Archive-Date: Mon, 01 Sep 1997 08:20:30 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 01 Sep 1997 11:19:28 -0400 (EDT) From: "David R. Woolf" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Sir Roger de Coverley To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I know there were a bunch of postings to this list a few months ago about Sir Roger. I didn't read them then, but was wondering if someone would be kind enough to send me the directions and tell me what music goes with it (and if it's special music where it is available - Nothing under Sir R de C in Barnes II.) Private e-mail is fine. No need to clutter the list. Thanks. -D ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ David Woolf Emory Eye Center W - 404/778-4121 Emory University H - 404/355-2827 Atlanta, GA 30322 ================================================================================ Archive-Date: Tue, 02 Sep 1997 15:14:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 02 Sep 1997 18:14:02 +0000 (GMT) From: Margherita Modica Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Special Dance Announcement To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: Many of you have given me helpful advice in answer to a query about forming a new group. I am happy to report that the CDSS-affiliated group, Columbia County Country Dancers, was duly launched as a summer series. We had an outstanding success, attracting over 50 dancers to each of our 4 scheduled events. Due to repeated requests by the dancers that we continue throughout the year, I am starting to add some special events during the regular year. The first such offering is Saturday, September 6, featuring Colun Hume. The evening begins at 7pm with our own John Huhn calling an hour of old favorites, "Simply Elementary." Then at 8, Colin takes over with a collection of his own "Divinely Entertaining" compositions, including Winter Memories, Dunant House Waltz, Elizabeth, and The Heathfield Rag (to Scott Joplin music). The music will be provided by George Davis, violin; Sue Polansky, clarinets and Larry Wallach, piano. The dance will be held in the Community House of The Church of St. John the Evangelist, County Route 25, Stockport, NY. You can find a neat map at: http://www.vicinity.com/ by just completing the form at MapBlast. They'll also give you driving directions. Overnight hospitality is available at the hall; bring a sleeping bag, mats are provided. Margherita Davis ************************************************************************ Margherita M. Modica mmodica-AT- obgyn.amc.edu Obstetrics & Gynecology (518) 262-6405 Albany Medical College (518) 262-5292, fax ************************************************************************ ================================================================================ Archive-Date: Tue, 02 Sep 1997 19:51:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 02 Sep 1997 22:50:13 -0400 (EDT) From: "Hanny D. Budnick" <74031.77-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: CS Forum for Dance etc. To: ECD list Message-ID: <970903025013_74031.77_BHT129-3-AT- CompuServe.COM> Hi all - I thoroughly enjoy the discussions and information-gathering on this list. At a less intense level, there is the DANCE Section of the MUSICA Forum of CompuServe (to which only subscribers of that service have access), covering all genres of dance. To all of you who do have CS accounts goes the invitation to publicize your events in either DANCE (Section 18) or FESTIVALS! (Section 23). Hanny Budnick, Philadelpha ================================================================================ Archive-Date: Fri, 05 Sep 1997 14:47:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 05 Sep 1997 14:47:08 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Philosophy - what makes an 'English' dance English? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01INABVAH8WI9VUOFK-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Folks -- So what makes English Country Dances English? This question may just be a symptom of the desire for neatness that I can't get in real life, but I think it might be interesting to discuss. If we do The Levi Jackson Rag at an English dance, to pick an example of a dance written in the US using figures that would be known by contradancers who don't do English at all, are we blurring our categories a bit? [Yes, Pat Shaw was English, but is this just an English dance because Pat Shaw wrote it? What if it were the same dance and an American had written it? More specifically, why is this an 'English' dance and Ted Sanella's triplets aren't?] In the context of morris dancing, Tony Barrand argues that dances and dance style express your place and life, inevitably and unconsciously, so that American morris dancers do American morris, no matter what they think they're doing. If accepted, this would tend to imply that English dances written by Americans are American and American dances written by Englishmen are English. But I think that's a red