Grennan A Stroll in the Hey by Jacqui Grennan Contra/Becket-CW A1 ----------- (8) Gents allemande Left 1-1/2 (8) N Sw A2 ----------- (8) LL F&B to P (8) Ladies Chain to P, extra courtesy turn B1 ----------- (8) w/P, Promenade the set clockwise, ladies in the middle, turn as couples (8) Return promenade, go PAST current Ns <=PROGRESSION B2 ----------- (8) 1/2 hey (NEW gents start passing left, NR, ladies L) (8) P Sw Zag It Back by Jacqui Grennan Contra/Becket-CW A1 ----------- (8) w/P, slice on left diagonal, fall straight back <=PROGRESSION (8) Ladies allemande Right 1-1/2 A2 ----------- (16) N B&Sw B1 ----------- (Note: loose timing in the B1) (8) Circle Left 3/4 (3,3) w/N, zig left, zag right to your shadows (2) Shadow L allem. 1x B2 ----------- (16) P B&Sw Starlet by Jacqui Grennan Contra/Improper A1 ----------- (8) N Allem. RIGHT 1x (8) Ladies allemande LEFT 1-1/2 A2 ----------- (16) P gypsy R/Sw B1 ----------- (6) Circle Left 3/4 (10) N Sw B2 ----------- (8) LL F&B to P (8) Star Left 1x <=PROGRESSION Line Up the Square by Jacqui Grennan Contra/Improper/Easy A1 ----------- (8)N DSD 1x (8) N Sw A2 ----------- (4) Balance ring (12) Give and Take to gents side, P Sw B1 ----------- (8) Promenade across the Set (8) Ladies Chain to N B2 ----------- (8) LL F&B to P “INTERRUPTED SQUARE THROUGH” (4) P RH balance across set (2) Pull by P RH (2) Pull by N LH

7 years, 7 months

[Callers] Resume examples

by Jeanette Mill via Callers

I am putting together a resume/CV with emphasis on my calling and music skills. I would be interested in seeing some models of how this is done, so if anyone is happy to share theirs with me, I would be very grateful Kind regardsJeanette Jeanette Mill Contra dance caller, musician, workshop facilitatorCanberra, AustraliaPhone: +61 (0)449 686 077 Email: jeanette_mill(a)yahoo.com.au Skype: jeanette.mill "The piano - 88 little mistakes waiting to happen"Kate Barnes

7 years, 7 months

[Callers] Looking for a caller in RI for Fri June 16

by Paul Wilde via Callers

Hey all, I'm helping a friend out who is experiencing some serious (but hopefully temporary) stress. Would anyone be interested in calling a dance in Prov RI on Fri June 16? There may be other dates available at this series in the future, for interested parties. We are hoping to expand our go to list, so if you are up for some travel and/or visiting area friends/family, this might be a good dovetail. We can provide a very comfortable couch (where many notable contra personalities have spent a night, and don't worry, we are very good about laundry:-) and at least breakfast the next morning. Please contact me off list for more details. Thanks. Virtual group hug, Paul

