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340 discussions

by Susan Songer via Musicians

Hi All- The Dance Musicians' Task Group (I'm a member) is going to have oversight on a series of articles in the CDSS news. These articles will address issues of interest and concern to musicians playing for dances. We are working out the exact format these articles will take, and as part of that process would like input from you. Yes, you who are reading this message! What topics would you like to see addressed in these articles? All topic suggestions are welcome-eg.: What differentiates contra dance fiddling from other fiddling styles? Or How can you tell when to switch from one tune to the next in a medley? Or If an ECD dance does not have an associated tune, how can you make a good tune choice for that dance? I'll bet you readers can think of a lot more topics that are worth exploring in some depth. You can either list them here or write me separately off list. Thanks in advance for contributing ideas. Sue Songer songer(a)portcoll.com

8 years, 7 months

Re: [Musicians] Musicians Digest, Vol 9, Issue 3

by Emily Addison via Musicians

Hi Sue, I'd love to see a comprehensive section of the CDSS website with resources promoting learning re playing for dances. Related, an article in the newsletter promoting that page, highlighting some of the key resources out there would be amazing! Other ideas: - Tips on different improvising techniques + ways of learning how to improvise in a band. (+links to other resources) - Tips on exploring alternative chord options, for traditional accompaniment instruments AND others (+links to other resources) - Lots of different ideas for how to learn to listen to band members more, including neat activities/exercises to do together. Emily in Ottawa On Mon, Oct 12, 2015 at 3:06 PM, via Musicians < musicians(a)lists.sharedweight.net> wrote: > Send Musicians mailing list submissions to > musicians(a)lists.sharedweight.net > > To subscribe or unsubscribe via the World Wide Web, visit > > http://lists.sharedweight.net/listinfo.cgi/musicians-sharedweight.net > or, via email, send a message with subject or body 'help' to > musicians-request(a)lists.sharedweight.net > > You can reach the person managing the list at > musicians-owner(a)lists.sharedweight.net > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Musicians digest..." > > > Today's Topics: > > 1. (musicians) Dance Fun (jill allen via Musicians) > 2. CDSS News--A Query for Dance Musicians > (Susan Songer via Musicians) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Mon, 12 Oct 2015 10:22:36 -0500 > From: jill allen via Musicians <musicians(a)lists.sharedweight.net> > To: Musicians(a)lists.sharedweight.net > Subject: [Musicians] (musicians) Dance Fun > Message-ID: <5807F0ED-CE2F-4629-AFE2-8B7B2AC37CB2(a)att.net> > Content-Type: text/plain; charset=us-ascii > > In response to David's question, some of my favorite moments have been at > our band practices. Getting in the groove playing a hot tune while the > kids are bouncing around the house and the cat is oblivious and asleep in > the fiddle case, or those creative group moments when you add a new tune > and it's a good fit! > > Playing for dances is always great, but the creativity behind the scenes > can be just as exciting. > > Jill Allen > > ------------------------------ > > Message: 2 > Date: Mon, 12 Oct 2015 09:46:34 -0700 > From: Susan Songer via Musicians <musicians(a)lists.sharedweight.net> > To: <musicians(a)lists.sharedweight.net> > Subject: [Musicians] CDSS News--A Query for Dance Musicians > Message-ID: <000401d1050d$957ebd80$c07c3880$@com> > Content-Type: text/plain; charset="us-ascii" > > Hi All- > > > > The Dance Musicians' Task Group (I'm a member) is going to have oversight > on > a series of articles in the CDSS news. These articles will address issues > of > interest and concern to musicians playing for dances. We are working out > the > exact format these articles will take, and as part of that process would > like input from you. Yes, you who are reading this message! What topics > would you like to see addressed in these articles? All topic suggestions > are > welcome-eg.: What differentiates contra dance fiddling from other fiddling > styles? Or How can you tell when to switch from one tune to the next in a > medley? Or If an ECD dance does not have an associated tune, how can you > make a good tune choice for that dance? I'll bet you readers can think of a > lot more topics that are worth exploring in some depth. You can either list > them here or write me separately off list. Thanks in advance for > contributing ideas. > > > > Sue Songer > > songer(a)portcoll.com > >