herring, since we're talking about 'English' as a category rather than a nationality when we're referring to types of dance. To give something else to point a finger at, here's a dance I've just written, which has not yet been danced. ============================================================================ THE NORTHERN COCK-UP tune: Cock of the North, as given in Mally's Northwest Morris Book Formation: Sicilian Circle A1: The whole set forms two concentric circles, the outer one facing in and the inner one facing out. (You are in the same circle as your neighbor, a different circle from your partner.) Circles go RIGHT for four bars, then LEFT for four. A2: Back home, the two couples circle left all the way around. B1: Neighbors balance (4 bars, music makes it clear) and swing, opening to face partners with women on the right (progressive). B2: Partners balance and swing, opening to face a new couple. ============================================================================= And the question is, is this a legitimate 'English' dance or what? -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.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: Fri, 05 Sep 1997 18:17:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 05 Sep 1997 20:18:01 -0500 (CDT) From: elbogue-AT- ix.netcom.com (E.L.Bogue) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: English-Contra Extravaganza / Ann Arbor MI To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ENGLISH - CONTRA EXTRAVAGANZA Oct. 31-Nov.2, 1997 Ann Arbor, Michigan featuring BRUCE HAMILTON CAROL ORMAND FOOTLOOSE and Michigan regulars Bruce Sagan Debbie Jackson Erna-Lynne Bogue LIMITED ADMISSION. / REGISTRATION REQUIRED Friday Night: English Country Dance Saturday Workshops: Hey Mania (Contra) Teaching Good Dancing Scottish As A 2nd Language Contra Calling Basics Gender Free Contras Callers' RoundTable Snoa (Scandi Couple Dance) Band Workshops English Dancing For Everyone Saturday Night: Contra and Couple Dance Sunday morning: English Dance for Experienced Dancers REGISTRATION This event is held at the Pittsfield Grange Hall, a small traditional hall. Weekend admission is quite limited. A few Workshop Only admissions for Saturday afternoon are also available. Registrations are processed without regard to gender, in the order received. Cost: Entire weekend ........... $45 Saturday Workshops .........$8 Name ____________________________________________________ Address __________________________________________________ City _____________________________________________________ State & Zip ______________________________________________ Phone ____________________ email _________________________ ___ Entire Weekend ($45) ___ Workshop Only ($8) Mail Registration with check for the required amount to: AACTMAD 2053 Yorktown Ann Arbor MI 48105 ----------------------------------------------- "Let us be what we are, and let us be it WELL." -- Francis deSales ----------------------------------------------- Erna-Lynne Bogue / elbogue-AT- ix.netcom.com (I read mail at ebogue-AT- umich.edu most often) ----------------------------------------------- ================================================================================ Archive-Date: Fri, 05 Sep 1997 21:04:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 06 Sep 1997 00:04:53 -0400 (EDT) From: "David R. Woolf" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: 3rd Annual Atlanta Eng Dance Weekend To: ECD list Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII English Country Dance Atlanta presents the Third Annual Maggots, Gypsies, and Other Divertissements a weekend of English Country (and contra) Dance featuring . . . ********************************************* Earl Gaddis Jacqueline Schwab Daron Douglas with Bruce Hamilton teaching and prompting ********************************************** $40 for the weekend (in advance) October 3-5, 1997 Atlanta, Georgia You can find the brochure at: userwww.service.emory.edu/~dwoolf/weekend.html Or e-mail name and address to: dwoolf-AT- emory.edu or call the Atlanta Dance Hotline at 404/351-DANC ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ David Woolf Emory Eye Center W - 404/778-4121 Emory University H - 404/355-2827 Atlanta, GA 30322 ================================================================================ Archive-Date: Fri, 05 Sep 1997 21:08:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 06 Sep 1997 00:09:12 -0400 (EDT) From: "David R. Woolf" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Sir Roger de Coverley Again To: ECD list Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I sent this out earlier this week, but didn't get any replies. I think I may have sent it to the incorrect address. Anyone know this dance who can help me out? Thanks -D Date: Mon, 1 Sep 1997 11:19:28 -0400 (EDT) From: "David R. Woolf" To: ECD-AT- SSRL04.SLAC.Stanford.EDU Subject: Sir Roger de Coverley I know there were a bunch of postings to this list a few months ago about Sir Roger. I