Most of Potent Brew's latest album includes full-length dance tracks:
https://store.cdbaby.com/cd/georgepaulspotentbrew
On Fri, Feb 28, 2020 at 10:23 AM Rick Mohr via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
> After 25 years of calling to only live music I started a teen dance which
> so far has a pretty limited budget. So I've found a bunch of album tracks
> we can dance to -- see below for the ones we use.
>
> While I have a lot of great tracks I'd love to find more for variety,
> especially with 11-14 times through where I don't have as many. Any ideas
> for me?
>
> Thanks,
>
> Rick
>
> Here's a spreadsheet showing the tracks we use (with tempos and number of
> times through):
>
> https://docs.google.com/spreadsheets/d/1AGHHI1hH7VJcvBRdXB_FmYeHkS-SGllL7Zp…
>
> And here's my album list (showing how many tracks we use from each.
>
> Airdance -- Airdance (1)
> Airdance -- Cloud Nine (2)
> Assembly -- Other Side Of The Tracks (1)
> Becky Tracy, Keith Murphy, Andy Davis -- Any Jig or Reel (7)
> Berea Castoffs -- Folk Buddha's Path to Enlightenment
> Big Bandemonium -- The Big Bang (1)
> Elixir -- Rampant (1)
> Great Bear -- Magic Fantasy Dream Dance (3)
> Great Bear Trio -- Dancing Again (1)
> Mary Cay Brass & Friends -- Green Mountain (3)
> Rodney & Randy Miller -- New England Chestnuts Vol. II (2)
> Susan Kevra -- Full Swing (5)
> Wild Asparagus -- Live at the Guiding Star Grange (3)
> _______________________________________________
> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
> To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
>
After 25 years of calling to only live music I started a teen dance which
so far has a pretty limited budget. So I've found a bunch of album tracks
we can dance to -- see below for the ones we use.
While I have a lot of great tracks I'd love to find more for variety,
especially with 11-14 times through where I don't have as many. Any ideas
for me?
Thanks,
Rick
Here's a spreadsheet showing the tracks we use (with tempos and number of
times through):
https://docs.google.com/spreadsheets/d/1AGHHI1hH7VJcvBRdXB_FmYeHkS-SGllL7Zp…
And here's my album list (showing how many tracks we use from each.
Airdance -- Airdance (1)
Airdance -- Cloud Nine (2)
Assembly -- Other Side Of The Tracks (1)
Becky Tracy, Keith Murphy, Andy Davis -- Any Jig or Reel (7)
Berea Castoffs -- Folk Buddha's Path to Enlightenment
Big Bandemonium -- The Big Bang (1)
Elixir -- Rampant (1)
Great Bear -- Magic Fantasy Dream Dance (3)
Great Bear Trio -- Dancing Again (1)
Mary Cay Brass & Friends -- Green Mountain (3)
Rodney & Randy Miller -- New England Chestnuts Vol. II (2)
Susan Kevra -- Full Swing (5)
Wild Asparagus -- Live at the Guiding Star Grange (3)
I'd drop the all the passes and after the initial ravens right, just say
left *beat* right *beat* *left* *beat* right *beat* left *beat* right
*beat* balance and swing
That way you're providing a scaffold without obscuring the underlying music
you're trying to link them to.
Bob
On Fri, Feb 28, 2020 at 2:50 PM Jeff Kaufman via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
> I don't think there's anything special about they hey: always cue things
> so that they start on the beat after you finish speaking.
>
> You might find "ravens left" etc works better than "ravens pass left",
> being shorter. Otherwise it's hard to get all the words out.
>
> Jeff
>
> On Fri, Feb 28, 2020 at 6:06 AM Katherine Kitching via Contra Callers <
> contracallers(a)lists.sharedweight.net> wrote:
>
>>
>> hello - first time posting to this list so i'm sorry if I do it wrong
>> (looked in archives and couldn't see obvious answer)
>>
>> I am going to teach and call my first dance with a hey this Saturday..