8 years, 7 months

(musicians) Dance Fun

by jill allen via Musicians

In response to David's question, some of my favorite moments have been at our band practices. Getting in the groove playing a hot tune while the kids are bouncing around the house and the cat is oblivious and asleep in the fiddle case, or those creative group moments when you add a new tune and it's a good fit! Playing for dances is always great, but the creativity behind the scenes can be just as exciting. Jill Allen

8 years, 7 months

Fun and Rewarding moments at dances

by David Firestine via Musicians

Can you describe a fun and/or rewarding moment while playing for a dance? I have many, but at the first dance camp I attended/played, I got to play an evening with Rodney Miller. I had played his records to death, and the opportunity to play with him was wonderful. Dave Firestine

8 years, 7 months

Dance Fun

by David Firestine via Musicians

Can you describe your favorite or rewarding experience playing for a dance? Dave Firestine

8 years, 7 months

Need for a musician to play for a Colonial event in South Carolina

by Patricia Campbell via Musicians

I got an inquiry from my website tonight and I'm posting it here for anyone to contact him directly, since the need is for a musician to play for a Colonial event in South Carolina next Friday evening. I told him I would post it - please contact him directly if you or anyone you know can help (he is looking for musician only, not a caller). Thanks, Patricia INQUIRY Name: Paul Graham Email: pgraham(a)theamericanheritagefestival.com Website: http://www.theamericanheritagefestival.com Comment: Hi Patricia, We are in a bit of a bind. We have a colonial dance with instructors next Friday night. Our colonial musician just dropped out because of his wife's illness. We are looking for a replacement for September 25th. Also, for a strolling musician throughout the weekend. Please contact me to discuss. I look forward to hearing from you. Sincerely, Paul