didn't read them then, but was wondering if someone would be kind enough to send me the directions and tell me what music goes with it (and if it's special music where it is available - Nothing under Sir R de C in Barnes II.) I need it by Sept. 10. Private e-mail is fine. No need to clutter the list. Thanks! -D ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ David Woolf Emory Eye Center W - 404/778-4121 Emory University H - 404/355-2827 Atlanta, GA 30322 ================================================================================ Archive-Date: Sat, 06 Sep 1997 11:32:29 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 06 Sep 1997 14:29:55 -0400 From: "Hanny D. Budnick" <74031.77-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Philosophy - what makes an 'English' dan To: "BlindCopyReceiver:;"-AT- compuserve.com Message-ID: <199709061432_MC2-1F66-C608-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Alan, you should see what's going on in the Israeli dance community (every week umpteen new dances by those charismatic choreographers), all unjustly called 'folk' dances... In a way it is sad that we need labels at all - your dance, perhaps except for the music you used, could have come from most parts of Western and Northern Europe. I once attended a folk festival in Germany where the Dutch, the Danish, the Germans and the Estonians performed practically the same 'Clap dance' (pattycake polka)... How about 'community dance from the USA'? Hanny Budnick, Philadelphia ================================================================================ Archive-Date: Sat, 06 Sep 1997 11:34:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 06 Sep 1997 14:36:05 -0400 From: Mary Beth Goodman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Summer Vacation Pics To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU, morris-AT- iupui.edu Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Just put some pics of English Dance Week at Pinewoods on a web page. Enjoy! Mary Beth ================================================================================ Archive-Date: Sun, 07 Sep 1997 06:14:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 07 Sep 1997 09:14:28 -0400 (EDT) From: JohnBerni-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Philosophy - what makes an 'English' dance English? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970907091428_1649563969-AT- emout06.mail.aol.com> From John Ramsay in St Louis, Alan et. al. ... It was good of you to ask what defines an English Country Dance because it can lead to dialogue, dialogue leads to greater understanding, understanding leads to coherence, coherence makes life possible-- even while there must also be unstability in order for life to adapt, change, or grow. Yes, ask the question and dialogue, but DON'T expect an answer which will close the door on the subject. In fact, keep in the forefront of the dialogue that ENJOYMENT of English Country Dance is what enhances coherence. You titled your entry on-line, "Philosophy ..." so excuse me if I rise to take the bait. I am writing a book which deals with such matters and the opening chapter begins with an illustration of defining dance. I will copy that section below since it is not very long. The name of my book is The Answer Is A Question! The Answer is a Question Chapter 1. Defining a Verity As an initial classroom exercise in my Folk Dance classes at Berea College, I would ask each student to bring me five definitions for the word "dance." They were instructed to utilize a variety of sources including dictionaries, encyclopedias, textbooks, other types of literature about dance, or even to attempt their own definitions. It was like having twenty-five hours to spend in the library looking for the definition myself, except it was better since they approached the task in twenty-five different ways, making it a broad survey of the literature available in our library, and they did it all in one night! I then had the fun of assembling these definitions, selecting and arranging them into provocative sequences, and notifying each student who would be called upon to share one of their definitions as I orchestrated the next class presentation. I always loved the next class session. Although the class met one of the phys ical education requirements at the College, my hopes for the students (and the College's, I believe) were much broader, including an attempt to open their minds to new insights into ultimate truth. You can imagine the animated discussion which followed as one student would read a definition, followed by another which might state the same definition with more color or more succinctly, and then by one which disagreed emphatically with it. Invariably the students would realize that the experts really have trouble defining dance-- and this would empower the students with confidence in using their own judgement. The next step was to call on some students who had drafted their own definition. These were often presented