Archive-Date: Tue, 02 Jul 1996 07:32:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 02 Jul 1996 10:32:46 -0400 (EDT) From: "Christopher G. Levey" Subject: Strafford Ball Web Page To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: ScottHiggs-AT- icdc.com, David_Millstone-AT- valley.net (David Millstone) Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <199607021432.KAA22158-AT- coos.dartmouth.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Announcing the Strafford Ball...and its web page: http://caligari.dartmouth.edu/~cgl/ball/ball.html Band: Bare Necessities Caller: Scott Higgs Date: October 5, 1996 Enjoy a wonderful evening of best-beloved Playford style dances in a charming Vermont village hall during the height of Autumn color. Then, if you like, socialize with other ball dancers at a country brunch and take in the fall foliage with a Vermont walk or a New Hampshire mountain hike on Sunday. For more information, including images of the flyer, photos from the 1995 ball, and the dance program, point your web browser to the address above. Most of the text at this site is reproduced below for those of you without web access. Note the August 1 and 15 deadlines. SCHEDULE OF EVENTS: Dance classes (optional) Weekly sessions for 4 weeks before the ball. Free to ball registrants. Callers: Chris Levey and David Millstone Musicians: TBA Location: TBA (Hanover NH or Wilder VT) Afternoon review session: Saturday October 5, 1-4pm Caller: Chris Levey Musicians: Amy Cann and Lise Brown Location: South Strafford Town Hall, Strafford, VT Dinner: 6pm at the hall (additional charge or BYO) Strafford Ball Saturday, October 5, 8pm Caller: Scott Higgs Musicians: Bare Necessities Refreshments provided at mid-ball break. Location: South Strafford Town Hall, Strafford, VT Country Brunch Sunday, October 6, 9AM-Noon Location: Heuboden Farm (Chris and Barbara's house), Thetford, VT No charge to ball registrants. Country Walks and Hikes We expect to lead both a mountain hike and a country walk for those who would like to spend time Sunday afternoon enjoying the fall foliage. REGISTRATION: Cost: $25 until August 1; $28 thereafter. Lottery: If necessary, there will be a lottery on August 15. Attention will be paid to gender balance. Please use the poster registration form if you can. Send the information below, your check, and a SASE ($.55 postage) to: Greg Burke PO Box 493 Hanover, NH 03755. (email for questions only: Greg.Burke-AT- Dartmouth.EDU) REGISTRATION NAME______________________________________________ NAME______________________________________________ ADDRESS____________________________________________ ___________________________________________________ ___________________________________________________ ___________________________________________________ Phone(day)_________________________________________ Phone(evening)_____________________________________ # tickets ____ X $25. or ____ X $28. TOTAL ______ # dinners (specify chicken pie or vegi) ____ X $10. TOTAL ______ Please enclose a self-addressed stamped envelope with 2 stamps. -- --Chris Levey Director, Microengineering Lab Thayer School, Dartmouth College email: chris.levey-AT- Dartmouth.EDU http://hypatia.dartmouth.edu/levey.html ================================================================================ Archive-Date: Thu, 04 Jul 1996 02:26:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 04 Jul 1996 05:24:42 -0400 (EDT) From: Colin Hume <100116.165-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: "Playford with a Difference" corrections To: ECD Mailing List Message-ID: <960704092442_100116.165_EHQ52-2-AT- CompuServe.COM> Content-Transfer-Encoding: 7BIT Seeing Peter Barnes' list of corrections to his book "English Country Dance Tunes" reminded me that I ought to list the corrections to my "Playford with a Difference, Volume 1" (first published by me in 1995). Depending on when you bought the book, you may have some or all of these already glued onto the back cover by the publisher - and you wouldn't get that sort of treatment from John Playford! If you haven't yet bought the book, at least you now know who to get it from. Corrections ----------- It's much easier to criticise Playford and Sharp than to get it right yourself! Shepherds' Holiday - page 8 Format should be "3 couples longways", not "Longways duple". The Witches - page 23 The way I've explained B1 _doesn't_ get everyone back to their starting positions, so please reverse the corners. That's what happens when you change your interpretation and don't try it - and I'm not going to blame Tom Cook! B1: Original second corners (second man and first woman) clap: together, both (1 bar), _while_ first corners cast right shoulder into each other's place. Circle left three quarters [home]. Nine Elms - page 29 The key signature should be one sharp, not two. Step Stately - page 34 Andrew Coates has pointed out that the third figure doesn't work with seven couples! Since it's a double progression there are two neutral couples at the top after the first turn, and four after the second turn. If the top three of these now start the third turn, there is a neutral couple in fourth place - not a good idea. I don't see how the figure can work with any number except three or five - and I bet Playford and Sharp never tried it either! Dick's Maggot - page 40 The instructions give A1 and A2, but in the music I have written these as a single line. Play the music as written. Cottey House - page 45 The two G notes in bar 4 of the B-music should each be a B. Abergenny - page 59 Kathryn and David Wright think I should expand the description of the two-hand turns in A1 of the Second Figure. I mean symmetrical turns, 1st man and 2nd woman (and 4th man and 3rd woman) turning in the reverse direction. May 1996 ================================================================================ Archive-Date: Thu, 04 Jul 1996 07:36:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 04 Jul 1996 10:33:52 -0400 From: cclark-AT- vicon.net (A., C., & M. Clark) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Step Stately progression (was "Playford with a Difference" corrections) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199607041433.KAA08558-AT- vicon.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT >Step Stately - page 34 > >Andrew Coates has pointed out that the third figure doesn't work with seven >couples! Since it's a double progression there are two neutral couples at the >top after the first turn, and four after the second turn. If the top three of >these now start the third turn, there is a neutral couple in fourth place - not >a good idea. I don't see how the figure can work with any number except three >or five - and I bet Playford and Sharp never tried it either! I don't see the problem. After the first couple progresses once, the line should be arranged like this (assuming you start with one active couple): neutral neutral active inactive inactive neutral neutral woman2 woman3 woman1 woman4 woman5 woman6 woman7 man2 man3 man1 man4 man5 man6 man7 After progressing again, the line should be arranged like this: active inactive inactive neutral active inactive inactive woman2 woman3 woman4 woman5 woman1 woman6 woman7 man2 man3 man4 man5 man1 man6 man7 Now the first and second couples both progress downward, and you get this: neutral neutral active inactive inactive neutral neutral woman3 woman4 woman2 woman5 woman6 woman7 woman1 man3 man4 man2 man5 man6 man7 man1 Just continue from there. Eventually, everyone will have progressed. By the way, it might not have made any difference whether Playford ever tried it. I suspect that he had many of the dances, especially the more complicated ones, written down for him by dancing-masters. Alex Clark ================================================================================ Archive-Date: Mon, 08 Jul 1996 01:35:49 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Jul 1996 01:37:33 -0700 (PDT) From: HUGH-AT- edsug.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Olive Bolton To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01I6T9HDXYIA001PHR-AT- UG.EDS.COM> MIME-Version: 1.0 Content-Transfer-Encoding: 7BIT Charles Bolton's wife, Olive, died last Monday after a long illness. The funeral will be this Thursday. ================================================================================ Archive-Date: Mon, 08 Jul 1996 04:34:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Jul 1996 11:52:18 +0100 From: rhod-AT- esoft.co.uk (Rhodri Davies) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Olive Bolton To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9607081052.AA02680-AT- michigan.co.uk> Content-Transfer-Encoding: 7BIT References: <01I6T9HDXYIA001PHR-AT- UG.EDS.COM> Thanks Huw, word had already reached me down another part of the email grapevine. Rhod ================================================================================ Archive-Date: Mon, 08 Jul 1996 07:17:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Jul 1996 07:17:05 -0700 From: dgilli-AT- slip.net (Dan Gillespie) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Jump at the Sun To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT Hi to the list: I was a t a contra dance this weekend & heard a great tune that I would love to learn. The musicians siad the tune was "Jump at the Sun" (or maybe "Leap at the Sun) & that it is used for an English Country Dance. Does anyone have a reference for this one that I would be able to track down & get a melody line written out? Dan Gillespie Martinsburg West Virginia ================================================================================ Archive-Date: Mon, 08 Jul 1996 08:36:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Jul 1996 16:30:18 +0000 From: Howard Mitchell Subject: Re: Jump at the Sun To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <199607081535.QAA25592-AT- zeus.tcp.co.uk> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Dan Gillespie asked: > I was at a contra dance this weekend & heard a great tune that I would > love to learn. The musicians said the tune was "Jump at the Sun" (or maybe > "Leap at the Sun) & that it is used for an English Country Dance. Does > anyone have a reference for this one that I would be able to track down & > get a melody line written out? I think you are referring to Jump at the Sun by John Kirkpatrick. It's a popular tune with melodeon players who can find the required accidentals. It's not always played in the same key but here's the tune in Eminor (from memory) in ABC notation. Let me know if you need the tune as a GIF or Midi file and I'll attach it. Howard Mitchell X: 1 T:Jump at the Sun M:6/8 L:1/8 C:John Kirkpatrick K:G EGB ^A2B|EGB ^A2B|eBB eBB|BAG F3|EGB ^A2B|EGB ^A2B|eBB cBA|1GAF E3:|2GA F E2 ||:B|eBB gfe|fBB agf|gfe gfe|f^dB c2B|eBB gfe|fBB agf|eBB cBA|1GAF E2:|2GAF E3|| Howard Mitchell ================================================================================ Archive-Date: Mon, 08 Jul 1996 08:36:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Jul 1996 16:30:18 +0000 From: Howard Mitchell Subject: Re: Jump at the Sun To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <199607081535.QAA25590-AT- zeus.tcp.co.uk> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Dan Gillespie asked: > I was at a contra dance this weekend & heard a great tune that I would > love to learn. The musicians said the tune was "Jump at the Sun" (or maybe > "Leap at the Sun) & that it is used for an English Country Dance. Does > anyone have a reference for this one that I would be able to track down & > get a melody line written out? I think you are referring to Jump at the Sun by John Kirkpatrick. It's a popular tune with melodeon players who can find the required accidentals. It's not always played in the same key but here's the tune in Eminor (from memory) in ABC notation. Let me know if you need the tune as a GIF or Midi file and I'll attach it. Howard Mitchell X: 1 T:Jump at the Sun M:6/8 L:1/8 C:John Kirkpatrick K:G EGB ^A2B|EGB ^A2B|eBB eBB|BAG F3|EGB ^A2B|EGB ^A2B|eBB cBA|1GAF E3:|2GA F E2 ||:B|eBB gfe|fBB agf|gfe gfe|f^dB c2B|eBB gfe|fBB agf|eBB cBA|1GAF E2:|2GAF E3|| Howard Mitchell ================================================================================ Archive-Date: Mon, 08 Jul 1996 08:40:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Jul 1996 16:41:58 +0000 From: Michael_A_Barraclough-QSWI971-AT- pr111-084.ecid.cig.mot.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jump at the Sun To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <"80256361:00562BBB.00"-AT- pr111-084.ecid.cig.mot.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT To: ECD -AT- playford.slac.stanford.edu cc: Jump at the Sun was written by John Kirkpatrick I believe. Regards - Michael Barraclough Office Automation Specialist Tel: +44 1793 565344 Business Technology Group FAX: +44 1793 512618 Motorola ECID Mobile: 0972 549738 16 Euroway, Blagrove Swindon SN5 8YQ United Kingdom Document Classification: Personal ================================================================================ Archive-Date: Mon, 08 Jul 1996 09:24:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Jul 1996 12:23:19 -0400 (EDT) From: "David R. Woolf" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jump at the Sun To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Jump at the Sun by John Kirkpatrick. Originally written in g minor, I believe. 