7 years, 8 months

[Callers] Seeking *lists* of tunes for patter squares

by James Saxe via Callers

[I'm sending this query to the trad-dance-callers list, to the SharedWeight callers' and musicians' forums, and to a number of individuals. Please send responses directly to me *off-list* (see Note 1 below). I plan to collect responses for about the next two months and will summarize results to the lists and to individual respondents some time in July. Thanks. --Jim] Folks, As some of you may know, I've worked on and off in fits and starts for some time at gathering lists of recommended tunes [see Note 2 below] for (traditional-style) patter squares. [In case you're wondering what I mean by "(traditional-style) patter squares", see Note 6 below.] My idea is to compile lists from a wide variety of sources and to look for tunes mentioned independently by many different recommenders. So far, I've compiled tune lists from a few dozen books and albums, and I'm currently adding lists from a bunch more books, articles, record catalogs, etc. I'm sending this message because I'd like to supplement all these sources with lists from current informants, possibly including you. So ... * If you are a musician who has substantial experience playing for (traditional-stye) patter squares and if you have a list of recommended tunes that you're willing to share--either an existing set list or a list you come up with by sitting down and scratching your head for a while--please send it to me *off-list* [see Note 1] at jim dot saxe at-sign gmail dot com * If you are a musician who mostly plays for other things than patter squares (e.g., contras or New-England-style squares or concert performances) or even if you're not a musician, but if you nonethelessAå have accumulated a list of tunes you particularly like *for patter squares*, I'd also be interested in hearing from you. * I'd also be interested if anyone can supply lists of tunes played *for patter squares* by players skilled in the genre who are no longer living (e.g., Ralph Blizard, Lyman Enloe, Benton Flippen, Bob Holt, Pete McMahan, Lee Stripling, Joe Thompson, or Melvin Wine, to name a few). However, see Note 5. * If you know other people who might be willing and able to contribute lists of recommended tunes, please feel free to pass this request along. (But please try not to put up my email address in places where spammers are likely to harvest it. Also, see Note 1. Thanks.) Below are some notes clarifying what kind of responses I am and am not interested in. ***Please read at least Notes 1-3 before responding.*** Note 1: If you got this query via a mailing list, please send tune lists directly to me and *not* to the entire mailing list. As stated above, I'm trying to see which tunes get mentioned *independently* by many recommenders, so I don't want the lists anyone sends me to be influenced one way or another by whatever suggestions other people have already sent. If you pass my request along to some of your friends, I'd prefer that you each send tune lists just to me rather than discussing tunes among yourselves first and then sending me a combined list (unless you and your friends are in the same regular band and such discussions are how you normally create your set lists). Please look carefully at the "To:" (and "Cc:") line of any reply and make sure that that it doesn't include the address of any mailing list. That would include addresses of the form James Saxe via ... <...> where <...> is a list address. I plan to gather recommendations for the next couple months and to post a summary some time in July. Note 2: Please *don't* explain to me that the suitability of a tune for a particular kind of dance can depend very strongly on how it's played. I'm already quite well aware of that. However, I also think it would be widely agreed that some tunes lend themselves to being played well for dancing more than others. (If you strenuously disagree, I will look forward to your forthcoming album of rip-roaring square dance arrangements of tunes from the Child ballads and _The Sacred Harp_. Meanwhile, please don't respond to my query by attempting to un-ask it.) After I've settled on a list of frequently-recommended tunes, a possible follow-on project would be to try to identify one or more renditions--online and/or on commercial recordings--of each tune played in a danceable style worthy of study by musicians learning to play for patter squares. For such a project, style of playing would of course be a prime concern. But that's not what I'm working on or asking about right now. Note 3: Please *don't* give me lists (or references to lists, albums, tune books, syllabi, etc) where tunes well suited for patter squares are mixed with other sorts of tunes without specific indication of which tunes are which. Note 4: I'm not all that interested in recommendations for just one or a few tunes. If you have substantial experience playing for patter squares, I'd expect that you can come up with at least ten tunes that you think are quite suitable, and perhaps you can come up with many more than that without feeling that you're starting to scrape the bottom of the barrel. (If you send a long list, you might want to distinguish which are your favorites and which are the second-tier or third-tier choices.) Note 5: If you send me a list of tunes from the repertoire of some deceased musician, please tell me something about how you compiled that list. I'm not merely looking for a list of tunes played or recorded by, say, late great fiddler Bestus Bowslinger, but for a list of tunes that Bestus actually played *for patter squares*. And if you happen to have some tapes of Bestus playing at actual dances, and if they include 30 different patter-square tunes, and if you send me the names of the 20 tunes you happen to recognize, then I'd like to be informed that the your sampling of Bestus's repertoire has been filtered by the limitations of what tunes you recognize. Note 6: When I say "(traditional-style) patter squares," I mean to exclude singing squares and squares that are prompted to the phrase of the music in the New England style (or in the style of 19th-century quadrilles) and I mean to include the kinds of squares generally thought of as traditional to the western and/or southern U.S. I specifically would include visiting couple dances in this genre, even when the progression is around a big circle or by a scatter promenade, rather than around a square of four couples. I'd also include most "transitional" (50's era) western squares (other than singing calls) as well as more recent compositions in similar style. I do *not* mean to say that the dances in question must be called in a style that includes a bunch of rhyming doggerel ("do-si high, do-si low, chicken in the bread pan scratchin' out dough") or other extra verbiage. Much of the "hoedown"/"patter" music produced in recent decades for the MWSD market is, IMO, very non-traditional in character and thus not of interest for purposes of my current inquiry. (Hint: If a tune isn't found in any tune books, played at any jam sessions, or recorded on any non-MWSD label, it's not what I'm after.) I'm happy to get recommendations for recently-composed tunes in traditional style, as well as for genuinely traditional (old) tunes. I'm also happy to get recommendations for tunes from "northern" sources that nonetheless have the right feel to work well for traditional southern/western dances. Of course I realize there aren't precisely defined and widely agreed boundaries between different kinds of square dances or different styles of calling (prompted vs. patter vs. singing; phrased vs. unphrased; New-England vs. southern vs. traditional western vs. ...). Ditto regarding precise definitions of musical genres. I also realize that a particular choreographic pattern might be danced to different styles of music and calling, etc. That said, I still hope that the preceding paragraphs will suffice to provide an adequate idea of what I'm looking for. Thanks in advance to any of you who have tune lists to share. Regards, --Jim

