Re: Music for Redwing

Rich Sbardella wrote: If you want to adapt the 48-Bar version of Redwing with the dip-and-dive figure to fit a 32-bar tune, here are two ways to do it. For simplicity, I'll describe each in terms of what to do during the round when couple 1 is lead couple. Method 1: After 16 bars of A music, couple 1 is in the center of the square, having just finished their dip-and-dive sequence with the side couples, who are now back home. Instead of telling them to go on to the next (couple 3) and circle half, just have them got home and swing as the band goes into the B music. This shortens the 48-bar sequence to 32 bars. Method 2: Call to the first 16 bars of A music in the usual way, including the instruction to go on to the next and circle 1/2. Then use 16 bars of B music to have couples 1 and 3 do a do-si-do and swing (or just a long swing) with their opposites and then with their (own) partners. If they end each swing in the usual way (gent on left, lady on right) the two sings will undo the effect of the 1/2 circle, leaving the active couple (couple 1) in the center of the square So as the A music start again, instead of having them "duck" to the next (through couple 3's arch to couple 4), just have them "go" on to the next, and continue from there as usual. This lengthens the sequence to 64 bars (ABAB, with 16-bar parts). I won't try to specify exact words--and their timing--for calling those do-si-dos and swings, or anything else you might think of to have couples 1 and 3 use up 16 bars of B music and end ready to continue the dance. But do remember that singing squares don't have to be coerced into fitting the way timing works in contras. It really is OK if the caller starts calling a figure on beat 1 of a phrase (instead of in the last few beast of the preceding phrase) and dancers start doing the action a little later. It's also OK (in fact, it could be a good thing) if the previous action continues a little past the end of the previous phrase, so that dancers are still moving, instead of standing and waiting, while the caller gets out those first fww syllables of the new call. If you call a 64-bar version of the main figure with 32-bar opening middle break, and ending, the dance will total 11 x 32 bars of music. I don't know whether the Williams and Bray recording is quite as long as that, but if it isn't, it should't take much editing to "splice" together a version that is. Or maybe you could just drop the middle break. --Jim