with the great wisdom which the students, with youthful alacrity, arrived at after seeing how much confusion there was in the literature. There would often be a palpable approval of the selected student definition as the orchestration neared its climax. The climax would be to have those students speak who bounded beyond the confines of the assignment and submitted their personal insight instead of a definition-- "it isn't as important to define dance as to enjoy it," someone would always observe. We were then liberated to enjoy dance for the rest of the term, possibly even for the rest of their lives. The paradox is that this exercise in the futility of definition does not demean our need to classify our ideas by giving them words. Giving words is a way to link our finite minds to infinite knowledge. Paradoxes are part and parcel of life. Humans both love and loath them; we find them both intriguing and unacceptable at the same time. The human penchant to classify everything is our way of forcing our world to make sense to us. Words themselves are a way of classifying the world-- bagging, tagging, and analysing each thought in an attempt to understand the experience of being alive. The act of defining words is the ultimate form of classification. It is where we must begin as we grapple with ultimate truth and it is where we end as we try to communicate what we understand with each other. But in the end altho we may not be able to define dance, we can find great pleasure in dancing. ================================================================================ Archive-Date: Sun, 07 Sep 1997 15:30:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 07 Sep 1997 17:36:25 -0500 From: Mary E Jones Subject: Stockport NY Dance Series To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <34132C69.2EB-AT- javanet.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <970806040613_100116.165_EHU32-3-AT- CompuServe.COM> To All and Especially Colin Hume & Margherita Davis - Last night I danced to a wonderful program by Colin in Stockport NY - a tiny hamlet really that is lucky enough to contain the church where the tireless Margherita Davis is a member. What a special dance series that has become!!!! There is an energy that comes from Margherita that lifts the very able band, Hudson's Crossing, and everyone there - callers and dancers alike - that is just marvelous. I subbed for Paul Ross in July and never realized just what an enormous impact that spirit has on all of us. It was a wicked hot night and yet everyone's spirits were soaring. Thank you, Margherita!! Now, as my 10 year-old would say, under his breath...first the kiss-up, now the request...to Colin: last night you taught and prompted a duple longways dance at the start of your program, Last of England. What a special dance - fairly easy, wonderfully flowing, gulp! unpublished. It seemed the perfect dance for that day of non-stop news coverage. Is there any way for us to buy a copy - such as Fried does with her individual dances? It is a real 'keeper'. Lastly a word about Colin's program: just about perfect (OK 3 words). I never realized just how difficult programming is - or how long it takes! The mix was great - nothing was too complicated for this particular group of dancers - it was very satisfying as a dancer (and inspiring as a caller). The evening was fun and lovely - a perfect mix. Thank you all! Mary (We Don't Call It Sucking-Up, We Call It Networking) Jones ================================================================================ Archive-Date: Mon, 08 Sep 1997 06:41:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Sep 1997 09:41:13 -0400 (EDT) From: JohnBerni-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ECD email codes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970908093758_284799902-AT- emout20.mail.aol.com> Alan, Would you kindly repeat the code list sent a few months ago for automatically signing on, off etc.? ================================================================================ Archive-Date: Tue, 09 Sep 1997 13:59:25 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Sep 1997 16:59:50 -0400 (EDT) From: darby.1-AT- osu.edu (Michael V. Darby) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Ann Arbor Weekend To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <199709092059.QAA25310-AT- postbox.acs.ohio-state.