2 recordings that I know of: An early Wild Asparagus recording and on by David Marcus (hammered dulcimer player and subscriber to this list). Good contra dance tune, but hard for me to imagine as ECD music. Do you remember the dance? -D ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ David Woolf Emory Eye Center W - 404/778-4121 Emory University H - 404/355-2827 Atlanta, GA 30322 ================================================================================ Archive-Date: Mon, 08 Jul 1996 10:37:57 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Jul 1996 13:35:47 +0000 (GMT) From: Margherita Modica Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Dance Announcement To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <4F953864D01-AT- obgyn.amc.edu> Content-Transfer-Encoding: 7BIT For any of you who live and/or are vacationing nearby, there will be an English Country Dance on Saturday, July 13, in Stockport NY. This is in Columbia County, which is located between the Hudson River & the Mass state line. Caller: Christine Helwig Band: Garden Variety (Leah Barkan, keyboard; George Davis, fiddle; Sue Polansky, clarinet) If you are interested in attending, email me privately & I will send you directions. Margherita Modica Davis ************************************************************************ Margherita M. Modica mmodica-AT- obgyn.amc.edu Obstetrics & Gynecology (518) 262-6405 Albany Medical College (518) 262-5292, fax ************************************************************************ ================================================================================ Archive-Date: Mon, 08 Jul 1996 10:47:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Jul 1996 13:46:58 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jump at the Sun To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT The ECD to "Jump at the Sun" (or at least, the only one that I know about) is by Scott Higgs, and is published by him in the booklet "Early One Morning" (1995). Copies may be obtained from him at 316 Locust Avenue, Ardmore, PA 19003 for $5 for the first copy & $4.50 for additional copies in the same envelope, according to the notice in the booklet. (Unfortunately the music is not published there with the dance.) The dance has figures suggestive of "Dublin Bay" & "Jack's Health", among other things... Eric Arnold Ann Arbor ================================================================================ Archive-Date: Mon, 08 Jul 1996 11:22:03 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Jul 1996 17:51:02 +0000 From: Bob Archer Subject: Re: Jump at the Sun To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <497.bob-AT- hottub.demon.co.uk> Content-Transfer-Encoding: 7BIT > Good contra dance tune, but hard for me to imagine as ECD music. Do you > remember the dance? Perhaps not country dance in the sense of Playford, but a great jig for a ceilidh dance or some of the more modern English dances. ---------------------------------------------------------- -- Bob Archer bob-AT- hottub.demon.co.uk ================================================================================ Archive-Date: Mon, 08 Jul 1996 11:44:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Jul 1996 14:44:42 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jump at the Sun To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Mon, 8 Jul 1996, Bob Archer wrote: > > > Good contra dance tune, but hard for me to imagine as ECD music. Do you > > remember the dance? > > Perhaps not country dance in the sense of Playford, but a great jig > for a ceilidh dance or some of the more modern English dances. In his notes for the dance, he says "exuberant, not elegant." But he definitely includes it with his English dances, and comments elsewhere that it "adds to the slender Dublin Bay/Trip to Paris part of the repertoire." Other English-style dances of his published in the same booklet include Early One Morning (traditional English melody), The Fair One (T[homas?] Farmer, 1681), Three Gude Men (W. Smyth, c. 1800), Watkin's Ale (anon., c. 1590), If Love's A Sweet Passion (Henry Purcell, 1692), Wooing Mairi (Eric Scott, 1985), and A Square Waltz (to any 32-bar waltz). Eric Arnold Ann Arbor ================================================================================ Archive-Date: Mon, 08 Jul 1996 13:34:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Jul 1996 12:26:40 -0700 (PDT) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jump at the Sun To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Mon, 8 Jul 1996 Michael_A_Barraclough-QSWI971-AT- pr111-084.ecid.cig.mot.com wrote: > Jump at the Sun was written by John Kirkpatrick I believe. And it was printed in "Opus Pocus", a book of tunes by John and Sue Harris. Still in print, I believe. Peace. Paul ================================================================================ Archive-Date: Tue, 09 Jul 1996 00:52:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Jul 1996 08:37:14 +0000 From: Bob Archer Subject: Re: Jump at the Sun To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <498.bob-AT- hottub.demon.co.uk> Content-Transfer-Encoding: 7BIT > > > Good contra dance tune, but hard for me to imagine as ECD music. Do you > > > remember the dance? > > > > Perhaps not country dance in the sense of Playford, but a great jig > > for a ceilidh dance or some of the more modern English dances. > > In his notes for the dance, he says "exuberant, not elegant." But he > definitely includes it with his English dances, and comments elsewhere > that it "adds to the slender Dublin Bay/Trip to Paris part of the > repertoire." I wasn't aware of the Scott Higgs dance before - I shall look it up. My point was that there is more to English dancing than Playford or Playford style. Bob ---------------------------------------------------------- -- Bob Archer bob-AT- hottub.demon.co.uk ================================================================================ Archive-Date: Tue, 09 Jul 1996 01:33:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Jul 1996 09:05:15 +0100 From: rhod-AT- esoft.co.uk (Rhodri Davies) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jump at the Sun To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9607090805.AA00466-AT- michigan.co.uk> Content-Transfer-Encoding: 7BIT References: Eric Arnold writes: > > > On Mon, 8 Jul 1996, Bob Archer wrote: > > > > > > Good contra dance tune, but hard for me to imagine as ECD music. Do you > > > remember the dance? > > > > Perhaps not country dance in the sense of Playford, but a great jig > > for a ceilidh dance or some of the more modern English dances. > > In his notes for the dance, he says "exuberant, not elegant." But he > definitely includes it with his English dances, and comments elsewhere > that it "adds to the slender Dublin Bay/Trip to Paris part of the > repertoire." We may well have some transatlantic misinterpretations going on here once again due to the difference between the American and English perceptions of English Country Dance. Here in England, what our American cousins generally refer to as ECD is commonly given the generic term "Playford", where as ECD is taken to include the traditional village dances and more modern compositions in the English Ceilidh style. First of all, lets make it clear. The tune Jump at the Sun was around quite a while before Scott wrote the dance to go with the tune. Over here in England the tune tends to be used for lively, bouncy ceilidh dances, and is played accordingly. It is a cracking tune. I find it goes very well with Old Swan Gallop - the archetypical English ceilidh dance! As with most ceilidh dances, and that is what John Kirkpatirck plays for, there is often no particular association between a given dance and a particular piece of music. As for where to find the "dots": try page 11 of -AT- string{dragonfly = "Dragonfly Music"} -AT- string{dragonflyaddr = "44 Durban Street, Blyth, Northumberland NE24 1PT, U.K."} -AT- book{opus_pocus, author = "John Kirkpatrick And Sue Harris", title = "Opus Pocus", publisher = dragonfly, year = "1988", address = dragonflyaddr, } An interesting publication! I believe this is the one with the Pallindromic Polka! It is also published in a book called Band Call. Rhod P.S. sorry about spamming the list with the reply about Olive Bolton yesterday - a combination of me and a new mailer. Olive will be sadly missed by her friends throughout the English Dance scene. Dr. Rhodri M. Davies Tel: +44 (0)161 776 4498 Engineering Software Ltd Fax: +44 (0)161 776 2680 Carrington Business Park Email: rhodri.davies-AT- esoft.co.uk Manchester M31 4XL WWW: http://www.esoft.co.uk =*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*= ================================================================================ Archive-Date: Tue, 09 Jul 1996 07:00:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Jul 1996 10:00:38 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jump at the Sun To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Bob Archer wrote: : I wasn't aware of the Scott Higgs dance before - I shall look it up. : My point was that there is more to English dancing than Playford : or Playford style. Amen! On Tue, 9 Jul 1996, Rhodri Davies wrote: [snip] > We may well have some transatlantic misinterpretations going on here > once again due to the difference between the American and English > perceptions of English Country Dance. Here in England, what our > American cousins generally refer to as ECD is commonly given the > generic term "Playford", where as ECD is taken to include the > traditional village dances and more modern compositions in the English > Ceilidh style. Being, literally as well as figuratively, one of the American cousins who does some of the stuff which is called "ECD" by folks on both sides of the puddle, I should explain my selection of quotes from Scott Higgs' booklet. What wasn't clear from what I quoted is that his booklet includes both contra and "English" dances that he created. So the point was that he considered it in the class "English" rather than "contra", which is significant because the tune "Jump at the Sun" is one we are quite likely to hear from a contra band, not from an English band. The fact that we're not so likely to hear it from an "English" band (i.e. a native band playing for ECD in the US) does rightly suggest that the ECD scene here does not include much of the English ceilidh or barn dance scenes, but many of the dances done at the latter would fit into our contra setting quite comfortably, and sometimes they do turn up there. > First of all, lets make it clear. The tune Jump at the Sun was > around quite a while before Scott wrote the dance to go with the > tune. Over here in England the tune tends to be used for lively, > bouncy ceilidh dances, and is played accordingly. It is a cracking > tune. I find it goes very well with Old Swan Gallop - the > archetypical English ceilidh dance! As with most ceilidh dances, and > that is what John Kirkpatirck plays for, there is often no particular > association between a given dance and a particular piece of music. That again is typical of the American contradance, and contrasts with my impression of what defines "English Country Dancing" in the US, which is, in part, the association of a particular tune, or perhaps a copule of tunes in a few instances, with a particular dance. But it is inappropriate to say of the US in general that "ECD" means "Playford", because that is not true in general. It is true in specific places, but it is very definitely not true in other specific places. One thing that is true is that it is not as widespread an activity as is contradance, and so there is less geographical continuity; perhaps only in the northeastern seaboard area of the country is there enough activity in ECD so that the communities where it is done on a regular basis aren't isolated from each other in the sense that a fair number of dancers might regularly visit more than one dance site. In the more isolated sites, what selection is done depends very much on the local dance leaders. Some of these do "Playford" dances almost exclusively, while others have much broader perspectives of what constitutes ECD. This can include many "traditional" (e.g. collected around the turn of the century) dances as well as more recent compositions from both sides of the puddle, including, but not limited to, compositions of Colin Hume, Nicholas Broadbridge, Charles Bolton, Tom Cook, Fried Herman, Gary Roodman, Pat Shaw, the Maggot Pie collection, & the dances from folks across the channel. But it is still true that the dances from England which have more the flavor of our contradances are less likely to be adopted into our "English" repertoire because, I think, there is no need to overlap with that -- rather, there may be a need to distinguish the two forms, which may be acting subconsciously to filter out certain dances that contemporary ECD in the UK may include. Just as an example, in a recent program that I put together, I noticed that in the list that I had drawn up of dances to choose from, there were only perhaps two "Playford" dances out of about a dozen, and I was a little shocked at this, so I made a purposeful effort to have some more "Playford" choices in the list. But in spite of the bias towards more recent dances, none of them had swings... Eric Arnold Ann Arbor ================================================================================ Archive-Date: Tue, 09 Jul 1996 08:30:42 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Jul 1996 10:30:31 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Young Widow (was Re: Jump at the Sun) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199607091530.KAA25265-AT- ux1.cso.uiuc.edu> Content-Transfer-Encoding: 7BIT This is a follow-up to Eric's note about the dances included under the ECD umbrella here in the U.S. Our group (Central Illinois English Country Dancers) also include early American dances. That is American dances from the 1700's, which may include some contra dances, but which are closer to English Country dances in tempo, figures, music and formations than they are to the modern contra dances done by the local contra dance group (which I am involved with as well). Along these lines I have a question about an early American dance. It is "Young Widow" taken from James Morrison's book "24 Early American Country Dances". The tune is AABBC. The B part is 4 bars (8 beats) and for B1 the instructions are for everyone to set to his/her partner. Since setting only takes 4 beats (2 bars) should they set twice or is there some other business to fill up the time? I've done this dance once several months ago and can't recall what we did. Has anyone done this dance recently and know how it is to go? Or does anyone have any other suggestions? Thanks. Jonathan ------------------------------------------------------------------- | Jonathan Sivier | Ballo ergo sum. | | j-sivier-AT- uiuc.edu | (I dance therefore I am.) | | Flight Simulation Lab | - des Cartwright | | Beckman Institute | | | 405 N. Mathews | SWMDG - Single White Male | | Urbana, IL 61801 | Dance Gypsy | | Work: 217/244-1923 | | | Home: 217/359-8225 | Have shoes, will dance. | ------------------------------------------------------------------- ================================================================================ Archive-Date: Tue, 09 Jul 1996 08:57:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Jul 1996 11:56:47 -0400 (EDT) From: "David R. Woolf" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Young Widow (was Re: Jump at the Sun) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Tue, 9 Jul 1996, Jonathan Sivier wrote: > "Young Widow" taken from James Morrison's book "24 Early American Country > Dances". The tune is AABBC. The B part is 4 bars (8 beats) and for B1 the > instructions are for everyone to set to his/her partner. Since setting only > takes 4 beats (2 bars) should they set twice or is there some other business > to fill up the time? I've done this dance once several months ago and can't Yes, you set twice. (At least that's the way I learned it from Brad Foster.) -D ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ David Woolf Emory Eye Center W - 404/778-4121 Emory University H - 404/355-2827 Atlanta, GA 30322 ================================================================================ Archive-Date: Tue, 09 Jul 1996 09:01:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Jul 1996 08:58:35 -0800 (pst) From: afeldman-AT- oacis.