Contra Callers

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23 participants
4362 discussions

by Chrissy Fowler

Money Musk called and danced at the Wescustogo Grange Hall, North Yarmouth, Maine. First dance after the break - about 10:30pm. Dancers: Five sets of 6 ccouples - 60 dancers Band: Perpetual eMotion (Ed Howe & John Cote) Caller: Chrissy Fowler Did a workshop before the dance, with about 30 dancers. All were enthusiastic and pleased to be part of the big event. Much hooting and hollering. Loping pace for the tune (plenty of recovery time for the Money Musk newbies, well-timed elegant styling for the old hands.) Some people apparently showed up specifically because Money Musk was on the program, thanks to some some advance publicity. Two sets merged, so a few people didn't get the chance to be active, because I didn't want to run it too long. (Though I could have... after all I was at that Ralph Page Legacy Weekend when we danced it 43x!) I had practiced so much that I prompted the dance all night long in my sleep. ("Once and a half around, once and a half and you go below one...") Wheee! :-) Chrissy _________________________________________________________________ Hotmail® is up to 70% faster. Now good news travels really fast. http://windowslive.com/online/hotmail?ocid=TXT_TAGLM_WL_HM_70faster_032009

16 years, 2 months

Chestnuts and Money Musk

by David.Millstone＠valley.net

Country Dance and Song Society has published "Cracking Chestnuts," a collection that celebrates the living tradition of classic contra dances. David Smukler is the primary author and I also contributed some pieces. You'll find detailed articles about seventeen dances, with suggested tunes typeset by Randy Miller, an appendix with an additional 20 dances, an introduction to triple minor contras, and some suggestions for how to introduce and teach chestnuts at your local series. The book (can be ordered from CDSS (it's $20 plus shipping), and David and I have copies that we're selling at our gigs. I'm also filling mail orders, so contact me off-list if you're interested. As it happens, David and I are each holding book release parties on March 14, he in Syracuse, NY (with George Wilson and Tom Hodgson) and I in Norwich, VT (with Northern Spy) at which we'll each present a full evening program of chestnuts. At the recent Ralph Page Dance Legacy Weekend, talking about these simultaneous similar events, we came up with the idea of each of us calling Money Musk as the first dance after the break, sometime around 9:45 or 10 PM. "Hey," we thought, "let's invite others to join us!" So, if you have a dance scheduled for Saturday, March 14 and if you have musicians who can do justice to the tune and if the dance would be appropriate for your dancers that night, we invite you to join us in bringing back Money Musk. [If you're of a Dudley frame of mind, you may refer to it as "The Money Musk."] And let me know if you did, and who was playing the music and calling, and where this took place, and about how many dancers were in the hall at that time, and we'll tally the results. (Callers in other time zones, you could call it at about 9:45 or 10 PM your local time and we'll count that, too.) Note: If you're thinking of doing this, please check with musicians ahead of time. Many musicians will be happy to work up the tune if given some advance warning, but it's not something to spring on them on just before you announce the dance! David Millstone Lebanon, NH

16 years, 2 months

Re: [Callers] Chestnuts and Money Musk

by David.Millstone＠VALLEY.NET

When it's done, it's usually a 24-bar version. That said, the 32-bar version is, indeed, what was standard for much of the 19th century and on into the 20th in numerous sources, so by doing that version, it is indeed more historic and fits the chestnuts theme perhaps even more! To do that one, though, you'll need music that is AABB rather than what is now more common, ABC. If you want to do the dance as a triplet, you might instead do 4-couple sets, in the Scottish style. The first couple would do the dance the first time with the 2nd and 3rd couples, then the second time through with the 3s and 4s. After that, they'd drop to the bottom of the set and the new top couple would start in. A note on timing: The version you're calling #1 (where you reference the video showing Nils Fredland calling Money Musk) is actually a little different than you have it noted. Here's how you timed it: A1 Actives allemand right 1 1/2 (8), Go outside, below one couple (4), Balance six (4) A2 Actives allemand right 3/4 to lines of 3 across the hall (4), Balance six (4), Actives allemand right 3/4 (4), fall back to place (4) B1 Top two couples (1s and 2s) right and left through (across and back) (16) It's actually a little different in the middle part: A Actives allemand right 1 1/2 (8), Go outside, below one couple (4), Balance six (4) B Actives allemand right 3/4 to lines of 3 across the hall (8), Balance six (4), Actives allemand right 3/4 (4) C Top two couples (1s and 2s) right and left through (across and back) (16) And, historical note, most callers didn't call it a balance. It was "forward six," not not forward and back for eight counts. Anyhow, that's the way we like to do it, although there are many other ways of timing the dance. This way, though, there's a nice contrast between the leisurely hand turns at the start of the phrase, and the rapid hand turns leading into the right and left. > Right and lefts thrus (with same sex couples) and New England style may be hard for some Nothing like a careful walkthrough to help with this. Have those two couples walk across the set (two men working together and two women), each passing right shoulder with partner. When they reach the other side of the set, still facing out, put their closer arm around their neighbor's waist. They pivot around their joined arms, with the person on the left side backing up and the person on the right going forward. Repeat all that and they're back on the original side, still in their progressed place. If by "New England style" you're referring to folks crossing the set without touching each other, well, that can be taught but there are plenty of places where folks do arm around turns and that extra connection is helpful. In the video, at 1:27 you can see that those two dancers (caller Ralph Sweet in the checked shirt) had their arms around each other. If folks understand which way they're moving, then instead of putting aroms around each other, they just look at each other and turn as a linked pair. Given your situation, though, that may be more teaching than you want to do. Just a reminder, everyone. March 14 is the International (thanks, Bill!) Money Musk Moment. A bunch of us are calling the dance the first dance after the break that evening, as was the custom in some locations. (And if you want to join us but don't have a dance that night, well, do it as close to then as you can-- the folks outside Zurich won't have their regular dance until later in the money, but they're going to join in.) David Millstone Lebanon, NH