>> (ie tomorrow)
>>
>> our group takes things slow so i'd like to cue every interaction for the
>> first few times, as our previous caller did.... I don't know how common
>> this is but our previous caller would actually say--
>>
>> ravens pass right
>> neighbours pass left
>> larks pass right
>> partners left
>> ravens pass right
>> neighbours pass left
>> larks pass right
>> partner balance and swing
>>
>> I'm wondering if someone can clarify for me about delivering the calls
>> for this hey....normally of course I deliver instructions so the last bit
>> of instruction ends on the beat prior to the figure starting.
>>
>> But in the case of the Hey, if I remember correctly the caller actually
>> called out the actions *as* they were happening....
>>
>> Am I remembering correctly and if so is this the best approach?
>>
>> In essence-- do I start by calling "ravens pass right" *just before*
>> they do it, or *while* they are doing it?
>>
>> thanks muchly :)
>>
>> Katherine Kitching in Hfx NS Canada
>> _______________________________________________
>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
>> To unsubscribe send an email to
>> contracallers-leave(a)lists.sharedweight.net
>>
> _______________________________________________
> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
> To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
>
I don't think there's anything special about they hey: always cue things so
that they start on the beat after you finish speaking.
You might find "ravens left" etc works better than "ravens pass left",
being shorter. Otherwise it's hard to get all the words out.
Jeff
On Fri, Feb 28, 2020 at 6:06 AM Katherine Kitching via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
>
> hello - first time posting to this list so i'm sorry if I do it wrong
> (looked in archives and couldn't see obvious answer)
>
> I am going to teach and call my first dance with a hey this Saturday..
> (ie tomorrow)
>
> our group takes things slow so i'd like to cue every interaction for the
> first few times, as our previous caller did.... I don't know how common
> this is but our previous caller would actually say--
>
> ravens pass right
> neighbours pass left
> larks pass right
> partners left
> ravens pass right
> neighbours pass left
> larks pass right
> partner balance and swing
>
> I'm wondering if someone can clarify for me about delivering the calls for
> this hey....normally of course I deliver instructions so the last bit of
> instruction ends on the beat prior to the figure starting.
>
> But in the case of the Hey, if I remember correctly the caller actually
> called out the actions *as* they were happening....
>
> Am I remembering correctly and if so is this the best approach?
>
> In essence-- do I start by calling "ravens pass right" *just before* they
> do it, or *while* they are doing it?
>
> thanks muchly :)
>
> Katherine Kitching in Hfx NS Canada
> _______________________________________________
> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
> To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
>
Clarifying: "as" in this case -- for me -- means "as you look at the
person you're about to cross", not just as the *shoulders* brush.
Still a little ahead, but not the full four beats a lot of moves get.
On 2/28/20, Amy Cann via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
> I agree with your assessment.
>
> Sometimes calling is "prompting" -- saying what needs to happen next,
> and saying it early enough to mentally "land" and turn into action.
>
> Sometimes calling is repeating a real-time narration, a rhythmic
> script for the dancer to memorize and then internally recite/follow.
>
> It's good to know which one to use, when... :)
>
> On 2/28/20, Katherine Kitching via Contra Callers
> <contracallers(a)lists.sharedweight.net> wrote:
>> hello - first time posting to this list so i'm sorry if I do it wrong
>> (looked in archives and couldn't see obvious answer)
>>
>> I am going to teach and call my first dance with a hey this Saturday..
>> (ie
>> tomorrow)
>>
>> our group takes things slow so i'd like to cue every interaction for the
>> first few times, as our previous caller did.... I don't know how common
>> this is but our previous caller would actually say--
>>
>> ravens pass right
>> neighbours pass left
>> larks pass right
>> partners left
>> ravens pass right
>> neighbours pass left
>> larks pass right
>> partner balance and swing
>>
>> I'm wondering if someone can clarify for me about delivering the calls
>> for
>> this hey....normally of course I deliver instructions so the last bit of
>> instruction ends on the beat prior to the figure starting.
>>
>> But in the case of the Hey, if I remember correctly the caller actually
>> called out the actions *as* they were happening....
>>
>> Am I remembering correctly and if so is this the best approach?
>>
>> In essence-- do I start by calling "ravens pass right" *just before* they
>> do it, or *while* they are doing it?