7 years, 8 months

Re: [Callers] Untitled Dances

by Michael Dyck via Callers

On 17-05-10 09:24 PM, Rich Sbardella via Callers wrote: > Hello folks, > > I have many dances in my collection that I would love to attach to a title. > If you can provide one, I would appreciate it. > _#5 Untitled_ > > A1 Bal Ring, Spin Right (2X) > A2 LH Star, Gents Chain > B1 Mad Robin, Face Partner & Swg > B2 CL 3/4, Pass Thru, New Neighbor Swing Don't know. > _#6 Untitled (Becket)_ > A1 CL 3/4, N Swg > A2 Hey > B1 N RH Balance, Bx Gnat, Pull By, Ladies Alle L > B2 P B&S "Return 2 Sender" by Bob Isaacs? (Hey starts gents by left. Allemande is 1 1/2. Progression is shift left.) > _#7 Untitled_ > > A1 N Gyp, N Swg > A2 Gents Alle L 1-1/2, P Swg > B1 Cir Left 3/4, Bal Ring, Spin R > B2 Bal Ring, Spin R, Bal Ring, Pass Thru "Petronella for Peace" by Devin Nordson (but with a gypsy where it has do-si-do): in "21st Century Contras" (3rd edition). > _#9 Untitled_ > A1 N B&S > A2 Ladies Gypsy 1-1/2, P swing > B1 Lad Chain, LL > B2 N DSD, N Bx Gnat, Pass Thru "19 Glenaulin" by Deborah Hyland. in "Midwest Folklore and other dances". Also: https://www.cambridgefolk.org.uk/contra/dances/midwest_folklore/19_glenauli… (both sources say "pull by" rather than "pass thru") > _#12 Untitled_ > > A1 N Gypsy, N Swg > A2 Hey/Lad Ricochet > B1 P B&S > B2 LL , CL 3/4, Pass Thru "The Ricochet Hey" by Chuck Abell (but with a gypsy where it has do-si-do): http://nebula.wsimg.com/cd34eb3960b92d3fe37edc7eded16f56?AccessKeyId=A853E9… -Michael

7 years, 8 months

[Callers] Untitled Dances

by Rich Sbardella via Callers

Hello folks, I have many dances in my collection that I would love to attach to a title. If you can provide one, I would appreciate it. Thanks, Rich Sbardella Stafford, CT *#5 Untitled* A1 Bal Ring, Spin Right (2X) A2 LH Star, Gents Chain B1 Mad Robin, Face Partner & Swg B2 CL 3/4, Pass Thru, New Neighbor Swing *#6 Untitled (Becket)* A1 CL 3/4, N Swg A2 Hey B1 N RH Balance, Bx Gnat, Pull By, Ladies Alle L B2 P B&S *#7 Untitled* A1 N Gyp, N Swg A2 Gents Alle L 1-1/2, P Swg B1 Cir Left 3/4, Bal Ring, Spin R B2 Bal Ring, Spin R, Bal Ring, Pass Thru *#9 Untitled* A1 N B&S A2 Ladies Gypsy 1-1/2, P swing B1 Lad Chain, LL B2 N DSD, N Bx Gnat, Pass Thru *#12 Untitled* A1 N Gypsy, N Swg A2 Hey/Lad Ricochet B1 P B&S B2 LL , CL 3/4, Pass Thru

