Hi folks
Getting back to the original question, if you are looking for a fiddler who
likes to play crooked tunes, George Wilson, near Albany NY loves to play
them, especially Quebecois tunes. Also, for those of us calling community
dances, crooked tunes are fine occasionally (eg, Spiral dance, some
squares, some Quebecois, some longways and other formations)
Also, why don't some of you contra dance writers create new dances like
Cherokee Shuffle?
Paul Rosenberg
Albany, NY
On Thu, Jun 27, 2019 at 12:42 PM Katy Heine via Organizers <
organizers(a)lists.sharedweight.net> wrote:
The one contra in my collection that goes with a
crooked tune is the
eponymous Cherokee Shuffle by David Kaynor:
Improper
A1: (facing up and down set), F & B; circle L
A2: w/N, bal & swing
B1: gents almd L 1/2 (4); w/P, bal & swing (16)
B2: Circle L 3/4 (8); Circle Bal. 2x (8); w/P, twirl to swap (4)
Must say, though, that I haven't called this dance in years. I strongly
believe that the band's and caller's primary purpose is to serve the
dancers—and since most (contra) dancers want straight tunes, I'd continue
to insist that the band save its crooked tunes for jam sessions and
concerts.
--Katy Heine
On Jun 27, 2019, at 12:05 PM, Mac Mckeever via Organizers wrote:
Jack makes a good point - not all crooked tunes are crooked in the same
way - so unless you can get the tune structure ahead of time and then look
for a dance it won't mess up too bad this will be a difficult thing to do
Mac McKeever
On Thursday, June 27, 2019, 10:56:17 AM CDT, Jack Mitchell <
jmitchell.nc(a)gmail.com> wrote:
I once worked with a band that had some crooked Quebecois tunes that they
wanted to do. One was A-A-B-0.5B -- so the last phrase was half length. I
found a dance that had something that didn't move the dancers anywhere --
long lines, circle L 1x, etc -- in the right place and just removed that
from the dance. They also had the crooked version of Fleur de Madrigore
which has an extra bar at the end of the A2. I did that with a dance that
was not written for crooked tunes, but has an extra allemande 1/2
right there that people are always late finishing. With that tune, the
dancers were right on time and everything worked. Beyond that, though, if
you have a band that wants to do crooked tunes, learn a few visiting couple
squares or southern patter squares that don't need to be right on the
phrase and have them use those tunes for the squares.
On Thu, Jun 27, 2019 at 7:46 AM Mac Mckeever via Organizers <
organizers(a)lists.sharedweight.net> wrote:
There are a couple dances out there written for crooked tunes that are
crooked in a specific way (often 2 extra bars in the B part). I tried one
once and it just did not feel right. Running a swing longer is also
awkward because crooked tunes feel (to the dancers) like the phrase will
end at the normal time an then it doesn't - so some will try to move on too
early.
Explain this to the band - there are so many great old time tunes that are
not crooked.
Mac McKeever
On Thursday, June 27, 2019, 05:46:39 AM CDT, Karlsruhe Contra Dance via
Organizers <organizers(a)lists.sharedweight.net> wrote:
Hi List,
first, thanks for all of your good input about my 'swing workshop'
brainstorm. Have taken note and will definitely use some of your ideas.
My next question is perhaps less of an organizational question and more of
a calling question. I hope it is still appropriate here. Do you know of any
callers/bands who will play/call to crooked tunes. I have some
old-time musicians who like to play for me but don't seem to understand why
I insist on them playing straight tunes... (you would be correct in
assuming that they are not dancers). Also, it has started to make me feel
like a party pooper because they loooove their crooked tunes and want to
play them.
I have stayed firm, but I wonder if there is a way I could humor them. I
mean, if the swing corresponds to the crooked part, the swing just goes a
bit longer, but eee. As a dancer, I just can't image it working. Or maybe I
have danced to crooked tunes without even knowing it... Does anyone do
this?
thanks,
Rebecca Sass
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