>>
>> thanks muchly :)
>>
>> Katherine Kitching in Hfx NS Canada
>>
> _______________________________________________
> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
> To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
>
Hi Katherine,
I call heys like this (broken down) and found it very successful. Call as
you usually do; just before the action. If you have called the whole
evening before the action, then people will assume the hey is no different
and be late.
Hope this helps, and best of luck!
Greg
On Fri, Feb 28, 2020 at 6:06 AM Katherine Kitching via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
>
> hello - first time posting to this list so i'm sorry if I do it wrong
> (looked in archives and couldn't see obvious answer)
>
> I am going to teach and call my first dance with a hey this Saturday..
> (ie tomorrow)
>
> our group takes things slow so i'd like to cue every interaction for the
> first few times, as our previous caller did.... I don't know how common
> this is but our previous caller would actually say--
>
> ravens pass right
> neighbours pass left
> larks pass right
> partners left
> ravens pass right
> neighbours pass left
> larks pass right
> partner balance and swing
>
> I'm wondering if someone can clarify for me about delivering the calls for
> this hey....normally of course I deliver instructions so the last bit of
> instruction ends on the beat prior to the figure starting.
>
> But in the case of the Hey, if I remember correctly the caller actually
> called out the actions *as* they were happening....
>
> Am I remembering correctly and if so is this the best approach?
>
> In essence-- do I start by calling "ravens pass right" *just before* they
> do it, or *while* they are doing it?
>
> thanks muchly :)
>
> Katherine Kitching in Hfx NS Canada
> _______________________________________________
> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
> To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
>
I agree with your assessment.
Sometimes calling is "prompting" -- saying what needs to happen next,
and saying it early enough to mentally "land" and turn into action.
Sometimes calling is repeating a real-time narration, a rhythmic
script for the dancer to memorize and then internally recite/follow.
It's good to know which one to use, when... :)
On 2/28/20, Katherine Kitching via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
> hello - first time posting to this list so i'm sorry if I do it wrong
> (looked in archives and couldn't see obvious answer)
>
> I am going to teach and call my first dance with a hey this Saturday.. (ie
> tomorrow)
>
> our group takes things slow so i'd like to cue every interaction for the
> first few times, as our previous caller did.... I don't know how common
> this is but our previous caller would actually say--
>
> ravens pass right
> neighbours pass left
> larks pass right
> partners left
> ravens pass right
> neighbours pass left
> larks pass right
> partner balance and swing
>
> I'm wondering if someone can clarify for me about delivering the calls for
> this hey....normally of course I deliver instructions so the last bit of
> instruction ends on the beat prior to the figure starting.
>
> But in the case of the Hey, if I remember correctly the caller actually
> called out the actions *as* they were happening....
>
> Am I remembering correctly and if so is this the best approach?
>
> In essence-- do I start by calling "ravens pass right" *just before* they
> do it, or *while* they are doing it?
>
> thanks muchly :)
>
> Katherine Kitching in Hfx NS Canada
>
hello - first time posting to this list so i'm sorry if I do it wrong
(looked in archives and couldn't see obvious answer)
I am going to teach and call my first dance with a hey this Saturday.. (ie
tomorrow)
our group takes things slow so i'd like to cue every interaction for the
first few times, as our previous caller did.... I don't know how common
this is but our previous caller would actually say--
ravens pass right
neighbours pass left
larks pass right
partners left
ravens pass right
neighbours pass left
larks pass right
partner balance and swing
I'm wondering if someone can clarify for me about delivering the calls for
this hey....normally of course I deliver instructions so the last bit of
instruction ends on the beat prior to the figure starting.
But in the case of the Hey, if I remember correctly the caller actually
called out the actions *as* they were happening....
Am I remembering correctly and if so is this the best approach?
In essence-- do I start by calling "ravens pass right" *just before* they
do it, or *while* they are doing it?
thanks muchly :)
Katherine Kitching in Hfx NS Canada
Hi all,
Thanks for all the ideas. I had forgotten about the Old
Measures. I am working on a zesty Circle Mixer version of the Black Alman.