7 years, 8 months

Re: [Callers] "Yankee" Dutch Crossing

by Perry Shafran via Callers

Hi, Erik, This is superb information! Thanks so much! Perry From: Erik Erhardt <erikerhardt(a)gmail.com> To: Perry Shafran <pshaf(a)yahoo.com> Cc: Caller's Discussion List <callers(a)sharedweight.net> Sent: Monday, May 8, 2017 9:57 AM Subject: Re: [Callers] "Yankee" Dutch Crossing Hi Perry, I've included my notes below. Before I called a workshop at a camp I had a practice party at my house, and it made a HUGE difference. I hope you'll find it helpful. Consider a modification to the end of D2 that takes an appropriate amount of time (I usually use Gaye's modifcation: https://www.youtube.com/watch?v=7_BZn92P11Q). Have fun! Erik Erhardt https://statacumen.com/dance/ Yankee Dutch Crossing Adapted by Joseph Pimentel (Cardinal Collection, 2004) for contra dancers from the original English country dance, "Dutch Crossing," by Ernst van Brakel (1990). Formation: For 8 couples, arranged as in two short improper contra lines, side by side.Music: any lively reel; medleying two 32-bar tunes is once through the dance. Description:That fiendishly challenging yet ultimately satisfying dance "Yankee Dutch Crossing" is the contra-fied version by Joseph Pimentel (2004) of the Ernst van Brakel "Dutch Crossing" (1990), a four-part dance for sixteen dancers with the characteristic "Xs and Os" clockwork right-and-left stars. Video of Yankee Dutch Crossing from Pinewoods: https://www.youtube.com/watch?v=RL1ulnHEuNY Gaye's modification: https://www.youtube.com/watch?v=7_BZn92P11Q Plan for 60 minute teach for new dancers, then 15 minutes to dance through twice. Sign-up Sheet Sign up with a partner in a 16-person set, show up on time. Dance Part INote significant people:"Opposites/Buddies," standing across from each other in original hands four"Hey friends," standing along line across hall Note: Dancer orientation is tricky. During walkthrough, it is often helpful to walk a move or two and say “freeze”, then explain where they are, how they should be oriented, and what will happen next (with whom, ending where). Then call the next move or two as they walk it. Repeat. Part I, Heys1st & 3rd time through: Hey Across the hall2nd & 4th time through: Hey Up-and-down the hall Dancers will hey with their hey friends along the line in front of where they start. A1 ----------Bal & square-thru:(4) Opposite/Buddy, Right-hand balance(2) Buddy pull-by R, turn to face P(2) P pull straight by L (8) 1/2 Hey with P and hey buddiesthose facing in center pass R to startthose facing out turn over L-sh to start end by passing your partner by Left and connecting hands,person approaching from the end feels likethey roll to follow their partner in the circle "Pass your partner, circle right""As pass partner by left, take both hands with partner and Lady roll away from right to left to face Buddies up and down (across). Circle right with the Gent in the lead of partner." A2 ----------(4) Circle Right 1/2 way w/original Opps (Gent in lead, L on P's left)(4) face Opp, with P fall back (moving away from Opp)Alt: Gaye Fifer: (4) Balance -- I prefer original.(orientation: facing original direction with same Opposites, but your original line has been inverted so that Gents are on the right) (8) Opp DSD B12 ----------Repeat A1 & A2 to return to placeDifference:B2 (4) Circle Right 1/2 way w/original Opps (Lady in lead, G on P's left) Words to use:Same neighbor, balance right, hey up and down (across) "As pass partner by left, take both hands with partner and Gent roll away from right to left to face Buddies up and down (across). Circle right with the Lady in the lead of partner." (orientation: Back to original position) Words to use when calling (always clearly emphasize directional cues)A12Face up and down (across)Buddy right-hand balance, pull by right, partner leftHey across (up and down), right in center, left on outside, right in center, roll with partnerCircle right with Gent in the lead half way, fall back (facing up and down/across) in original linesBuddy do-si-do. B12Face up and down (across)Buddy right-hand balance, pull by right, partner leftHey across (up and down), right in center, left on outside, right in center, roll with partnerCircle right with Lady in the lead half way, fall back (facing up and down/across) at homeBuddy do-si-do. Part II, Dutch