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Young Widow To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9606098369.AA836927987-AT- ccsmtp.bellahs.com> Content-Transfer-Encoding: 7BIT In our area we also dance The Young Widow, and yes, we set twice in the B1 part. Anise Feldman San Bruno, CA ================================================================================ Archive-Date: Tue, 09 Jul 1996 10:23:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Jul 1996 13:22:59 -0400 From: Shawn William Ellerthorpe Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Playford To: ecd-AT- SSRL04.SLAC.STANFORD.EDU, sca-dance-AT- andrew.cmu.edu CC: 72430.224-AT- CompuServe.COM, cynweb-AT- umich.edu Message-ID: <199607091723.NAA14135-AT- nomad.engin.umich.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Greeting all, Perronelle asked me to post this info when I got things ready. I took her typed version of Playford and converted into HTML for people. Currently I am looking for input into format to make it easier for people to view and/or download for printing. Please take a look and send any responses to cynweb-AT- umich.edu as I am not on both e-mail lists. The direct address is http://www.umich.edu/~cynnabar/Activities/Playford or it can be reached through the Shire of Cynnabar's home page at http://www.umich.edu/~cynnabar Thank you, Theodorin Maget ================================================================================ Archive-Date: Tue, 09 Jul 1996 12:46:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Jul 1996 12:41:11 -0700 From: EVANS Nan E Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Young Widow (was Re: Jump at the Sun) To: Jonathan Sivier (Return requested) CC: ecd (Return requested) Message-ID: <"0582431E2B5D7012*/c=us/admd= /prmd=or.gov/o=PRD/ou=MSMail/s=EVANS/g=Nan/i=E/"-AT- MHS> MIME-Version: 1.0 Content-Transfer-Encoding: 7BIT Dancers set twice (both in lines of three and when the 2's and 3's set to each other) - I usually teach the sets as step-swings because it fits the spirit of the music so well - Several years ago I did a mixed contra/English set at the Seattle Northwest Folklife in the "roadhouse" - a contra venue with about 300 dancers - Young Window was one of the dances I taught and even hard-core contra dancers loved it - plus they were introduced to the notion of a triple minor which we don't often see in contra dances anymore. ---------- From: Jonathan Sivier To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Subject: Young Widow (was Re: Jump at the Sun) Date: Tuesday, July 09, 1996 8:45AM This is a follow-up to Eric's note about the dances included under the ECD umbrella here in the U.S. Our group (Central Illinois English Country Dancers) also include early American dances. That is American dances from the 1700's, which may include some contra dances, but which are closer to English Country dances in tempo, figures, music and formations than they are to the modern contra dances done by the local contra dance group (which I am involved with as well). Along these lines I have a question about an early American dance. It is "Young Widow" taken from James Morrison's book "24 Early American Country Dances". The tune is AABBC. The B part is 4 bars (8 beats) and for B1 the instructions are for everyone to set to his/her partner. Since setting only takes 4 beats (2 bars) should they set twice or is there some other business to fill up the time? I've done this dance once several months ago and can't recall what we did. Has anyone done this dance recently and know how it is to go? Or does anyone have any other suggestions? Thanks. Jonathan ------------------------------------------------------------------- | Jonathan Sivier | Ballo ergo sum. | | j-sivier-AT- uiuc.edu | (I dance therefore I am.) | | Flight Simulation Lab | - des Cartwright | | Beckman Institute | | | 405 N. Mathews | SWMDG - Single White Male | | Urbana, IL 61801 | Dance Gypsy | | Work: 217/244-1923 | | | Home: 217/359-8225 | Have shoes, will dance. | ------------------------------------------------------------------- ================================================================================ Archive-Date: Tue, 09 Jul 1996 12:47:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Jul 1996 12:41:13 -0700 From: EVANS Nan E Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Sally in Our Alley ? To: ecd (Return requested) Message-ID: <"0582431E2B5D9016*/c=us/admd= /prmd=or.gov/o=PRD/ou=MSMail/s=EVANS/g=Nan/i=E/"-AT- MHS> MIME-Version: 1.0 Content-Transfer-Encoding: 7BIT Hi - I was looking through Peter Barnes' new book last night and noticed Sally in Our Alley. I remember dancing and enjoying it about a year ago, but I don't know the source for it (and I don't remember how it went after the first couple of bars). Help. Thanks. ================================================================================ Archive-Date: Tue, 09 Jul 1996 13:14:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Jul 1996 13:14:06 -0700 From: dodson-AT- violet.berkeley.edu (allen and alisa dodson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Sally in Our Alley ? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT Hi Nan, I'm not sure where (if?) Sally in our Alley is published, but Jacqueline Schwab did the reconstruction. I have it from her -- so you can ask her at camp! See you very, very soon... Alisa ================================================================================ Archive-Date: Tue, 09 Jul 1996 14:04:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Jul 1996 17:04:30 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Sally in Our Alley ? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT The new Barnes book does contain a list of published sources in the back, although not absolutely everything in the book is referenced there. Have you checked that? Eric Arnold Ann Arbor ================================================================================ Archive-Date: Tue, 09 Jul 1996 17:29:42 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Jul 1996 19:29:38 -0500 (CDT) From: Tom Roby Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Young Widow (was Re: Jump at the Sun) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9607100029.AA09777-AT- conley.math.wisc.edu> Content-Transfer-Encoding: 7BIT I agree with Nan that step swings work well (as opposed to three-beat setting) and seem to recall doing it that way in Boston as well. My sense from more experienced leaders of ECD is that any dance with more than 2 bars of setting in a row is an invitation to "foot it", in the style that we all learned in Mr. Isaac's regular dancing classes in 1776. Since what was actually done centuries ago appears generally to be lost or indecipherable, this invitation is usually declined. Most teachers (correctly) teach a simple step that everyone can do, but perhaps it would not be out of line to suggest that people play with the step a bit when they become comfortable with it. I personally confesse an inability to resist the temptation to improvise footwork in such situations. I'd like to believe that this is historically justified; perhaps others who've done more research can chime in? "Young Widow" seems to be the most popular dance from that collection, with the possible exception of "Virgina Reel". Tom Tom Roby Department of Mathematics metis-AT- math.wisc.edu University of Wisconsin [Off] 608-263-3971 480 Lincoln Drive [Fax] 608-263-8891 Madison, WI 53706-1388 ================================================================================ Archive-Date: Tue, 09 Jul 1996 21:41:57 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Jul 1996 00:09:56 -0400 From: The Dupres Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: ECD Digest V1 #60 To: "'ECD-AT- SSRL04.SLAC.Stanford.EDU'" Message-ID: <01BB6DF8.8DC474C0-AT- dupre.nerc.com> Content-Transfer-Encoding: 7BIT Hello, all! Scott's dance is not the only dance written to "Jump at the Sun." I think Rich Jackson, who lives somewhere near Boston, wrote this dance called "Look Both Ways," to be danced to "Jump at the Sun." My notes on the dance say the following: Look both Ways (duple minor) A1 Bars 1-2 1st corners change, turning single as they pass 3-4 1st corners return to original places, giving right hands to pull by Meanwhile 1-4 2nd corners set and turn single 5-8 Right hands across once around A2 Repeat figures of A1 with roles reversed (i.e., 2nd corners changing) B1 1-4 Join hands along lines, slip down four steps and back 5-8 In original group of 4, hands 4 to the left once around (slipping) B2 1-4 Half pousette clockwise (with partner) 5-8 1s lead up center and cast while 2s cast and lead up the center Does anyone else know this dance? Did I get the details right? Sue Dupre Lawrenceville, NJ dupre-AT- nerc1.nerc.com ---------- begin 600 WINMAIL.DAT M>)\^(B8$`0:0" `$```````!``$``0>0!-AT- `(````Y 0```````#H``$--AT- 0` M`-AT- ````(``-AT- `!!) &`$-AT- !```!````# ````,``# #````"P`/#-AT- `````"`?\/ M`0```%<`````````-AT- 2L?I+ZC$!F=;-AT- #=`0]4`-AT- ````!%0T1 4U-23# T+E-, M04,N4W1A;F9O``,P`0```!T```!%0T1 4U-2 M3# T+E-,04,N4W1A;F9O``$P M`0```!\````G14-$0%-34DPP-"Y33$%#+E-T86YF;W)D+D5$52<```(!"S ! M````(-AT- ```%--5% Z14-$0%-34DPP-"Y33$%#+E-404Y&3U)$+D5$50````,` M`#D`````"P! .-AT- $````"`?8/`0````0````````#L3D!"( '`!-AT- ```!)4$TN M36EC`' ``0```!8```!213H-AT- 14-$ M($1I9V5S="!6,2 C-C ````"`7$``0```!8````!NVX5IRY&1B^KV=41S[CM M`&",R:`!X,`0````4```!33510`````!X`'PP!````%0```&1U<')E M0&YE``-AT- 0`0```&4` M``!(14Q,3RQ!3$Q30T]45%-$04Y#14E33D]45$A%3TY,641!3D-%5U))5%1% M3E1/(DI535!!5%1(15-53B))5$A)3DM224-(2D%#2U-/3BQ72$],259%4U-/ M34572$5214Y%05)"``````(!"1 !````R0,``,4#``#'!-AT- ``3%I&=4,7W7'_ M``H!#P(5`J-AT- %ZP*#`% "\-AT- D"`&-H"L!S970R-P8`!L,"-AT- S(#Q0(`<')"<1'B M#$P,Q10"PH440OQ($A(96P94"P-AT- !T!L6B$*A5,%H ) )P0-AT- 9)$` M<&-E( 0`(&X>4)-AT- -AT- =&-AT- >\ (-AT- ;'D>I1YW!1 "0 GP'W!O("(P2G5MEF,=-AT- 0F (1!,;XYO(L E4!^ (%=A M$[#V+"(P(/%B'O >LR1`B ?(TB!^! M'_#/"K $$"TL-M[/&< S8BDR!;!I9PN !T"_-; +8![-AT- *# T?CF M=C.B;3EA: 5 ,O%D!" I07"V=1TP*)!Y+2PTC4TE$/9N(\ #$&4]FC;1,: W ME/XR/$ R5Q&Q'7!!`3C3,^3C/2] (S4M.#>C(N [Z/\`T --AT- !!$"(![A"L ( M8#Q CS ],<0VT32(4F5P)1#=!4!F.7 (<"L"9C$"`_#_)]$#8"<0-&\9P"0-AT- M$:$G,. H:2YE+AU-AT- 0/HRXYLLX3 M0-AT- !00 U*;PN OT46&5 SL20`)0`Z,7,D M`/TA8&0LP .-AT- `A (<#1^$\%V<$5A00%B(T$V?D1&2;\#H#E7"< (8"%-AT- 2;$T M'6#]/"0T*3(?-AT- C2-)Q !-AT- $7J>R]048)P3<\E0$>70'9(NP= 2\"A*$PJQ=#*1[S F5+\R(%D182X/\", 200>,FX#(Q M/S- X$JO/V(30?)-AT- YA^"860M+$1O>P>1`'!Y`B >\!T-AT- 7B%KEQ] !^ F.#\B M0$1I)S#_(F S(!]D#; !D ,0.)$[TNX_+2PA\![P1"^ &< WH_TN!F$-AT- < GP M'N [<"`#T``0````4```!213H-AT- `````/> ` end ================================================================================ Archive-Date: Wed, 10 Jul 1996 00:57:42 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Jul 1996 00:57:30 -0800 (PST) From: meier-AT- SSRL01.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Young Widow (was Re: Jump at the Sun) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <009A5183.3C693704.6-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT >My sense from more experienced leaders of ECD is that any dance with >more than 2 bars of setting in a row is an invitation to "foot it", in >the style that we all learned in Mr. Isaac's regular dancing classes in >1776. Since what was actually done centuries ago appears generally to >be lost or indecipherable, this invitation is usually declined. Most >teachers (correctly) teach a simple step that everyone can do, but >perhaps it would not be out of line to suggest that people play with the >step a bit when they become comfortable with it. I personally confesse >an inability to resist the temptation to improvise footwork in such >situations. I'd like to believe that this is historically justified; >perhaps others who've done more research can chime in? >Tom Roby I'm mostly only a student of those who have done more research (Stan Isaacs, Richard Powers, Jim Morrison, Angene Feves (please excuse any misspelling of her name)). But from what I've gathered, a variety of setting steps were available t =============================================================================== Vanessa Schnatmeier MEIER-AT- SSRL750.BITNET or MEIER-AT- SSRL01.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL =============================================================================== ================================================================================ Archive-Date: Wed, 10 Jul 1996 01:13:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Jul 1996 01:13:22 -0800 (PST) From: meier-AT- SSRL01.