Hi Maia,
I may have a slightly different approach than others. When I work with a
band that likes to do rolling starts, we enjoy doing it when things
"work right" musically. I tell the band that they are free to do a
rolling start whenever they want, and it will be up to me to proceed or
wave them off. Of course, this is for only once or twice during an
evening. We don't want to overdo such a memorable technique.
Generally the musicians may be vamping, or they may be just tuning up.
Either way, I hear that there is music behind me as I teach. Our default
is to continue unless I give a signal to stop. From my role, if I hear
the band roll into something that can work as a rolling start, I'll
modify the teaching and my voice on the fly, while at the same time
(with the hand that is not holding the mic) giving the band the signal
to continue or to stop. I watch the dancers, listen to the music, know
the dance that I'm teaching, and weigh the pros and cons of continuing.
IMO, this works well for the spontaneity and excitement, and I feel
comfortable flowing with it and supporting the band, especially when the
musicians are really into a tune. It depends on their musicianship and
musical preferences. Sometimes the musicians will vamp with the entire
band, sometimes only one or two of the musicians will be playing. With
at least one band that I work with, the rolling start sometimes consists
of a hand-drum or Quebecois feet.
Woody
On 10/2/2015 8:53 AM, Maia McCormick via Callers wrote:
> I think that rolling starts (seamless transition from walkthrough into
> the dance, as the band just starts playing music during the
> walkthrough) are super neat if done properly! But I'm still not quite
> sure how to do them properly. So I ask you all:
> 1) tips on how to execute a rolling start well, making sure all the
> dancers are on board etc.?
> 2) thoughts on what dances/tunes will/won't work well with a rolling
> start?
>
> Cheers,
> Maia
I went to a dance weekend where rolling starts was a topic of discussion led by Seth Tepfer. Excellent workshop. I have to admit that I rarely have done them and the one time that I did it didn't go so well - I was ready but the band was still rolling. So definitely what Dave and Jack said.
And there are different kinds of rolling starts. There is the hard start where they go through their tune and then they do the potatoes, and then there's the more seamless transition where you go right into the dance. With some bands it can be so seamless and super silky smooth that dancers won't know when the walkthrough ends and when the actual dance begins - they'll just find themselves dancing. I would suggest that you'd use dances that don't have anything majorly difficult about them that you need lengthy teaching.
Perry
From: Maia McCormick via Callers <callers(a)lists.sharedweight.net>
To: "callers(a)lists.sharedweight.net" <callers(a)lists.sharedweight.net>
Sent: Friday, October 2, 2015 11:53 AM
Subject: [Callers] Rolling Starts?
I think that rolling starts (seamless transition from walkthrough into the dance, as the band just starts playing music during the walkthrough) are super neat if done properly! But I'm still not quite sure how to do them properly. So I ask you all:1) tips on how to execute a rolling start well, making sure all the dancers are on board etc.?2) thoughts on what dances/tunes will/won't work well with a rolling start?
Cheers,Maia
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If the band can play a repeated 8 count chord progression from which they
can easily go into the top of the tune, it gives you a phrase to call to,
but if you need to slow down, or fix something, you have that option too --
then you can just get yourself back on the phrase. Other than the fact
that I flubbed the first call of the dance, I am pretty happy with the one
in this video of me with Atlantic Crossing. It wasn't a planned thing (and
planning is definitely a good idea the first time you do it. In
particular, planning how you will cue the band in, whether you want them to
actually do potatoes, or just use your first call (WITH your NEIGHbor
BALance NOW, with some good punch) as the potatoes.)
https://www.youtube.com/watch?v=lq1tKJb7z-Q
At it's best, it gives you a chance to do two walk thrus if needed, without
the dancers feeling like you're doing too much teaching. The first time,
you can be teaching completely off the phrase, or the band can sneak in
halfway through the first time. Then the second time, you move to being
more on the phrase. Once you're on the phrase, you have effectively agreed
with the band on a tempo and can stick with that as you move into the
dance, so there's really not a need for actual potatoes. As long as you
have your sign worked out with the band (beating the last 4 beats with your
hand, calling with some punch for the first call, patting the top of your
head (to indicate that you're coming up on the top of the dance) or
whatever.) Please note, that if you don't have things worked out with the
band, it can be pretty messy and awkward. Rather similar to the first time
I tried to do one -- the band just started playing a bit under the walk
through and I had no clue of how to cue them in!