16 years, 2 months

Temps for Levi Jackson Rag

by Rickey

Hi all, We are thinking of doing Levi Jackson Rag (Pat Shaw) at our next dance and were wondering what tempo you played it at? If you have numbers (i.e. 100, or 110 or 120 beats per min), great. If you have time check out this link on Youtube. http://www.youtube.com/watch?v=hxd8Rp3eAuI . Seems slow to me, especially judging from the way the dancers are moving. Thanks, Rickey Holt, Fremont, NH

16 years, 2 months

Re: [Callers] [trad-dance-callers] Re: Tempo for Levi Jackson Rag

by Michael Barraclough

Sylvia suggests that "We should follow the tempo in the Assembly Players CD Levi Jackson. Nic Broadbridge is the leader of that group and worked closely with Pat Shaw who wrote the dance." I am not sure that I agree. This might be the preferred speed in Scotland, or the UK, or now. It says nothing, however, about the speed that Pat wanted or expected it to be played back in 1974. My first experience of dancing Levi Jackson Rag was to the calling of Pat Shaw, in London, and although this was over 30 years ago, I am certain that it was slower than generally done today. As well as working with the Assembly Players, Pat also worked closely and regularly with the Kenton Ramblers, a London-based 3 piece band led by the late Sheila Mason. As well as being the mother of one of the dancers in our university dance group, Sheila lived just around the corner from me and was a regular baby sitter. We had many musical and dance-based conversations, including about Levi Jackson Rag. If I recollect correctly, Sheila was the 1st person to play the tune for Pat, if not in the world, at least in the UK. She always complained that people played it much too fast and that it should be slower and 'swing'. That is certainly how the Kenton Ramblers played it for me. Of course, when you play it more slowly it becomes more obvious whether the musician has actually hit all the notes correctly! I am thinking about 112-114bpm. Michael Barraclough http://www.michaelbarraclough.com From: sentto-10754689-14055-1236621858-michael=michaelbarraclough.com(a)returns.grou ps.yahoo.com [mailto:sentto-10754689-14055-1236621858-michael=michaelbarraclough.com@retu rns.groups.yahoo.com] On Behalf Of smiskoe(a)aol.com Sent: Monday, March 09, 2009 2:04 PM To: trad-dance-callers(a)yahoogroups.com Subject: Re: [trad-dance-callers] Re: Tempo for Levi Jackson Rag We should follow the tempo in the Assembly Players CD "Levi Jackson". Nic Broadbridge is the leader of that group and worked closely with Pat Shaw who wrote the dance. Pat has passed away but what better reference could we get than by listening to Nic's recording. It is faster than the you tube selection first cited, 29 seconds for one rendition. Sylvia Miskoe, Concord, NH [Non-text portions of this message have been removed] . <http://geo.yahoo.com/serv?s=97359714/grpId=10754689/grpspId=1705123886/msgI d=14055/stime=1236621874/nc1=5170419/nc2=5191954/nc3=5349276> __,_._,___

16 years, 2 months

Money Musk Rights & Lefts

by Jerome Grisanti

I've heard fiddler/caller Steve Hickman describe the pivot at the end of the pass through as "turning as a yoke of oxen." That is, use your nearest shoulders as the pivot point and make a 180-degree left turn. I've never taught using that phrase, so I can't offer first-person feedback, but dancers might not take kindly to bovine comparisons. -- Jerome Grisanti 660-528-0858 http://www.jeromegrisanti.com