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Young Widow (was Re: Jump at the Sun) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <009A5185.73D5D5C4.7-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT My apologies for letting that last message escape -- hit the wrong key. I cut off the part where I realize that Tom Roby wasn't talking about whether one had a variety of setting steps available, but whether one was "allowed" historically to improvise with them during the dance. The reading I've done on "Playford" type dancing has centered around the English Regency, so I can't speak much to the period before that, but in the writings of the period I've seen it seemed to depend on the formality of the setting and the dancer. In other words, pretty much like today. :) You'd be less inclined to yuk it up at a reception for an ambassador, but at a dance party in the country, it might have been Katy-bar-the-door. Vanessa =============================================================================== Vanessa Schnatmeier MEIER-AT- SSRL750.BITNET or MEIER-AT- SSRL01.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL =============================================================================== ================================================================================ Archive-Date: Wed, 10 Jul 1996 05:17:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Jul 1996 08:19:47 -0400 From: mgoodman-AT- albany.net (Mary Beth Goodman) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE:Look both ways To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT Yes Sue! GREAT dance -- remember learning it at Pinewoods and thinking it was one that would last! Mary Beth Goodman ================================================================================ Archive-Date: Wed, 10 Jul 1996 17:12:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Jul 1996 20:12:36 +0000 From: Mary Stafford Reply-To: ECD-AT- playford.slac.stanford.edu Subject: "Look Both Ways" To: "'ECD-AT- SSRL04.SLAC.Stanford.EDU'" Message-ID: <01BB6E9C.482728A0-AT- mes.world.std.com> MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="---- =_NextPart_000_01BB6E9C.48305060" Content-Transfer-Encoding: 7BIT ------ =_NextPart_000_01BB6E9C.48305060 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable It's worth mentioning that Rich (who lives in New Hampshire) wrote this = dance to commemorate the event of Joe Kynoch's being hit (only a tap, = thank heaven!) by a trolleycar on Beacon Street, near the church where = several morris groups practice. Thus "Look Both Ways". Hearing Rich = teach it is a treat- he describes what event each movement is supposed = to represent, as in "And this is the revolving door at the hospital"! I think Rich Jackson, who lives somewhere near Boston, wrote this dance = called "Look Both Ways," to be danced to "Jump at the Sun." ------ =_NextPart_000_01BB6E9C.48305060 Content-Type: application/ms-tnef Content-Transfer-Encoding: base64 eJ8+IiYUAQaQCAAEAAAAAAABAAEAAQeQBgAIAAAA5AQAAAAAAADoAAENgAQAAgAAAAIAAgABBJAG AEgBAAABAAAADAAAAAMAADADAAAACwAPDgAAAAACAf8PAQAAAFcAAAAAAAAAgSsfpL6jEBmdbgDd AQ9UAgAAAABFQ0RAU1NSTDA0LlNMQUMuU3RhbmZvcmQuRURVAFNNVFAARUNEQFNTUkwwNC5TTEFD LlN0YW5mb3JkLkVEVQAAHgACMAEAAAAFAAAAU01UUAAAAAAeAAMwAQAAAB0AAABFQ0RAU1NSTDA0 LlNMQUMuU3RhbmZvcmQuRURVAAAAAAMAFQwBAAAAAwD+DwYAAAAeAAEwAQAAAB8AAAAnRUNEQFNT UkwwNC5TTEFDLlN0YW5mb3JkLkVEVScAAAIBCzABAAAAIgAAAFNNVFA6RUNEQFNTUkwwNC5TTEFD LlNUQU5GT1JELkVEVQAAAAMAADkAAAAACwBAOgEAAAACAfYPAQAAAAQAAAAAAAADsTkBCIAHABgA AABJUE0uTWljcm9zb2Z0IE1haWwuTm90ZQAxCAEEgAEAEQAAACJMb29rIEJvdGggV2F5cyIASgUB BYADAA4AAADMBwcACgAUAAwAJAADACsBASCAAwAOAAAAzAcHAAoAFAAHABMAAwAVAQEJgAEAIQAA ADkxMzM2NzgxOEFEQUNGMTE4NEI4NDQ0NTUzNTQwMDAwANcGAQOQBgDsAwAAEgAAAAsAIwAAAAAA AwAmAAAAAAALACkAAAAAAAMANgAAAAAAQAA5AKBC3SKcbrsBHgBwAAEAAAAWAAAAUkU6IEVDRCBE aWdlc3QgVjEgIzYwAAAAAgFxAAEAAAAbAAAAAbtuFacuRkYvq9nVEc+47QBgjMmnHwAhb6lxAB4A HgwBAAAABQAAAFNNVFAAAAAAHgAfDAEAAAASAAAAbWVzQHdvcmxkLnN0ZC5jb20AAAADAAYQ57uA +QMABxDCAQAAHgAIEAEAAABlAAAASVRTV09SVEhNRU5USU9OSU5HVEhBVFJJQ0goV0hPTElWRVNJ Tk5FV0hBTVBTSElSRSlXUk9URVRISVNEQU5DRVRPQ09NTUVNT1JBVEVUSEVFVkVOVE9GSk9FS1lO T0NIU0JFSQAAAAACAQkQAQAAAHECAABtAgAAjgMAAExaRnW8u9by/wAKAQ8CFQKoBesCgwBQAvIJ AgBjaArAc2V0MjcGAAbDAoMyA8UCAHByQnER4nN0ZW0CgzO3AuQHEwKDNBEFE1ExD8+9AgA1BEYV xQhVAoB9CoCLCM8J2TsZvzI1NQKABwqBDbELYG5nMTAzLxRQCwoUUQvyYwBAIEmUdCcEIHcZYWgg B4BNAjBpAiALgGcgHyBhCQVAUmkRcCAod2jgbyBsaXYHkQuAB7OASGFtcHNoaRnAPike4ANgE9Af 8QQAIGTdAHBjIrEg0AWgbQeABGBuciAgIrIisGUhEAIwICBvZiBKbyKwS3nMbm8RcB7BYmUfwiIQ hQVAKAIgbHkgYR/wSGFwLB/ybmsmYGVqYSTBISJQYibzA2BsMGxleWMKwQIgIEK3J/AFoAOgUyjA CeB0J2D+bifwBcAkchFwCHAgcSCw/wSQIrARsCEQJCADICQBBRDvBCAJwAhgIfAgE1AA0B+AMSNQ LiBUKzAEICJMNG9vJ8BCIpAfMFdh9ROwIi3QSCqhH8IgUxPQPwDQHzAmgSLxKKIn8HQt/yfRIxAH kAUBJhAe0SASJLRfMEMEYCEQH1IwsnMtEHD6bxGwZCNyGcATUAeQH2HFJ2BhITMiQW40gSLiVyLx JHIZwHYG8HYfwmSfLmAFwCAhJHIgwHNwJoA5B0AiIQqFCosg8DM2fw3wC1UXUQvyE1AikS2AIC8e kCLCJ7EgU0oA0Gtz/wIgJ2AguD0QB4ArlCqTLqB/E8A9IyKOKTAo8TSALk0sHiIjciYQIxQ0gyJK dYMh4DfWU3VuLiIdfAs5VhjhAEXQAAAAAwAQEAAAAAADABEQAAAAAEAABzBgidVlm267AUAACDBg idVlm267AR4APQABAAAAAQAAAAAAAAA0Eg== ------ =_NextPart_000_01BB6E9C.48305060-- ================================================================================ Archive-Date: Fri, 12 Jul 1996 01:46:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 12 Jul 1996 04:37:36 -0400 (EDT) From: Colin Hume <100116.165-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Step Stately progression To: ECD Mailing List Message-ID: <960712083735_100116.165_EHQ77-4-AT- CompuServe.COM> Content-Transfer-Encoding: 7BIT Alex Clark (4-Jul-96) doesn't see the problem in a triple minor double progression. I agree that it could be done, but it seems highly unlikely. I don't know any dance where you get a neutral couple in the middle of the set, with action going on above and below them. (Well, maybe some of mine, but that's unintentional!) Colin Hume ================================================================================ Archive-Date: Sat, 13 Jul 1996 05:04:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 13 Jul 1996 07:09:06 -0500 From: sheilab-AT- tiac.net (Sheila Beardslee Bosworth) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Young Widow (was Re: Jump at the Sun) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT > Along these lines I have a question about an early American dance. It is >"Young Widow" taken from James Morrison's book "24 Early American Country >Dances". The tune is AABBC. The B part is 4 bars (8 beats) and for B1 the >instructions are for everyone to set to his/her partner. Set twice is what I remember... Sheila Beardslee Bosworth sheilab-AT- tiac.net Editor, Boston Early Music News >> Fall Preview deadline is August 15! 29 Main Street, Acton MA 01720-3505 voice: 508/263.9926 fax: 508/263.2366 ================================================================================ Archive-Date: Sun, 14 Jul 1996 02:01:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 14 Jul 1996 05:00:17 -0400 (EDT) From: Colin Hume <100116.165-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Colin Hume's summer schedule To: ECD Mailing List Message-ID: <960714090017_100116.165_EHQ61-1-AT- CompuServe.COM> Content-Transfer-Encoding: 7BIT People have been asking me where I'm calling in the States this summer, so if you're interested, here's my schedule. If you're not, apologies for taking up you time! Colin Hume's summer schedule: Date Event Contact JULY Fri 26 New Haven: English Dance, 8-11 Barbara Ruth Sat 27 Richmond, Virginia: English Dance Nick Christ Wed 31 Princeton NJ English Dance Jan Dreschler AUGUST Sat 3 Ann Arbor English Workshop, Mainly Contras Dance Erna-Lynne Bogue Mon 5 Baltimore English Dance Susan Rudy Wed 7 Washington DC (Glen Echo) English Dance Rich Galloway Home: galloway-AT- xis.com Fri 9 Glen Echo Contra Dance Betsy Platt Sat 10 - Sat 17 Pinewoods English/American Week Dan Pearl Sat 17 Amherst MA English Dance Susan Kevra Wed 21 Cambridge English Dance Jean Farrington ================================================================================ Archive-Date: Sun, 14 Jul 1996 16:51:42 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 14 Jul 1996 19:45:42 -0400 From: cclark-AT- vicon.net (A., C., & M. Clark) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Step Stately progression To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199607142345.TAA23976-AT- vicon.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT Colin Hume says: >Alex Clark (4-Jul-96) doesn't see the problem in a triple minor double >progression. I agree that it could be done, but it seems highly unlikely. >I don't know any dance where you get a neutral couple in the middle of the set, >with action going on above and below them. (Well, maybe some of mine, but >that's unintentional!) Since Step Stately is the only dance in the first edition of Playford with a double progression, I would assume that it was an experiment at the time, and that there were no established conventions for such dances. That being the case, I think it would be a mistake to impose modern ideas about double progressions onto any reconstruction of Step Stately. If one is composing a new version of the dance, then this consideration would not necessarily apply. In 1650 it seems to have been usual for each country dance to begin with a non-progressive figure (such as lead up a double and back), and any progressions thereafter would be contained within a part of the dance, with all couples progressing back to their original places by the end of that part of the dance (e. g. Dargason). Over the next few decades the modern format, where the progression encompasses the entire dance (e. g. Hole in the Wall), gained widespread acceptance. For this reason, I am inclined to think of progressive dances from the early editions of Playford as a very different kind of dance from the modern types of progressive dances. Also, the kinds of progressive longways dances that appear in Playford seem (to the best of my knowledge) to have appeared first during the English Renaissance (perhaps inspired by mixers such as the Italian dance Gelosia), so I would guess that some of these dances in the first edition of Playford were composed at a time when progression was an entirely new concept, with no established rules or customs. Alex Clark ================================================================================ Archive-Date: Tue, 16 Jul 1996 06:24:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 16 Jul 1996 09:23:49 -0400 From: Eric Praetzel Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Playforf - musical partially scanned To: ecd-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01I74PXFB5IA00047Q-AT- SERV04.SLAC.STANFORD.EDU> Content-Transfer-Encoding: 7BIT I've started scaning in Playford 1651. Currently each GIF image contains the song title, dancer layout diagram and music as per the 1933 reprint of the 1651 Playford book. I'll be cleaning them up by cropping the white spaces and then the titles and reducing it to simply the music notation. I've already started entering the music as MIDI files and the only thing slowing me down is that I don't often know how many repeats of various parts are done. Since I'm doing the music though; I can choreograph whatever I like! :-) The current state of the images is on: http://ece.uwaterloo.ca/~praetzel/hobby.html or just go to http://ece.uwaterloo.ca/~praetzel and follow the hobby link to the SCA section and then to the Playford link. Let me know what you think. Currently only about 1/2 of the book is scanned and I'm sure that there are some duplications. Most of it should be done within a week or two; the MIDI files will take much longer. Since Gregory B. is planing to use the ABC music notation; I may just use that as a starter. In any case; I'm planing on doing simple arrangements of whatever I can for dance instruction. I've done a few already; and that mess is also under the hobby.html web page somewhere. As I just discovered this past weekend (trying to teach some of these dances); I need to straighten things out a bit (it have an intro of 4 beats counting doubles) and test the temp out ahead of time. All work is being done in Cakewalk for Windows using a Gravis Pnp sound card. The Cakewalk work files will also be public domain on the web site and I'll have the instrument patches available (basically digitized notes of the instrument so that the synthesised music sounds nearly as good as the recorded instrument). Right now I'm dying for some sackbutts and other olde instruments. Heck, I'll kill for the brains of someone who is a natural at arranging music :-) I is just an enginear whoes does this fer da fun of it; eh! - Eric Praetzel ================================================================================ Archive-Date: Tue, 16 Jul 1996 06:48:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 16 Jul 1996 08:49:04 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Playforf - musical partially scanned To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <960716084904.3f20-AT- GEORGE.BAKERU.EDU> Content-Transfer-Encoding: 7BIT I'm at home, away from my stuff, but watch the moveable clef stuff if you're using the original. Again, I find the Mellors Bridgewater a good example of early musicology trying to define itself. There is somethin wrong with their version of "Jenny Pluck Pears." Materials have been left out of the A section. I'm at work away from my sources, so I can't be sure. Forbes/Baker University ================================================================================ Archive-Date: Tue, 16 Jul 1996 14:32:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 16 Jul 1996 17:31:36 -0400 From: cclark-AT- vicon.net (A., C., & M. Clark) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Playford - musical partially scanned To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199607162131.RAA05449-AT- vicon.