J
On Fri, Oct 2, 2015 at 12:01 PM Dave Casserly via Callers <
callers(a)lists.sharedweight.net> wrote:
> I also like rolling starts. One of my bands has a few sets where we
> greatly prefer it, and try to work with callers to make it happen.
>
> What has worked well for me in the past is having a tune where the start
> of the dance can happen every two bars or so (in other words, a tune that
> is not harmonically complicated). Making walkthrough prompts in time with
> the music, but not giving a particular set amount of time to each call
> seems to work well. Dances that end with a move that can be extended
> (allemande, swing, etc) can help sync if you need that extra beat or two.
> I've found that rolling starts work well with a dance that starts with a
> balance, as that can make it very clear where the dance starts. Otherwise,
> asking the band for four soft potatoes at the end of the rolling start can
> be helpful.
>
> Hope that helps!
> -Dave
>
> On Fri, Oct 2, 2015 at 11:53 AM, Maia McCormick via Callers <
> callers(a)lists.sharedweight.net> wrote:
>
>> I think that rolling starts (seamless transition from walkthrough into
>> the dance, as the band just starts playing music during the walkthrough)
>> are super neat if done properly! But I'm still not quite sure how to do
>> them properly. So I ask you all:
>> 1) tips on how to execute a rolling start well, making sure all the
>> dancers are on board etc.?
>> 2) thoughts on what dances/tunes will/won't work well with a rolling
>> start?
>>
>> Cheers,
>> Maia
>>
>> _______________________________________________
>> Callers mailing list
>> Callers(a)lists.sharedweight.net
>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>>
>>
>
>
> --
> David Casserly
> (cell) 781 258-2761
> _______________________________________________
> Callers mailing list
> Callers(a)lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
--
Jack Mitchell
Durham, NC
I also like rolling starts. One of my bands has a few sets where we
greatly prefer it, and try to work with callers to make it happen.
What has worked well for me in the past is having a tune where the start of
the dance can happen every two bars or so (in other words, a tune that is
not harmonically complicated). Making walkthrough prompts in time with the
music, but not giving a particular set amount of time to each call seems to
work well. Dances that end with a move that can be extended (allemande,
swing, etc) can help sync if you need that extra beat or two. I've found
that rolling starts work well with a dance that starts with a balance, as
that can make it very clear where the dance starts. Otherwise, asking the
band for four soft potatoes at the end of the rolling start can be helpful.
Hope that helps!
-Dave
On Fri, Oct 2, 2015 at 11:53 AM, Maia McCormick via Callers <
callers(a)lists.sharedweight.net> wrote:
> I think that rolling starts (seamless transition from walkthrough into the
> dance, as the band just starts playing music during the walkthrough) are
> super neat if done properly! But I'm still not quite sure how to do them
> properly. So I ask you all:
> 1) tips on how to execute a rolling start well, making sure all the
> dancers are on board etc.?
> 2) thoughts on what dances/tunes will/won't work well with a rolling start?
>
> Cheers,
> Maia
>
> _______________________________________________
> Callers mailing list
> Callers(a)lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>
--
David Casserly
(cell) 781 258-2761
I think that rolling starts (seamless transition from walkthrough into the
dance, as the band just starts playing music during the walkthrough) are
super neat if done properly! But I'm still not quite sure how to do them
properly. So I ask you all:
1) tips on how to execute a rolling start well, making sure all the dancers
are on board etc.?
2) thoughts on what dances/tunes will/won't work well with a rolling start?
Cheers,
Maia
In a few squares a few moves leave ladies 1 and 2 on the side with gent
2 and ladies 3 and 4 on the other side with gent 4. Gents 1 and 3 are
then the "lonesome gents". The set-up and subsequent figures typically
repeat in the obvious fashion with gents 2 and 4 being the lonesome gents.
David Harding
Other identifying terms:
Active/inactive couple or person, for certain dances when it is descriptive, or impractical to use numbers. (Often 3 or 5 couple sets, 2+1 mixers, Virginia reel variants, squares, or Scottish dances)
Right hand / left hand (lady/gent) for squares
1st corner/2nd corner or right hand/left hand for contra corners (these are not necessarily neighbors, nor shadow/partner at set ends, nor are they precisely previous/current/next neighbors in a double progression)
Inside/outside for mixers or couple dances
Those who can, those who want, those who did/didn't
Leader (for lines)
Leads/Follows (squares, mostly)
Was top/bottom on the list?