8 years, 8 months

Re: [Musicians] Musicians Digest, Vol 6, Issue 4

by Emily Addison via Musicians

Thanks so much for all the feedback on jig! It's fascinating to me as I'm still not hearing it and I'm usually good with tune phrasing but I love that some people feel it easily and others aren't. Jim - I tried to play the "Jim Rumboldt’S/Father’S Jig/ Esau Payne’S Tune" video but for some reason it won't play here. Anyway, I've had problems carving out time to respond but I've been really enjoying reading all the comments. I'll have to track down the notation and we'll give it a try with four clear potatoes... see what happens. I do loooove the second tune. I don't know if I wrote this in my first email but Gillis' Favourite is an old traditional standard in Cape Breton. I hadn't heard it anywhere else until the clip of the Dardinelles. Their swing makes it quite a bit more funky! :) Emily On Fri, Jul 31, 2015 at 3:13 PM, via Musicians < musicians(a)lists.sharedweight.net> wrote: > Send Musicians mailing list submissions to > musicians(a)lists.sharedweight.net > > To subscribe or unsubscribe via the World Wide Web, visit > > http://lists.sharedweight.net/listinfo.cgi/musicians-sharedweight.net > or, via email, send a message with subject or body 'help' to > musicians-request(a)lists.sharedweight.net > > You can reach the person managing the list at > musicians-owner(a)lists.sharedweight.net > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Musicians digest..." > > > Today's Topics: > > 1. Re: worthiness of a tune for contra? > (Patricia Campbell via Musicians) > 2. Re: worthiness of a tune for contra? (James Saxe via Musicians) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Thu, 30 Jul 2015 17:17:31 -0400 > From: Patricia Campbell via Musicians > <musicians(a)lists.sharedweight.net> > To: Dave Casserly <david.j.casserly(a)gmail.com> > Cc: musicians(a)lists.sharedweight.net > Subject: Re: [Musicians] worthiness of a tune for contra? > Message-ID: > <CAP475G8a2kkQ6P7= > Yi-wPF6qWJwNtBoAPtS_MmnqZiDPng4NNA(a)mail.gmail.com> > Content-Type: text/plain; charset="utf-8" > > ?I had no trouble hearing the A & B parts of the jig - I've had a lot more > trouble with other tunes, but this one sounded pretty straight forward to > me. Where someone might have any issue is between the two B parts, but even > that was pretty clear to me. > > Just my 2 cents - ? > > Patricia > > > Patricia Campbell > > 203-364-4554 > > > > On Thu, Jul 30, 2015 at 1:45 PM, Dave Casserly via Musicians < > musicians(a)lists.sharedweight.net> wrote: > > > I guess I disagree with the majority here. I think there is absolutely > > nothing wrong with that jig, and it's perfectly well-phrased and suitable > > to contra dancing. > > > > I think there are a lot of well-phrased jigs out there that we can make > > sound like they're not by putting an amorphous beat behind them and > perhaps > > tying some notes over that would normally be repeated. This is one such > > jig. I played through it myself this morning on whistle, and I don't > even > > think it's a particular smooth jig when you just play it normally > > (repeating the first note in the first bar rather than tying it over, > > playing the pickup triplet to the B part so that it sounds more like a > > pickup, and playing it at 120bpm). > > > > I have no recommendations for how a band should use this jig other than > > how I think a band should play every jig-- start with four clear > potatoes, > > use a strong beat (at least the first few times through), play so that > it's > > phrased clearly and notes don't cross over the phrase. > > > > To the musicians who think this jig is not well-phrased, I encourage you > > to play it for yourselves at 120bpm. As long as you are clear on the > > phrasing, the dancers will be, too. I've heard plenty of bands play jigs > > with a lot less clear phrasing in the melody (such as the Roaring Barmaid > > or Myra's) for contra dances with no problems. > > > > -Dave > > > > > > > > On Thu, Jul 30, 2015 at 12:37 PM, Thomas Verdot via Musicians < > > musicians(a)lists.sharedweight.net> wrote: > > > >> As was mentioned by Susan, my first thought was that it was a slip jig. > >> It is a fine tune for listening but one that I would not use for a > dance. > >> If you really like it well enough to play it for a dance you probably > want > >> to have a stronger rhythm than the band in the video. I don't mean > louder, > >> just less amorphous. That also doesn't mean dead on regular - it could > >> just be punctuated to maintain a sense of form. > >> > >> I think it is good to always keep in mind that we are there to serve the > >> dancers & at times some of our favorite tunes just don't quite meet the > >> purpose. I have sadly rejected several favorites. > >> > >> Regards, Tom > >> > >> > >> On 7/29/2015 9:48 PM, Emily Addison via Musicians wrote: > >> > >>> Hello fellow musicians! > >>> > >>> I've had the following two tunes suggested for our contra band. The > >>> reel at the end seems straight forward (with some doubling up) but the > >>> jig seems to have really weird phrasing (especially in the A) that > would > >>> make it hard for dancers to follow. > >>> > >>> https://www.youtube.com/watch?v=2DkJQ9xNGuU > >>> > >>> I'm curious what you guys think! > >>> > >>> Emily in Ottawa > >>> > >>> > >>> _______________________________________________ > >>> Musicians mailing list > >>> Musicians(a)lists.sharedweight.net > >>> http://lists.sharedweight.net/listinfo.cgi/musicians-sharedweight.net > >>> > >>> _______________________________________________ > >> Musicians mailing list > >> Musicians(a)lists.sharedweight.net > >> http://lists.sharedweight.net/listinfo.cgi/musicians-sharedweight.net > >> > > > > > > > > -- > > David Casserly > > (cell) 781 258-2761 > > > > _______________________________________________ > > Musicians mailing list > > Musicians(a)lists.sharedweight.net > > http://lists.sharedweight.net/listinfo.cgi/musicians-sharedweight.net > > > > >

8 years, 9 months

worthiness of a tune for contra?

by Emily Addison via Musicians

Hello fellow musicians! I've had the following two tunes suggested for our contra band. The reel at the end seems straight forward (with some doubling up) but the jig seems to have really weird phrasing (especially in the A) that would make it hard for dancers to follow. https://www.youtube.com/watch?v=2DkJQ9xNGuU I'm curious what you guys think! Emily in Ottawa

8 years, 9 months

Open Bands for Dancing

by Martha Edwards via Musicians

Looking around for open bands that play for dancing in various parts of the country, I found this wonderful list: http://www.contradancelinks.com/openband.html. However, as so often happens, a list, once made, is not kept current without continued, major effort. I wonder if those of us on this list would be willing to check out the open band situation in areas we live near and send updates to the list. Send them to Charlie Seelig (his email address is at the bottom of every contradancelinks.com page) and I'm sure he'd be glad to put them in. Or reply to this email and I'll pass them along to Charlie. What is needed, at a minimum, is where, when, who is encouraged to come, and contact info. A description of the jam and a web link to the dance is also useful! My interest stems from being on a CDSS Task Group that is looking into ways that CDSS can be more helpful to musicians. A listing of open bands was one of our ideas - then, lo and behold, we found Charlie's list. Let's all support it by supplying information! M E meedwards(a)westendweb.com For the good are always the merry, Save by an evil chance, And the merry love the fiddle And the merry love to dance. ~ William Butler Yeats