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT >I'm at home, away from my stuff, but watch the moveable clef stuff if you're >using the original. Again, I find the Mellors Bridgewater a good example >of early musicology trying to define itself. There is somethin wrong with >their version of "Jenny Pluck Pears." Materials have been left out of >the A section. I'm at work away from my sources, so I can't be sure. That's right. The music of the first two measures is supposed to be repeated for the third and fourth measures, but instead these two measures are left out. The same thing happened in the B strain of Jenny Pluck Pears in the 7th edition of Playford, as reproduced in _The_Playford_Ball_. Alex Clark ================================================================================ Archive-Date: Sat, 20 Jul 1996 21:25:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 20 Jul 1996 21:25:11 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: Sally in Our Alley ? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <009A5A0A.65999D96.10-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT >Subj: Re: Sally in Our Alley ? >From: Eric Arnold >Sender: owner-ecd-AT- SSRL04.SLAC.STANFORD.EDU >To: ECD-AT- SSRL04.SLAC.STANFORD.EDU >The new Barnes book does contain a list of published sources in the back, >although not absolutely everything in the book is referenced there. Have >you checked that? >Eric Arnold > Ann Arbor I did the list, and I included everything I could find a published source for. First: If anybody has any additions or corrections for the list -- for example, Bonny Cuckoo has now been published in a collection, which is probably more available than a CDSS News back issue -- please send them to me. Peter is putting a new edition out very soon and I'd like to get the index fixed up. [Another error: I managed to leave out the bibliography entry for Wright's Humours (WH-1) while including the pointer to it. Second: I didn't have my hands on a copy of the Nicholas Broadbridge WALSH BALL CD which, according to the CDSS sales catalog description, contains instructions for the dances on it, including "Sally in our Alley." I included this, because it was the only published source I could find, but I have no idea if this is the same dance Jacqueline reconstructed -- and it may well not be, because the tune was a hit in the early nineteenth century, and hit tunes often got multiple dances made to them. [This was not very scholarly behavior, but as I say in my note in the book, I was only attempting to satisfy idle curiousity. I have brought back a couple of Nicholas Broadbridge products from Mendocino, but they didn't have the Walsh Ball volume.] Your best bet to get Jacqueline's reconstruction is to ask Jacqueline. I only remember that it begins the same way as "Barbarini's Tambourine", for which I also know of no published source. -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 415/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Sat, 20 Jul 1996 22:01:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 20 Jul 1996 22:01:09 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: Young Widow (was Re: Jump at the Sun) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <009A5A0F.6C0EA766.4-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT >From: Tom Roby >Sender: owner-ecd-AT- SSRL04.SLAC.STANFORD.EDU >To: ECD-AT- SSRL04.SLAC.STANFORD.EDU >I agree with Nan that step swings work well (as opposed to three-beat >setting) and seem to recall doing it that way in Boston as well. I agree with this too. Step-swings are fun there. (I learned to do them from Jenny Beer, who probably learned them in Philadelphia.) At one point I got curious and looked it up in Morrison, who doesn't mention step-swings in either the dance description or in the glossary in the back under setting steps. [If memory serves, the setting steps given there are (1) step-touch left, step-touch right, (2) three-count setting, (3) "the beaten step": hop left while kicking right, hop left while touching right behind left calf, hop left while kicking right, hop left while touching right in front of left shin. [This looks damn peculiar, incidentally.] I asked on rec.folk-dancing whether anybody knew of any historical justification for the step-swing, and got no useful response. Millar gives step-swing as an acceptable setting step, but he doesn't give a source for it, and he published late enough that he might have picked it up from modern practice. (Or the step-swing might have spread in modern practice from his dances at Williamsburg. Any info on this gratefully received. I'm slightly too lazy to write and ask him myself.) >My sense from more experienced leaders of ECD is that any dance with >more than 2 bars of setting in a row is an invitation to "foot it", in >the style that we all learned in Mr. Isaac's regular dancing classes in >1776. Since what was actually done centuries ago appears generally to >be lost or indecipherable, this invitation is usually declined. Most >teachers (correctly) teach a simple step that everyone can do, but >perhaps it would not be out of line to suggest that people play with the >step a bit when they become comfortable with it. I personally confesse >an inability to resist the temptation to improvise footwork in such >situations. I'd like to believe that this is historically justified; >perhaps others who've done more research can chime in? Although I'm actually quite sure you know this, let me point out that improvising setting is a Bad Idea in "Young Widow" because you're holding hands in line, so it's disruptive and even mildly dangerous if some are step-swinging and others are hopping in other directions. Elsewhere I'm inclined to agree that it's an invitation to foot it in your own favorite style, which you may have developed based on guidelines from Mr. Bishop. Also, in a lot of cases, Early American materials say "set and rigadoon", which is often transmuted to "set twice." I don't think that's true for "Young Widow". A few data points, for whatever they're worth: We keep seeing references to dancers in the old days who could do different balances all the way down the line in Petronella. (I just tried a modified version of this at Mendocino when Brad Foster called the dance, doing a different balance for each of the four times in the diamond. It worked well enough, but the only person who noticed called me a showoff. [And quite rightly, too.]) Chris Brady on rec.folk-dancing cites anecdotal evidence that the stepping in traditional dances like "Dorset Four Hand Reel" was personalized, not the generic rant step. [He says he got this in person from Joan Flett, IIRC.] Of course, he does this in the context of a rant about how the EFDSS dancing masters then came back to Dorset and taught it in the genericized way, which was accepted by the people because it was "official" and thus helped to stamp out step dancing, the real folk dance of England. Could be. Certainly the Flett's publications suggest that individualized stepping was a big thing in both Scotland and the Lakelands, although I don't recall discussion of it in England in the context of country dances. Stan Isaacs has been working with Regency-period quadrilles. Can't remember the name of his source now, but will ask him if anyone cares. His source gives a _lot_ of different (eight-count) setting sequences, and the suggestion is that you use what you like best or make up your own. I can't do them all, but I particularly liked the one that included the pirouette. Not a data point: I have a lot of trouble believing that reels, where you alternate one simple figure with eight *bars* of setting steps, and might (at least in rural Scotland before 1900) simply repeat the same dance all night, were done with one setting step or step style throughout. People like to show off, get bored doing the same thing all the time. and enjoy innovating: look at the variety of balances you'll see at your neighborhood contradance today, even though only one is usually taught. The setting/stepping was the opportunity to express individuality, and I think people took advantage of it. >"Young Widow" seems to be the most popular dance from that collection, >with the possible exception of "Virgina Reel". I've never been present when Morrison's "Virginia Reel" was called. Has your experience been different, or are you confusing that one with the Trenchmore/Roger de Coverly/junior-high favorite version? [That's meant as a sincere question; I'd be surprised if you'd made that mistake.] I'm very fond of "Marlbrouk Cotillion" and have it on the program each time our Bay Area English Regency group puts on an Early American Ball, which is twice so far. It goes over very well, although it's hard on the knees. -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 415/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Sat, 20 Jul 1996 22:14:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 20 Jul 1996 22:14:01 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: American ECD isolation (was Jump At The Sun) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <009A5A11.384486F6.14-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT >From: Eric Arnold [Copious snipping of Eric's typically well-thought-out comments to Rhod Davies; I'm jumping on a peripheral remark here.] > [. . .] and so there is less geographical continuity; perhaps only in the >northeastern seaboard area of the country is there enough activity in ECD >so that the communities where it is done on a regular basis aren't >isolated from each other in the sense that a fair number of dancers might >regularly visit more than one dance site. Actually, the West Coast is fairly well integrated in this way, with the Bay Area seemingly in the Boston position. Dancers from San Diego, Los Angeles, Ashland, Portland, and Seattle regularly attend our Playford Balls (getting the dance notes, with some interpretation, in advance); some come from as far as Alaska to the BACDS dance weeks and weekends. This doesn't prevent the development of local traditions and the growth of individual repertoires. Camper's Night at Mendocino is very interesting because both non-staff callers and would-be callers get to display favorite or intriguing dances. Vicki Bestock once called "Scotch Morris", which I don't ever recall having seen done at a BACDS dance. There are also a few dancers who travel on business so frequently that they're often seen at dances in both areas. -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 415/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Sat, 20 Jul 1996 22:17:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 20 Jul 1996 22:17:24 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: American Ceilidhs? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <009A5A11.B0F3E9B6.5-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT Folks -- So does anybody out there know of any English ceilidh dances or series going on in the US. (I know there was a Seattle series which has since died.) It seems like a good form for, perhaps, helping to build some briges between the ECD and contradance communities, as well as being fun in itself, but I'm curious about existing experience. It also seems as if the form might be nearly inextricable from large quantities of good beer, which presents difficulties in the dance venues available here. -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 415/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Mon, 22 Jul 1996 06:15:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 22 Jul 1996 08:15:43 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Sally in Our Alley ? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <960722081543.59a9-AT- GEORGE.BAKERU.EDU> Content-Transfer-Encoding: 7BIT Re: Sally, etc. Have you checked the Dorothy Grossman book for sources. She has compiled an incredible number of tune incipits (the first few notes/first coupla measures) and their sources. It came out about Christmas, 1995. My copy is at home, I'm at work. Sorry Forbes/Baker University ================================================================================ Archive-Date: Mon, 22 Jul 1996 07:01:46 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 22 Jul 1996 09:01:43 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Sally in Our Alley ? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <960722090143.59a9-AT- GEORGE.BAKERU.EDU> Content-Transfer-Encoding: 7BIT Dorothy's book is "An Index to Printd Sources of Folk Dance Tunes from the United States & British Isles." p.ii: "More than 10,000 tunes are listed in alphabetical order, with additional names sometimes indicated." "Sally in Our Alley" is printed in "200 Jigs, Reels, and Country Dances," #149. A book of piano arrangements published by Robbins Music Corp. nd. Perhaps you have this already. Neither the tune nor the dance is listed in Peter Rogers' Country Dance Index, 3rd edition of 1986. Does this help or confuse? Forbes/Baker University ================================================================================ Archive-Date: Mon, 22 Jul 1996 09:08:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 22 Jul 1996 09:05:00 -0700 From: EVANS Nan E Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Sally in Our Alley ? To: ecd (Return requested) Message-ID: <"0680531F3A6AC001*/c=us/admd= /prmd=or.gov/o=PRD/ou=MSMail/s=EVANS/g=Nan/i=E/"-AT- MHS> MIME-Version: 1.0 Content-Transfer-Encoding: 7BIT Thanks for all the effort to find the dance source for Sally in Our Alley. I talked to Jacqueline Schwab at Mendocino last week and copied the dance directly from her notes. ---------- From: FORBES-AT- GEORGE.BAKERU.EDU To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Subject: Re: Sally in Our Alley ? Date: Monday, July 22, 1996 7:15AM Dorothy's book is "An Index to Printd Sources of Folk Dance Tunes from the United States & British Isles." p.ii: "More than 10,000 tunes are listed in alphabetical order, with additional names sometimes indicated." "Sally in Our Alley" is printed in "200 Jigs, Reels, and Country Dances," #149. A book of piano arrangements published by Robbins Music Corp. nd. Perhaps you have this already. Neither the tune nor the dance is listed in Peter Rogers' Country Dance Index, 3rd edition of 1986. Does this help or confuse? Forbes/Baker University ================================================================================ Archive-Date: Mon, 22 Jul 1996 10:50:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 22 Jul 1996 10:52:30 -0700 From: Graham Baldwin Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: American Ceilidhs? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199607221752.KAA14280-AT- info-data.info-mine.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT At 10:17 PM 7/20/96 -0800, you wrote: > >Folks -- > >So does anybody out there know of any English ceilidh dances or series going >on in the US. (I know there was a Seattle series which has since died.) It >seems like a good form for, perhaps, helping to build some briges between the >ECD and contradance communities, as well as being fun in itself, but I'm >curious about existing experience. > >It also seems as if the form might be nearly inextricable from large quantities >of good beer, which presents difficulties in the dance venues available here. Not in the US, but what about Canada? Here in Vancouver BC we have occasional English ceilidhs, organized and run essentially by this city's only English ceilidh band, Jiggery Pokery, who have been around for nearly five years now. We have tried to make the ceilidhs as regular as possible (sounds like a laxative!), say every three months, but this usually doesn't happen due to other pressures (most notably the fact that just about the entire band is involved with the Vancouver Morris Men). IMHO, the local contradance community, which runs dances every two weeks or so, doesn't appear overly interested in supporting English ceilidhs. One reason given was that they couldn't understand the (apparently) strong accent of our caller, who hails from Yorkshire. We in JP are also keen to "build bridges" between the styles. BTW, Jiggery Pokery has a new CD out entitled "In Glorious Colour". If anyone wants one, call Betty Armstrong at +1 (604) 986-3078. ---------------------------------------------------------------------- Graham J. Baldwin Tel: +1 (604) 322-5476 Vancouver Morris Men Fax: +1 (604) 681-4166 2211 Portside Court, Vancouver, BC E-mail: gbaldwin-AT- info-mine.com CANADA V5P 4T9 URL: http://www.info-mine.com/vmm/ ---------------------------------------------------------------------- ================================================================================ Archive-Date: Mon, 22 Jul 1996 11:21:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 22 Jul 1996 14:21:52 -0400 From: Kent Smith Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Young Widow (was Re: Jump at the Sun) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <1.5.4.32.19960722182152.006d6490-AT- mail.trincoll.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT At 10:01 PM 7/20/96 -0800, Alan Winston wrote: > >I agree with this too. Step-swings are fun there. (I learned to do them from >Jenny Beer, who probably learned them in Philadelphia.) At one point I got >curious and looked it up in Morrison, who doesn't mention step-swings in either >the dance description or in the glossary in the back under setting steps. >[If memory serves, the setting steps given there are (1) step-touch left, >step-touch right, (2) three-count setting, (3) "the beaten step": hop left >while kicking right, hop left while touching right behind left calf, hop left >while kicking right, hop left while touching right in front of left shin. >[This looks damn peculiar, incidentally.] I asked on rec.folk-dancing whether >anybody knew of any historical justification for the step-swing, and got no >useful response. > It might be relevant to note that the "beaten step" is essentially the first bar of the Scottish Highland Schottische setting step, often prompted as "out" (to 2nd position), "behind," "out" (again to 2nd), "in front". The full bar setting pattern is the beaten step hopping on the left, a regular strathspey schottische setting to the right, the beaten step hopping on the right, and the regular setting step to the left. I don't have my sources handy, but I'm quite certain the Highland Schottische goes back at least well into the 19th century. > >I have a lot of trouble believing that reels, where you alternate one >simple figure with eight *bars* of setting steps, and might (at least in >rural Scotland before 1900) simply repeat the same dance all night, were >done with one setting step or step style throughout. People like to show >off, get bored doing the same thing all the time. and enjoy innovating: >look at the variety of balances you'll see at your neighborhood >contradance today, even though only one is usually taught. The >setting/stepping was the opportunity to express individuality, and I think >people took advantage of it. > I agree. Even in highland competition today, the strathspey and reel or the half Tulloch and reel are done with a different setting step each time the setting part of the dance comes around. The official highland manual describes well over 10 slow and 10 fast setting steps for the dancers or competition organizers to select among. One sees the same thing in international dancing: For decades teachers were teaching one way to do things, but now that the styles and traditions are familiar, the emphasis is on trying to reintroduce the variety and individuality that existed in the locales where the dances originated. Kent Smith (coming to ECD from SCD) =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Kent W. Smith /^_/#\_^\ Office of Institutional Telephones: |#||#||#| Research Work: 860-297-5195 |TRINITY| Trinity College Home: 860-278-7207 |COLLEGE| 300 Summit St. FAX: 860-297-2569 |#|(^)|#| Hartford, CT 06106 """"="""" USA =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ================================================================================ Archive-Date: Mon, 22 Jul 1996 11:59:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 22 Jul 1996 13:59:37 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Young Widow (was Re: Jump at the Sun) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199607221859.NAA28982-AT- ux1.cso.uiuc.edu> Content-Transfer-Encoding: 7BIT Alan Winston wrote: >I agree with this too. Step-swings are fun there. (I learned to do them from >Jenny Beer, who probably learned them in Philadelphia.) At one point I got >curious and looked it up in Morrison, who doesn't mention step-swings in either >the dance description or in the glossary in the back under setting steps. I think I understand what is meant by step-swings, but the description of all these different types of setting steps makes me uncertain. Can someone give the official description (if such exists) so I can be sure? Thanks. Jonathan ------------------------------------------------------------------- | Jonathan Sivier | Ballo ergo sum. | | j-sivier-AT- uiuc.edu | (I dance therefore I am.) | | Flight Simulation Lab | - des Cartwright | | Beckman Institute | | | 405 N. Mathews | SWMDG - Single White Male | | Urbana, IL 61801 | Dance Gypsy | | Work: 217/244-1923 | | | Home: 217/359-8225 | Have shoes, will dance. | ------------------------------------------------------------------- ================================================================================ Archive-Date: Tue, 23 Jul 1996 10:07:25 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jul 1996 13:03:32 -0400 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Colin Hume calling dance in To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Content-Transfer-Encoding: 7BIT Reply to: Colin Hume calling dance in CT Reminder that Colin Hume will be calling an English dance in New Haven, CT, this Friday, July 26, 8:00-11:00 p.m. Music will be by Pleasures of the Town. Admission $7.00. At the Arbeiter Maenner Chor (AMC) on the campus of the University of New Haven (directions below*). NOTE! for those who received the initial flier this is a CHANGE OF VENUE from the original location. For more information contact Barbara Ruth (203) 777-5114, or barbara.ruth-AT- yale.edu *Directions to AMC: I-95 to exit 43. From exit 43 head north on First Ave. (from 95 south) or Campbell Ave (from 95 north), until the two avenues join at the first traffic light after Spring St. to become Campbell Ave./Rte 122. Stay on Rte. 122 in left hand lane to 2nd light, which is Rte 1. Make a hard, uphill left turn onto Rte 1. Go through the next traffic light, but slow down and look for Arbeiter Maenner Chor sign on left mounted on the brick and iron gateway. Turn left through narrow gateway and park. AMC is up the drive on the right. ================================================================================ Archive-Date: Tue, 23 Jul 1996 12:09:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jul 1996 12:09:12 -0800 (PST) From: meier-AT- SSRL01.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: A Question of Gravity To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <009A5C18.3971A276.7-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT Fellow listmembers -- I'm in the middle of organizing a school-related dance project, and as part of that process I thought I'd ask if any of you have ideas about country dances that utilize gravity (read not only as gravity but also as centrifugal/centripetal force, or giving weight) as a central feature, or use it in a particularly interesting way. And what do I mean by this, you ask? Oh, for example: I think that Dublin Bay is extremely interesting in the way it uses centrifugal force two different ways, and in a line across the set rather than along the four sides of the box. For starters I'm thinking about slipping circles, arming, gating, and one- or two-handed turns or hands-across, that is, those where you need to give serious weight to get to place in time. And swings and waltzes. Anything I'm missing? (Yes, you need to give appropriate weight every time you're in contact with someone in the dance, but I'm looking for something less generalized, though that's another intriguing side topic.) I realize that you could define all of country dancing as using flow and gravity as defined above to draw a pattern. But I'm trying to get a leetle more specific gravity (sorry, couldn't restrain myself). All replies received gratefully and spun down to their essential elements. Vanessa Schnatmeier =============================================================================== Vanessa Schnatmeier MEIER-AT- SSRL750.BITNET or MEIER-AT- SSRL01.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL =============================================================================== ================================================================================ Archive-Date: Tue, 23 Jul 1996 12:21:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jul 1996 12:21:11 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: RE: A Question of Gravity To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <009A5C19.E5C5E306.50-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT Vanessa -- I'm not completely sure what would satisfy your criteria, but have you looked at "From Aberdeen"? How about Jacob Hall's Jig? Both have hands-three circles that you really need to push, and in the latter case, one lady has to flip around to make it go. Neither one is particularly conducive to just leaning back to speed up; they both require a balance of speed and control. -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 415/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Tue, 23 Jul 1996 12:39:25 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jul 1996 12:39:18 -0800 (PST) From: meier-AT- SSRL01.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: A Question of Gravity To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <009A5C1C.6DE624F6.72-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT >I'm not completely sure what would satisfy your criteria, but have you looked >at "From Aberdeen"? How about Jacob Hall's Jig? Both have hands-three circles >that you really need to push, and in the latter case, one lady has to flip >around to make it go. Neither one is particularly conducive to just leaning >back to speed up; they both require a balance of speed and control. >-- Alan Well, I'm not sure that I have "criteria" as such; my intent is more on-line brainstorming. As for those hands-three circles, I will admit a prejudice toward dances that move smoothly and intuitively, a category in which I wouldn't place Jacob Hall's Jig because of just that spot where the lady has to flip around. On the other hand, when the flip works the dance is a lot of fun. And it's more interesting to the outside viewer. AND I really do like the feeling within the circle when the circle breaks back into a line. Vanessa =============================================================================== Vanessa Schnatmeier MEIER-AT- SSRL750.BITNET or MEIER-AT- SSRL01.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL =============================================================================== ================================================================================ Archive-Date: Tue, 23 Jul 1996 13:22:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jul 1996 13:10:11 -0800 From: iptech!debbieb-AT- uunet.uu.net (Debbie Bruton) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: a question of gravity To: uunet!playford.slac.stanford.edu!ECD-AT- uunet.uu.net Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT on tuesday July 23 Vanessa Schnatmeier writes: I'm in the middle of organizing a school-related dance project, and as part of that process I thought I'd ask if any of you have ideas about country dances that utilize gravity (read not only as gravity but also as centrifugal/centripetal force, or giving weight) as a central feature, or use it in a particularly interesting way. And what do I mean by this, you ask? Oh, for example: I think that Dublin Bay is extremely interesting in the way it uses centrifugal force two different ways, and in a line across the set rather than along the four sides of the box. Hey Vanessa, What about Mage on a Cree? I'm thinking about the centrifugal spins used to turn your partner and corner into the center for the mens/womens backhand rings and the accentuated spinning/giving weight of all partners well, the women in particular (we loving refer to this dance as "spin and puke" ) at the end of the dance. Very fun! Debbie Bruton (as usual, speaking only for myself) Barleycorn Country Dancer ================================================================================ Archive-Date: Tue, 23 Jul 1996 13:48:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jul 1996 13:48:04 -0800 (PST) From: meier-AT- SSRL01.