Lone person/9 pin (mixers, odd number of dancer sets)
A/B for royal (double) squares
That's what springs to mind.
Neal
Sent from my T-Mobile 4G LTE Device
Is there ever a designation for doing something alone?
-Amy
On Sep 23, 2015, at 10:18 PM, Don Veino via Callers <
callers(a)lists.sharedweight.net> wrote:
Back in 2008 I wrote a dance to celebrate my first year of contra dancing
and Chris Weiler was kind enough to go through it with me. In doing so I
heard my first mention of the Who-What-How Much format for dance
description.
I'm working on a personal project where I'd like to be sure I've identified
all the "Who" roles in that model. For my purposes, I'm doing this in the
context of contras, traditional squares, triplets, family dances, etc. (but
not necessarily English, Ceilidh, Scottish, etc. - though I'm not closed to
gathering any that may exist uniquely therein).
I've listed below what I've collected so far from my personal cards deck
review & research through several published works.
Are there any Whos I've missed?
Please note: I've deliberately left the primary role designation for last
as I wish to avoid rehashing that topic once more. Let's please just accept
there's a designation for the primary roles and agree they'll be determined
by circumstance and conscience, as fits a given dance community.
Thanks!
Don
ROLE DESIGNATORS - "WHO"
Partner
Neighbor
Corner
Opposite
Everyone (All)
Center/End
Shadow/Trail Buddy
Couple
Top/Middle/Bottom; Ones/Twos, etc.; Heads/Sides; First/Second, etc. (var.
of Couple or Primary Role)
Travel Buddy (4F4)
Active/Inactive (is this distinctly required, or is it always an alternate
name for another role var., e.g.: 1s?)
Neutrals/Ends (var. of Couple or Primary Role)
Ring of N (4,8, etc.)
And of course...
Primary Role (Lark/Raven, Righty/Lefty, Lady/Gent, Talls/Smalls, etc.), in
plural or specific variation (e.g.: Talls, Raven 2, End Lady)
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Several years ago I enjoyed dancing a square that I believed was written by
Roger Whynot, but I cannot remember the square. I think it began with
couple one Fwd and Back, then Couple one goes fwd into a three point star
with the nearest side couple. As they turn the star, they unwind into two
facing lines of three. After that I am lost.
Does anyone recall such a square or a similar square? I would appreciate
any help>
Rich
Back in 2008 I wrote a dance to celebrate my first year of contra dancing
and Chris Weiler was kind enough to go through it with me. In doing so I
heard my first mention of the Who-What-How Much format for dance
description.
I'm working on a personal project where I'd like to be sure I've identified
all the "Who" roles in that model. For my purposes, I'm doing this in the
context of contras, traditional squares, triplets, family dances, etc. (but
not necessarily English, Ceilidh, Scottish, etc. - though I'm not closed to
gathering any that may exist uniquely therein).
I've listed below what I've collected so far from my personal cards deck
review & research through several published works.
Are there any Whos I've missed?
Please note: I've deliberately left the primary role designation for last
as I wish to avoid rehashing that topic once more. Let's please just accept
there's a designation for the primary roles and agree they'll be determined
by circumstance and conscience, as fits a given dance community.
Thanks!
Don
ROLE DESIGNATORS - "WHO"
Partner
Neighbor
Corner
Opposite
Everyone (All)
Center/End
Shadow/Trail Buddy
Couple
Top/Middle/Bottom; Ones/Twos, etc.; Heads/Sides; First/Second, etc. (var.
of Couple or Primary Role)
Travel Buddy (4F4)
Active/Inactive (is this distinctly required, or is it always an alternate
name for another role var., e.g.: 1s?)
Neutrals/Ends (var. of Couple or Primary Role)
Ring of N (4,8, etc.)
And of course...
Primary Role (Lark/Raven, Righty/Lefty, Lady/Gent, Talls/Smalls, etc.), in
plural or specific variation (e.g.: Talls, Raven 2, End Lady)