The 1920s were not good for new dances, but at least three
books were published: Sharp V6, Country Dances New Series V1 and the Ashover
Dances. I guess I could use some of those. There were some new dances, for
example KS's Two Couple dance "Two's Company" is referred to in E.F.D.S New,
but I have been unable to discover the choreography.
Someone suggested "Good Morning" (1926) which I was already
trying to acquire. I found it at
https://catalog.hathitrust.org/Record/006522644https://babel.hathitrust.org/cgi/pt?id=uc1.$b281688
<https://babel.hathitrust.org/cgi/pt?id=uc1.$b281688&view=1up&seq=9>
&view=1up&seq=9
It is interesting that, in "Good Morning", Henry Ford/Benjamin
Lovett calls all the square dances "quadrilles", and provides the
ballroom-hold, buzz-step swing as an alternative to the Two-Hand Turn for
"Turn Partners".
Thanks.
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com
<mailto:john@modernjive.com> 01233 625 362 & 07802 940 574
http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs
http://www.contrafusion.co.uk for Dancing in Kent
http://www.modernjive.com for Modern Jive DVDs
I can confirm this from personal experience. I lived in Switzerland for about 10 years, and besides calling there, was active in both the “international” dance community and the Swiss dance community.
The latter group puts on a huge New Years Eve dance in Zurich every year. At midnight, they dance the ”Francaise” and for several weeks beforehand, all the groups practice the Francaise in preparation.
When I was taught the Francaise, I was astonished that a dance with a French-sounding name consisted mostly of figures that are recognizable from square/ contra. I later learned that the dance form was brought back from England by the French and called “Contredanse anglaise”. The rest or Europe apparently thought it came from France and called it “Contredanse Francaise” instead.
These dances were all the rage in the 19th century, and the music we danced to in Switzerland was Die Fledermaus Quadrille, by Strauss. (It is breathtaking, by the way, to see several hundred dancers moving in unison to that music!)
It is as Jim describes, a long line arranged as for a Becket formation, but without progression. I wondered about the term “Quadrille” and decided it could only refer to the 4 people who make up what we would call the minor set.
Someone mentioned the styling of a courtesy turn. Describing it as a one-handed turn is technically correct but inadequate. In fact, it is basically the same as an American courtesy turn, but without the gentleman placing his arm around the lady’s waist. The danders are side by side, with her hand (palm down) in his hand (palm up) and with no other contact. It takes a little dancerly attention to stay in the proper relative position as the turn takes place... a little like the “unassisted” version of a right and left through in New England.
Interestingly, the term for a right and left through in the Francaise is a Chaine Anglaise, an “English Chain.”
Sent from my iPad
> On Feb 24, 2020, at 3:07 PM, jim saxe via Contra Callers <contracallers(a)lists.sharedweight.net> wrote:
>
> In a message sent on Feb. 21, I described "quadrilles" danced in Vienna with dancers in formations that looked like Becket contra lines but that actually consisted of two-couple sets dancing independently (except for occasional opportunities for eye contact when advancing and retiring on a diagonal), and I wrote:
>
>> ... I'd guess that the change to a Becket-like formation was intended to reduce the amount of inactivity, to make more efficient use of floor space, or both. It might also reduce the total duration of the figures. I have no idea whether the change in formation is a recent innovation or whether it goes back many decades, perhaps even into the 19th century.
>
> I now see that the "History" section of the Wikipedia article on "Quadrille" begins as follows:
>
> The term quadrille originated in 17th-century military parades
> in which four mounted horsemen executed square formations. The
> word probably derived from the Italian quadriglia (diminutive
> of quadra, hence a small square).
>
> The dance was introduced in France around 1760: originally it
> was a form of cotillion in which only two couples were used, but
> two more couples were eventually added to form the sides of a
> square. ...
>
> If the opening sentences of that second paragraph are accurate, then the two-couple version of the quadrille (in which the two-couple sets might tend to line up alongside each other, giving the appearance of what we'd now call a Becket contra line) dates back to the 18th century and is actually older than the version in a four-couple square.
>
> Unfortunately, the article doesn't offer sufficient specific citations or quotations of sources supporting specific claims for me judge how reliable it is.
>
> --Jim
> _______________________________________________
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> To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