16 years, 2 months

Re: [Callers] Carmen's Garments

by Paul

I believe I can shed a bit more light on Carmen's Garments. There are 3 versions: 1. Original "Carmen's Hat" by Kathy Anderson composed sometime prior to June 1992. I do not think this dance was published. 2. Variation by Paul Balliet "Carmen's Scarf" composed Nov. 1993 and published 1997. See below. 3. Variation by Lisa Greenleaf "Carmen's Dance." In June of 1992, I danced "Carmen's Hat" in Columbus Ohio. Kathy Anderson, who composed it, also called it. I enjoyed the "bumpsy daisy" swing, but wanted a dance with the swings on the side of the set. I composed "Carmen's Scarf," which was published in Twirling Dervish Returns (1997) with acknowledgment to Kathy Anderson's dance. I call it ocassionally. It works well to loosen up a hall, and generally would not run as long as other dances. Carmen's Scarf A1 Neighbor bumpsy daisy swing A2 Half promenade, ladies chain across set B1 Pass through across the set, and swing partner B2 Circle left three quarters, balance the circle, pass through up or down the set to progress. I do not have Kathy's original dance recorded, but I suspect that the below is correct. Regards, Paul Balliet Lisa Greenleaf [1]laleaf at verizon.net Wed Nov 19 23:48:00 EST 2008 (portion omitted)... The original idea was Kathy Anderson's Carmen's Hat, and then I wrote Carmen's Contra. Lisa From: circleleft at uninets.net (John C. McIntire) Date: Tue, 18 Nov 2008 22:01:26 -0400 Hi Folks, A dance titled Carmen's Hat, by Kathy Anderson, appeared in my dance collection as early as April 1997. I don't know where I collected it but I use it vary sparingly as the action is oriented up & down the line more than across. The figures go as follows: duple improper contra formation A1 Star Left 1X Circle Right 3/4 (end facing Partner on Gent's home side) A2 Clap own hands 2x and with Neighbor bump 2x / Neighbor Swing (in center of set) End facing Partner up or down hall B1 Ladies Chain Along the line to Partner Promenade along the line ( Gents pass left) to original place B2 Pass thru same Neighbors (up or down) to progressed places and Partner Swing in center of set. End Facing New Neighbors. The Lisa Greenleaf version which I have noted as "Carmen's Hat" {correctly identified as "Carmen's Contra" } showed up in my cards sometime by July, 2003. Again, I don't have a source noted. It is pretty much what has been discussed. duple improper contra formation A1 Lines F & B Ladies Allmd Left 1 1/2 A2 Partner B & S B1 Circle Left 3/4 Neighbor D.S.D. 1 1/4 B2 Clap 2x Bump 2x with Neighbor & Swing Neighbor. Of course the whole thing could be turned into a Becket dance by starting at B1. Perhaps Lisa G. will pitch in her 2 cents worth. Thanks to Lisa for making the dance more accessible. It is a fun change of pace. Cheers, John References 1. mailto:callers%40sharedweight.net?Subject=Re%3A%20%5BCallers%5D%20Carmen%27s%20Garments&In-Reply-To=%3C02F7F33D-45D9-406E-B8CA-2EEC212C0F93%40verizon.net%3E

16 years, 2 months

Yankee Doodle

by Chrissy Fowler

Heavens! Beth Parkes, thank you! That is the clearest, simplest, and yet most complete illustration of crooked tunes I have ever come across. And the explainee don't need to know a thing about beats, bars, phrases or time signatures or any other music background. Wow! -Chrissy Fowler _________________________________________________________________ Access your email online and on the go with Windows Live Hotmail. http://windowslive.com/online/hotmail?ocid=TXT_TAGLM_WL_HM_AE_Access_022009

16 years, 2 months

Re: [Callers] Calling to Quebecois Tunes

by Dan Pearl

Best get some recordings of Quebecois to see what's up. Any tune that departs from the usual 4x32 form can be called "crooked". One of the ways that I have Quebecois musicians usually make a tune crooked is by playing the introductory notes of a tune in its own measure instead of grouping them in the last measure of the tune. Think of the Star Spangled Banner. If you were to sing the first stanza over and over again, you'd sing it like: LAN-AND OF the | FRE-EE AND the | HOME OF THE | BRAVE ___ OH-oh | SAY CAN YOU A Quebecois musician would do this: LAN-AND OF the | FRE-EE AND the | HOME OF THE | BRAVE ___ ___ | ___ ___ OH-oh } SAY CAN YOU but they'd do it with jigs and reels. I have worked with musicians that swear up and down they are playing straight tunes when they actually are not. If you are unsure, it would be best if you can do a dry run with the musicians before the dance to alert them of your needs. If the musician is flexible, they can do what you need. Good luck!

16 years, 2 months

Calling to Quebecois Tunes

by Nancy Turner

Hi all, I am super excited about calling the Montreal dance in March; the band is an amazing Quebecois trio. I have heard of crooked tunes, but don't understand the concept fully. Can someone explain? How does it impact calling? How likely am I to encounter it? Anything else you can think of that I might appreciate knowing about this genre of music? Thanks! Nancy Turner Waitsfield Vermont

16 years, 2 months

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Contra Callers