Crossingreminder: Xs and Os change each time through"Am I an X or am I an O, right-hand star, here we go!""Am I an X or am I an O, shake right hands, ready, go!" Note two different "teams""X team" on two intersecting diagonals from opposite corners"O team" made up of the 2 middle people on each side of whole setX team follows the path of a diagonal hey, using handsO team does a R&L grand around their large circle A3 ----------(4) with Opps: star R(4) X team star L 1/2 in center or balance on endsWHILE O-team pull by L around circle (Os on the outside, nice and slow)(4) in 4-somes: star R 1/2(4) X team star L 1/2 in center or balance on endsWHILE O-team pull by L around circle (Os on the outside, nice and slow) A4 ----------repeat A3 to home places B3 ----------(16) P B&S B4 ----------(10) with Opps, circle L 1-1/4 to face a new wall"move that circle, you've got to face a new wall"(6) Opp DSD(orientation: you're looking "up and down" or "at the side wall") Alt: B4 Gaye Fifer: (4) Bal ring, (4) Cir L 1/4, (8) Opp DSD Words to use when callingA34Am I an X or am I an O? Right-hand star, here we go!(Diagonal buddy) Right, 2, 3, and Left1, 2, 3, and Right1, 2, 3, and Leftbuddies in opposite corner, Right1, 2, 3, and Left1, 2, 3, and Right1, 2, 3, and LeftFind your partner, balance and swing B34Face your buddies , Balance the ring, circle left 1/4 to face across (up and down)Buddy do-si-doYou’ve changed orientations, buddy right-hand balance… "And thank your square, right there." Repeat the entire dance three times, facing a new wall each time. Each timethrough, everyone will experience a different dance position. Teaching NotesPlan for extra teaching time. With one or two sets, teaching and dancing can take 45-60 minutes. For more sets, plan on 60-75 minutes. A1/B1. The 1/2-hey includes a total of 4 passes. The final pass is by the L-sh with partner. The transition from that pass into the circle can cause confusion for a couple of reasons. First, people feel like they are on the wrong side of their partner leading into the circle; man on the right and woman on the left. Second, the person moving toward the outside of the set in the last pass of the hey (the woman in Al, the man in B1) has to change their direction to get into the circle. Encourage people to keep their eye on their partner in that last pass to help draw them into the circle. A3/B4. This figure has the exhilarating feel of a carnival ride and people feel great satisfaction when it all comes together. Notice that the positioning is different each time through the dance. In the R&L grand, for example, one time through, you go clockwise around the "O" and the other time you go counterclockwise. When people in the X-team reach the end of their diagonal, they should make a point to do the balance, which helps them keep the correct timing. They will resist this, because it feels awkward. Their incentive to overcome the awkwardness is great, though, because if they stick their hand into a "star" too early, the consequences are dire. Making such a warning usually elicits laughter, which helps both to relax people and to reinforce the point. Each time through the dance, Buddies remain the same. Hey friends alternate depending on the orientation of the lines. On Mon, May 8, 2017 at 6:56 AM, Perry Shafran via Callers <callers(a)lists.sharedweight.net> wrote: Hi, everyone, Can someone point me to the best resource to get the figures for Dutch Crossing (specifically the Yankee Dutch Crossing that is frequently called at dance weekends). With less than 2 weeks to spare, I've been asked if I'd like to do a Dutch Crossing workshop and I think I need the figures down pat if I'm going to do that. Thanks in advance! Perry ______________________________ _________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/ listinfo.cgi/callers- sharedweight.net

7 years, 8 months

[Callers] "Yankee" Dutch Crossing

by Perry Shafran via Callers

Hi, everyone, Can someone point me to the best resource to get the figures for Dutch Crossing (specifically the Yankee Dutch Crossing that is frequently called at dance weekends). With less than 2 weeks to spare, I've been asked if I'd like to do a Dutch Crossing workshop and I think I need the figures down pat if I'm going to do that. Thanks in advance! Perry

7 years, 8 months

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