8 years, 9 months

Interactions with sound tech (esp. setting monitor mix)

by James Saxe via Musicians

Dear musicians, I have what might seem like more of a sound-tech question than a musician's question, but I'm interested in musicians' perspectives on it, so I'm asking it here. My apologies if anyone thinks I'm going off topic for the list. The question is: What order of doing things, and what manner of interaction between sound tech and musicians, do you find most effective and efficient and pleasant for getting the monitor mix set in a way that makes you happy? Here's some more detail that may clarify what I'm asking about in case the short form above seems too vague and general. Let's say that we've got everything wired together and powered on and that I've got the pre-amp (a/k/a "gain", "trim", or "sensitivity") knobs on all the channels set to compensate for the fact that not all mics and pick-ups are equally "hot" and that some instruments may be fundamentally quieter than others and would be overwhelmed in a purely acoustic setting. Now I (in the sound tech role) want to figure out how much of each channel to put into the monitor mix in order to make you happy. Possibly some EQ adjustments will also be needed, but even leaving that aside, there are still lots of different ways I could proceed, and some could be much better at keeping you happy than others. For example: * Would you rather set monitor levels with the house levels already up (which is the realistic condition in which you'll be playing)? Or would you rather get the monitor levels set first and then, if necessary, do some fine tuning after the house speakers come up? [Assume to start that interference with a newcomers' session isn't an issue, but feel free also to add how you'd like the sound tech to cope if it is an issue.] * Would you like to start from some guess at the monitor mix (say, all instruments about equally loud, or a monitor mix that parallel the house mix except for maybe cutting instruments that are especially load on stage [e.g., piano]) and then tweak from there? Or would you rather start with the monitor master volume knob set to some medium level but monitor feeds from all channels completely off, and then bring the channels up one at a time? And if the latter, do you have a preferred order (e.g., lead melody instrument first)? * Would you rather start by having everyone play at once? Or would you rather have people play one at a time to get the initial mix set, then play all together to see whether any adjustments are needed? For a band that uses multiple monitor mixes, there are even more possibilities: start by working on one monitor mix at a time? start by working on one instrument at a time (in all monitors)? start by setting each musician's instrument(s) one at a time in his/her own monitor mix, and then ...? Of course once the dance gets going, all the monitors will be on, and you (musician) may be hearing some of what's coming out of a nearby band-mate's monitor as well as your own (and sound from the house). If monitors need to be moved or turned to keep you from getting blasted by someone who likes to hear a lot of him/herself, that's best discovered during the sound check. In all these scenarios, there's the question of how to communicate your needs to the sound tech ("I'm hearing [too much/too little] of [myself/someone else] through my monitor [someone else's monitor].") and vice versa ("OK, now can I hear just the guitar, please?"). I'm most interested in the situation where the mixing board is on the lip of the stage and it's *not* one of those remote-controled models that would let the sound tech make a series of adjustments on a tablet while standing on stage beside one of the musicians. So what do you like to do about that? Obviously everything's easiest during the sound check, when you have the liberty to play a little, stop, talk with the sound tech, let the sound tech make adjustments, play a little more, etc.--a liberty you don't have if there are still some changes needed after the dance starts. Whew! Obviously any routine might need to be adapted as issues arise, but I'd still be interested in learning people's first preference about how the routine of setting the mix would go (from a musician's perspective) in cases where it doesn't go off into some trouble-shooting side-track or something. And I'm interested in hearing from multiple people, since part of my goal is to get an idea of which preferences are pretty widely held and which are variable from musician to musician. Of course there's a lot of variation among musicians in how much they know about operating sound gear, whether they're able to play and have a conversation at the same time, whether they have gear that gives them control over their own monitoring (and know how to use it), whether their band configuration allows someone to leave the stage and listen in the back of the hall or stand by the board and offer comments to the sound tech, etc. I imagine some of those differences might affect your answers to my questions. If you've read all this, thanks for your patience, and thanks for whatever thoughts you care to share. --Jim

9 years

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