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: a question of gravity To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <009A5C26.09095436.33-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT Debbie Bruton writes: >What about Mage on a Cree? I'm thinking about the centrifugal spins used >to turn your partner and corner into the center for the mens/womens >backhand rings and the accentuated spinning/giving weight of all partners >well, the women in particular (we loving refer to this dance as "spin and >puke" ) at the end of the dance. Very fun! >Debbie Bruton (as usual, speaking only for myself) >Barleycorn Country Dancer (pursing my lips, raising my eyebrows and nodding) Yeah, that does look like an interesting dance, thanks! Don't think I've done it in a while, but I just looked at it in The Playford Ball and it does seem entertaining ("spin and puke," indeed ;-) ). And speaking of The Playford Ball, I'm enjoying the photos from the CDSS archives (page 110 in particular) in which the dancers' extreme forward tilt makes them appear to be dancing over the famed Aptos, California "Mystery Spot." (for non-locals: a tourist attraction where gravity and magnetism seem to go awry) Vanessa -------------------------------------------------------------------------------- Return-Path: Received: from SERV04.SLAC.STANFORD.EDU (SERV04::SYSTEM) by SSRL01 (MX V4.2 VAX) with SMTP (DECnet); Tue, 23 Jul 1996 13:22:27 PST Received: from ssrl04.slac.stanford.edu ("port 2758"-AT- SSRL04.SLAC.Stanford.EDU) by SERV04.SLAC.STANFORD.EDU (PMDF V5.0-6 #10979) id <01I7EWLRDNH20005CR-AT- SERV04.SLAC.STANFORD.EDU>; Tue, 23 Jul 1996 13:22:25 -0800 (PST) Date: Tue, 23 Jul 1996 13:10:11 -0800 Subject: a question of gravity Errors-to: owner-ecd-AT- SSRL04.SLAC.STANFORD.EDU Warnings-to: <> Reply-To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: X-Envelope-to: meier-AT- SSRL01.SLAC.STANFORD.EDU, winston-AT- SSRL01.SLAC.STANFORD.EDU MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT X-Listname: Discussion of modern and historical English Country Dance =============================================================================== Vanessa Schnatmeier MEIER-AT- SSRL750.BITNET or MEIER-AT- SSRL01.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL =============================================================================== ================================================================================ Archive-Date: Tue, 23 Jul 1996 14:47:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jul 1996 17:37:59 -0400 From: Albert Blank Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: A Question of Gravity To: meier-AT- SSRL01.SLAC.STANFORD.EDU, ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <1B80F8475EE-AT- POSTBOX.CSI.CUNY.EDU> Content-Transfer-Encoding: 7BIT Fried Herman, in her thoroughgoing way, has created a dance that meets your criteria perfectly ... Chocolate Round O or Giving Weight Have fun! Albert Blank ================================================================================ Archive-Date: Tue, 23 Jul 1996 14:57:30 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jul 1996 17:56:20 -0400 From: zorro-AT- netdepot.com (David Marcus & Peggy Lamberson) Subject: Re: Young Widow (was Re: Jump at the Sun) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <199607232200.SAA00431-AT- jupiter.netdepot.com> Content-Transfer-Encoding: 7BIT References: <009A5A0F.6C0EA766.4-AT- ssrl01.slac.stanford.edu> Alan Winston - SSRL Central Computing wrote (Sat, 20 Jul 1996 22:01:09 -0800 (PST)): >>From: Tom Roby >>Sender: owner-ecd-AT- SSRL04.SLAC.STANFORD.EDU >>To: ECD-AT- SSRL04.SLAC.STANFORD.EDU > >I agree with this too. Step-swings are fun there. (3) "the beaten step": hop left >while kicking right, hop left while touching right behind left calf, hop left >while kicking right, hop left while touching right in front of left shin. >[This looks damn peculiar, incidentally.] I asked on rec.folk-dancing whether >anybody knew of any historical justification for the step-swing, and got no >useful response. The sequence you are describing immediately made me think of a galliard variation, just without the final cadence. In galliard terminology, it would be: Pied en l'air droit either Pied croise droit en derriere or Ruade droite Pied en l'air droit Pied croise droit If you added a Saut majeur into Posture gauche and then repeated the same sequence on the opposite foot, you'd have a perfectly acceptable galliard variation. By removing the cadence, you cut it down from 5 steps in 6 counts (cinq pas) to 4 steps in 4 counts, to fit a reel. It does look peculiar in the context of a country dance, but would be just the thing in the context of a galliard. For more info, see Orchesography by Arbeau, trans. by Mary Stewart Evans. Peggy Lamberson ================================================================================ Archive-Date: Wed, 24 Jul 1996 10:25:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Jul 1996 13:23:48 -0400 From: JulianPA-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD Digest V1 #64 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <960724132347_440942232-AT- emout18.mail.aol.com> Content-Transfer-Encoding: 7BIT Hello I'm afraid my files that explain my vaious options for subscribing and unsubscribing etc to your mailing list have been accidentally deleted. Can you tell me how to request this information? Julian ================================================================================ Archive-Date: Thu, 25 Jul 1996 11:15:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Jul 1996 13:15:03 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ECD in water To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199607251815.NAA24729-AT- ux1.cso.uiuc.edu> Content-Transfer-Encoding: 7BIT This Saturday the Central Illinois English Country Dancers will be holding a pool party with dancing in the pool. We have a few ideas for dances to do, but I thought I'd get some input on possibilities. We're thinking of doing some dances with figures like 'dip and dive' and others with watery titles such as 'Female Saylor' and 'Dublin Bay'. I may rename 'Grimstock' to 'Swimstock' and try that. ;-) Any other ideas for dances with particularily good figures or appropriate titles? The pool is a lap pool, approximately 20' * 60', 3' deep at one end and 5' deep at the other. It looks like it will be good for longways dances of various kinds. Jonathan ------------------------------------------------------------------- | Jonathan Sivier | Ballo ergo sum. | | j-sivier-AT- uiuc.edu | (I dance therefore I am.) | | Flight Simulation Lab | - des Cartwright | | Beckman Institute | | | 405 N. Mathews | SWMDG - Single White Male | | Urbana, IL 61801 | Dance Gypsy | | Work: 217/244-1923 | | | Home: 217/359-8225 | Have shoes, will dance. | ------------------------------------------------------------------- ================================================================================ Archive-Date: Thu, 25 Jul 1996 12:11:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Jul 1996 12:09:36 -0700 (PDT) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD in water To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Also, I suspect "Trip to Paris" would be a hoot. Not a Playford dance, but "Waves of Tory" might be good too. Peace. Paul ================================================================================ Archive-Date: Thu, 25 Jul 1996 12:12:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Jul 1996 12:06:35 -0700 (PDT) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD in water To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT How about "Bare Necessities"? Peace. Paul ================================================================================ Archive-Date: Thu, 25 Jul 1996 13:05:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Jul 1996 13:05:04 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: ECD in water To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <009A5DB2.5BFA1936.51-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT >How about "Bare Necessities"? I don't know if skinny-dipping is called for, although I have seen naked underwater morris dancing. A few suggestions, not necessarily more serious: Faithless Nancy Dawson ("She's true to the rest of the Navy too") The Dressed Ship Waterfall Waltz Waters of Holland Dover Pier Auretti's Dutch Skipper The Boatman Handel with Care (to the bourree from Handel's "Water Music") If All the World Were Paper ("and all the sea were ink") Jamaica Long Pond (!) Portsmouth Wood Duck (which is pushing it, but hey) The Three Sea Captains Pool's Hole Sounds like fun! -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 415/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Thu, 25 Jul 1996 14:16:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Jul 1996 04:20:38 -0500 From: "T. T. Bannister" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD in water To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Content-Transfer-Encoding: 7BIT Alan's list is hilarious. How about adding La Matelotte to the list? T.T. Bannister ================================================================================ Archive-Date: Thu, 25 Jul 1996 15:55:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Jul 1996 18:54:13 -0400 From: cclark-AT- vicon.net (A., C., & M. Clark) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD in water To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199607252254.SAA08239-AT- vicon.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT From the first edition of Playford: The Bath Bobbing Joe Row Well Ye Mariners Up Tails All Have fun! Alex Clark ================================================================================ Archive-Date: Fri, 26 Jul 1996 01:52:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 26 Jul 1996 01:52:11 -0800 (PST) From: meier-AT- SSRL01.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD in water To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <009A5E1D.86AA6ED6.10-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT For those who don't want to venture out into the ocean, I suggest Well Hall. Vanessa Schnatmeier =============================================================================== Vanessa Schnatmeier MEIER-AT- SSRL750.BITNET or MEIER-AT- SSRL01.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL =============================================================================== ================================================================================ Archive-Date: Fri, 26 Jul 1996 10:05:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 26 Jul 1996 18:54:09 -0700 From: "Radio ON 106.7 mHz" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: (no subject) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199607261708.TAA16946-AT- laforge.cistron.nl> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hello Im elly van der kant en i come from Holland.. i looking for NEW COUNTRY LINE DANCE .... can you tell me where i that can find on internet. im Country Line teacher in Holland (NHCD) PLEASE HELP ME Elly van der Kant PO BOX 81 2420 AB Nieuwkoop Holland Tel: 0031 172 573777 fax: 0031 172 573777 greeting from Holland ================================================================================ Archive-Date: Fri, 26 Jul 1996 12:03:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 26 Jul 1996 12:02:00 -0700 From: Bill Richard Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD in water To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Content-Transfer-Encoding: 7BIT And for even smaller containers of liquid, there's The Puncbowl. -------------------------------------------------------------------------- Bill Richard bill-AT- thelema.queernet.org (Preferred) 2215-R Market St. #546 billr-AT- slip.net (Also works) San Francisco, CA 94114 ================================================================================ Archive-Date: Sat, 27 Jul 1996 00:59:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 27 Jul 1996 00:59:07 -0800 (PST) From: meier-AT- SSRL01.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD in water To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <009A5EDF.470DE402.11-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT >From: Bill Richard >And for even smaller containers of liquid, there's The Punchbowl. Oh yeah? And you can dip into that with Dr. Fauster's Tumblers to get Drops of Brandy. Damply yours, Vanessa =============================================================================== Vanessa Schnatmeier MEIER-AT- SSRL750.BITNET or MEIER-AT- SSRL01.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL =============================================================================== ================================================================================ Archive-Date: Mon, 29 Jul 1996 06:05:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Jul 1996 09:06:39 -0400 From: RiverStSch-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD in water To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <960729090638_444330091-AT- emout15.mail.aol.com> Content-Transfer-Encoding: 7BIT Okay I'll add another type of water play... picture.... Prince William done with 6 canoes( 2 hand turns have to be modified)...it's been done on the Wood River in Rhode Island. Helen Davenport ================================================================================ Archive-Date: Mon, 29 Jul 1996 08:30:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Jul 1996 10:29:59 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ECD in the pool To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, ciecd-l-AT- prairienet.org Message-ID: <199607291529.KAA24989-AT- ux1.cso.uiuc.edu> Content-Transfer-Encoding: 7BIT Well, despite the clouds in the sky and the unseasonably cool weather, we held the Central Illinois English Country Dancer's 1st annual pool party last Saturday. I think the clouds and cool temps kept some people away, but the water was nice (once you got used to it) and we had about a dozen people there. We had music, danced in the pool, ate a fine dinner and then watched videos of the ECD weekend last March, our Playford Ball last month, the visit from John Ramsey's Berea College Country Dance group two years ago and some morris and rapper sword dancing some of our members did at the Kentucky Summer Dance School last month. We all had a great time and we'll definitely make this an annual event. Many dances were suggested by the ECD mailing list. I'll append the summary at the end of this message. We ended up doing 8 dances based on what the group felt like, how many dancers we had in the water at a given time and what we and the band knew. Here is the list of dances we ended up doing: Rufty Tufty Heartsease (HeartSEAse) Black Nag (Wet Rag) Upon A Summer's Day Circassian Circle Grimstock (Swimstock) Hunsdon House Female Saylor A few notes on style. Most dances worked fine with the tempo slowed down. Hunsdon House's tempo is pretty slow to begin with so I don't think we had to slow it down very much, if any. Most figures worked fine. We modified setting to just hop twice on the right, then twice on the left. If you exagerate the lean to each side while hopping, you can shake the water out of your ears at the same time. :-) Heys worked fine, but the corner crossing in the second chorus of Black Nag was almost impossible. Corner crossings turned out to be workable if they were modified to a pull-by. The most fun figures were dipping and diving as in Upon A Summer's Day and the arches in the second section of Grimstock. As I said we all had a good time and we'll all looking forward to doing it again next summer. Jonathan ------------------------------------------------------------------- | Jonathan Sivier | Ballo ergo sum. | | j-sivier-AT- uiuc.edu | (I dance therefore I am.) | | Flight Simulation Lab | - des Cartwright | | Beckman Institute | | | 405 N. Mathews | SWMDG - Single White Male | | Urbana, IL 61801 | Dance Gypsy | | Work: 217/244-1923 | | | Home: 217/359-8225 | Have shoes, will dance. | ------------------------------------------------------------------- Here's the summary of dances that were suggested: Date: Thu, 25 Jul 1996 12:06:35 -0700 (PDT) From: "Paul J. Stamler" Subject: Re: ECD in water How about "Bare Necessities"? ----- From: "Paul J. Stamler" Also, I suspect "Trip to Paris" would be a hoot. Not a Playford dance, but "Waves of Tory" might be good too. ----- From: Alan Winston - SSRL Central Computing >How about "Bare Necessities"? I don't know if skinny-dipping is called for, although I have seen naked underwater morris dancing. A few suggestions, not necessarily more serious: Faithless Nancy Dawson ("She's true to the rest of the Navy too") The Dressed Ship Waterfall Waltz Waters of Holland Dover Pier Auretti's Dutch Skipper The Boatman Handel with Care (to the bourree from Handel's "Water Music") If All the World Were Paper ("and all the sea were ink") Jamaica Long Pond (!) Portsmouth Wood Duck (which is pushing it, but hey) The Three Sea Captains Pool's Hole Sounds like fun! -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 415/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ----- From: "T. T. Bannister" Alan's list is hilarious. How about adding La Matelotte to the list? ----- From: cclark-AT- vicon.net (A., C., & M. Clark) >From the first edition of Playford: The Bath Bobbing Joe Row Well Ye Mariners Up Tails All Have fun! Alex Clark ----- From: meier-AT- SSRL01.SLAC.STANFORD.EDU For those who don't want to venture out into the ocean, I suggest Well Hall. Vanessa Schnatmeier ----- From: Bill Richard And for even smaller containers of liquid, there's The Puncbowl. -------------------------------------------------------------------------- Bill Richard bill-AT- thelema.queernet.org (Preferred) 2215-R Market St. #546 billr-AT- slip.net (Also works) San Francisco, CA 94114 ----- From: meier-AT- SSRL01.SLAC.STANFORD.EDU >From: Bill Richard >And for even smaller containers of liquid, there's The Punchbowl. Oh yeah? And you can dip into that with Dr. Fauster's Tumblers to get Drops of Brandy. Damply yours, Vanessa ----- From: RiverStSch-AT- aol.com Okay I'll add another type of water play... picture.... Prince William done with 6 canoes( 2 hand turns have to be modified)...it's been done on the Wood River in Rhode Island. Helen Davenport ================================================================================ Archive-Date: Mon, 29 Jul 1996 09:36:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Jul 1996 12:36:34 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD in the pool To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Hi Jonathan & all, Sorry to have missed this before the event took place, but I was having a few dips in Round Pond myself (Early Music week at Pinewoods, which, by the way, was really fun!). So here would have been my contributions: Round Pond (natch) Bath Carnival (how could y'all miss that one?) If an early American dance could be worked in, I'd propose Sackett's Harbour which is enough like English Country to fit quite nicely, and to exploit the dip'n'dive theme, Fried de Metz Herman's "the Archbishop" might be quite a bit of fun. Others of hers whose titles, at least, tie in a bit with the theme are The Housatonic Zephyrs(?) and Neptune The last dance, I'm not sure what the first word is, tho' I think it's as given here, but I know that Neptune is in the title. A final suggestion, while this stream is still flowing and turning things round in my brain, is The Old Mill Eric Arnold Ann Arbor ================================================================================ Archive-Date: Mon, 29 Jul 1996 18:25:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Jul 1996 18:18:59 -0700 (PDT) From: bestockp-AT- oz.net Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Young Widow (was Re: Jump at the Sun) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199607300118.SAA19770-AT- emerald.oz.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT Alan winston wrote: >Although I'm actually quite sure you know this, let me point out that >improvising setting is a Bad Idea in "Young Widow" because you're holding >hands in line, so it's disruptive and even mildly dangerous if some are >step-swinging and others are hopping in other directions. Elsewhere I'm >inclined to agree that it's an invitation to foot it in your own favorite >style, which you may have developed based on guidelines from Mr. Bishop. Hm. I'm not sure that I agree that you can't improvise while holding hands with others. Serbs do it all the time in U Cest, and manage to travel sidewards the same amount as the folks next to them no matter what fancy steps they are using. Good dancers dance with those around them, and modify their steps to blend comfortably with what others are doing. It is possible to all do the traditional pas-de-bas setting step so differently from your neighbor that it doesn't feel good dancing together, and it is possible to dance a variety of setting steps that do work well together. Most versions of setting move sidewards for the first beat and then up and down more or less in place on beats two and three and work interchangeably with other forms of setting. If we are dancing well together, you shouldn't be able to tell if I'm doing a step-swing, a pas-de-bas, a step-close,or a Hungarian front crossing heel cifra-- they should all feel the same, and match the partner's size of step and up-and-downness. >We keep seeing references to dancers in the old days who could do different >balances all the way down the line in Petronella. (I just tried a >modified version of this at Mendocino when Brad Foster called the dance, >doing a different balance for each of the four times in the diamond. It >worked well enough, but the only person who noticed called me a showoff. >[And quite rightly, too.]) "We keep seeing references to dancers in the old days" sounds like something out of history books! You've made me feel quite like an antique. It was common tradition when I learned the dance in Boston to dance different setting steps down the line. "Showing off" in this way was the POINT of it all, and the priviledge of the actives-- the twos just stood there for the whole A and admired them. Have you read Kitty Keller's book "If the Company can do it"? Not only the setting steps, but all the English dance patterns used far more elaborate footwork than we are accustomed to today. Just as a Baroque score (melody and figured bass) was not all the was played-- musicians improvised the accompaniement and ornamented the melody quite elaborately-- English dance notations are the bare-bones outline of what was expected of dancers. I'm rather glad a certain amount of opportunity for creativity (within the style) still exists. Vicky Bestock ================================================================================ Archive-Date: Mon, 29 Jul 1996 18:54:31 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Jul 1996 18:54:24 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: Young Widow (was Re: Jump at the Sun) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <009A6107.D2B65762.20-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT Vicky Bestock wrote: >Alan winston wrote: >>Although I'm actually quite sure you know this, let me point out that >>improvising setting is a Bad Idea in "Young Widow" because you're holding >>hands in line, so it's disruptive and even mildly dangerous if some are >>step-swinging and others are hopping in other directions. Elsewhere I'm >>inclined to agree that it's an invitation to foot it in your own favorite >>style, which you may have developed based on guidelines from Mr. Bishop. >Hm. I'm not sure that I agree that you can't improvise while holding hands >with others. Serbs do it all the time in U Cest, and manage to travel >sidewards the same amount as the folks next to them no matter what fancy >steps they are using. Good dancers dance with those around them, and >modify their steps to blend comfortably with what others are doing. It is >possible to all do the traditional pas-de-bas setting step so differently >from your neighbor that it doesn't feel good dancing together, and it is >possible to dance a variety of setting steps that do work well together. >Most versions of setting move sidewards for the first beat and then up and >down more or less in place on beats two and three and work interchangeably >with other forms of setting. If we are dancing well together, you >shouldn't be able to tell if I'm doing a step-swing, a pas-de-bas, a >step-close,or a Hungarian front crossing heel cifra-- they should all feel >the same, and match the partner's size of step and up-and-downness. I spoke too broadly. You are right that improvisation that matches the direction, step size, and up-and-downness of the line should be fine. I was thinking of the alternative setting steps mentioned in Morrison and Millar, like rigadoon (spring onto the *left* foot to start) or "beaten step" (hop on the *left* four times) as melding very badly with the step-swing. I have also encountered a variety of eight-count quadrille setting sequences from about 20 years after "The Young Widow" which would be even worse than rigadoons or balancer with baroque timing. (I may have already mentioned the one that concludes with a pirouette.) >"We keep seeing references to dancers in the old days" sounds like >something out of history books! You've made me feel quite like an antique. > It was common tradition when I learned the dance in Boston to dance >different setting steps down the line. "Showing off" in this way was the >POINT of it all, and the priviledge of the actives-- the twos just stood >there for the whole A and admired them. I can testify that you don't dance like an antique at all, and I'm sorry to have made you feel like one. If it's any consolation, I'm a computer weenie, and the "old days" in my field were generally about five years ago. I could argue that the pace of contra development has been grossly accelerated in the last 15 years or so, so that (say) 1980 is the "old days", or I could say that I came in late (c. 1986), or maybe that approach just isn't part of BACDS contradancing. Anyway, I've never done "Petronella" with immobile twos, nor seen ones doing different setting down the line. > Have you read Kitty Keller's book "If the Company can do it"? Not only >the setting steps, but all the English dance patterns used far more >elaborate footwork than we are accustomed to today. I have the booklet, but I have to confess that I haven't read it yet. I did just pick up her Griffiths biography ("Itinerant Dancing Master") and one line in there suggests, if I'm not reading too much into it, that country dances overtook the minuet because they were accessible to various skill levels; that is, that dancers could do the footwork or not, as their capabilities allowed them. This is encouraging for historical recreationists. -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 415/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Tue, 30 Jul 1996 03:44:29 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Jul 1996 06:43:06 -0500 (EST) From: SHARON MCKINLEY Subject: DANCING IN HARTFORD To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: Content-Transfer-Encoding: 7BIT re: hartford: anything in the ecd (or even contra) line going on in the hartford-springfield area this coming friday-sunday (aug. 2-4)? if yes, please reply directly to moi. thanks sharon mckinley mckinley-AT- mail.loc.gov ================================================================================ Archive-Date: Tue, 30 Jul 1996 08:06:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Jul 1996 11:02:39 -0400 From: Barbara Ruth Reply-To: ECD