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Erna -Lynn writes: < ENGLISH - CONTRA EXTRAVAGANZA Oct. 31-Nov.2, 1997 Ann Arbor, Michigan Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Ann Arbor Weekend To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Tue, 9 Sep 1997, Michael V. Darby wrote: > Erna -Lynn writes: > > < ENGLISH - CONTRA EXTRAVAGANZA > Oct. 31-Nov.2, 1997 > Ann Arbor, Michigan > [snip] > > < few Workshop Only admissions for Saturday afternoon > > I recall earlier hearing of the possibility of a Greenfield Village/Lovett > Hall Dance commemorating the building of Lovett Hall (or some such event) > being set-up by Glen Morningstar and tentatively scheduled for Nov 2. Is > there more information on that commemoration and is this workshop connected > to, in lieu of, or completely unrelated to that supposed event? The English-Contra Extravaganza planned for the weekend of Oct. 31-Nov. 2 is unrelated to but coordinated with the 60th anniversary dance at Lovett Hall in Dearborn, MI on Nov. 2. The information packet we are providing for the Extravaganza also includes information on the Lovett Hall dance, but it requires separate registration which we don't handle. The Extravaganza is planned not to conflict with the Lovett Hall dance. Eric Arnold -- Ann Arbor (one of the AACTMAD board involved with the Extravaganza) ================================================================================ Archive-Date: Tue, 09 Sep 1997 21:23:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Sep 1997 00:29:44 +0000 From: Erna-Lynne Bogue Subject: Re: Ann Arbor Weekend To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3415E9F0.1974-AT- ix.netcom.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <199709092059.QAA25310-AT- postbox.acs.ohio-state.edu> The 60th Anniversary of Lovett Hall, the ballroom that Henry Ford built in Greenfield Village, is being celebrated on Nov 2 (Sunday) with a dance from 1:30-4:30 in the afternoon. The English-for Experienced-Dancers workshop that ends the Ann Arbor weekend is on Sunday morning (10:30-noon) so that people can get to Greenfield Vilalge (about 35 miles from our dance site) if they want to attend both events. Registration for the Lovett Hall dance is required. I don't have a flyer for it, but I understand information is available at 313-982-6100, extension 2259. Glen Morningstar's email address is gmorning-AT- aol.com and I'm sure he has more information as well. I hope this helps. ELB -------------------------------- Erna-Lynne Bogue / ebogue-AT- umich.edu -------------------------------- ================================================================================ Archive-Date: Mon, 15 Sep 1997 07:58:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Mon, 15 Sep 1997 13:10:38 +0200 From: Philippe Callens Subject: moving To: lcandres-AT- waonline.com, bob-AT- hottub.demon.co.uk, iolair-AT- psynet.net, dvorana-AT- login.cz, pwb-AT- mitre.org, eabutenhof-AT- ioa.com, dcahn-AT- accessone.com, camp-AT- cdss.org, sales-AT- cdss.org, rpg-AT- inforamp.net, ecocke-AT- ksu.edu, HCORNELIUS-AT- mail.air-inc.com, cotswoldmusic-AT- ndirect.co.uk, dalsemer-AT- grove.net, ECD-AT- SSRL04.SLAC.STANFORD.EDU, larry.edelman-AT- uchsc.edu, FFERREL-AT- aol.com, brad.foster-AT- cdss.org, mls-AT- panix.com, greeny-AT- ma.ultranet.com, jmg-AT- scanview.com, folkthings-AT- msn.com, ScottHiggs-AT- icdc.com, 100331.3540-AT- compuserve.com, 100116.165-AT- compuserve.com, zestycon-AT- aol.com, kvkeller-AT- erols.com, litchman-AT- neon.unm.edu, LLXL26B-AT- prodigy.com, gmorning-AT- aol.com, gmurrow-AT- compuserve.com, hall.nielsen-AT- glo.be, deortner-AT- aol.com, hands4-AT- world.std.com, pearl-AT- sw.stratus.com, l_ramsay-AT- hotmail.com, mrich-AT- u.washington.edu, trio-AT- euronet.all, roodman-AT- binghamton.edu, Donald.Ross-AT- hks.se, srotenbe-AT- bellatlantic.net, gtrotenb-AT- mcs.drexel.edu, tedrudofker-AT- juno.com, hugh-AT- sdl.ug.eds.com, 75213.2435-AT- compuserve.com Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <341D17AE.513D-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Please notice my new address which will be valid as from September 22. Philippe Callens & Patrick Reyntiens Goundodstraat 2A, app.7F 2018 Antwerp Belgium phone 03/216.04.32 (int. +32-3-2160432) My e-mail address does not change. Philippe ================================================================================ Archive-Date: Mon, 15 Sep 1997 07:58:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 14 Sep 1997 21:00:38 -0400 From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Early dance and music workshop To: ECD ECD Message-ID: <199709142100_MC2-2063-73F2-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable ECD subscribers may be interested in the following workshop to be held at= Northwestern University on November 1st and 2nd. It offers an opportunit= y to learn Renaissance and 17th Century dance (including the minuet) from t= wo of the world's best known expert teachers and performers-- Charles Garth= and Dorothy Olsson (of Amherst Assembly fame, BTW). Those of you who pla= y recorder may enjoy participating in the ensemble classes devoted to the same repertory. As the workshop is funded primarily from a family foundation, the registration of $80 is very reasonable! Hope to see som= e of you there... Gene Murrow gmurrow-AT- compuserve.com +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++= ++ ++++++++ Early Dance and Music Workshop Northwestern University School of Music Evanston, IL November 1st and 2nd, 1997 Staff GENE MURROW, Director, Recorder, English country dance. President of the American Recorder Society, = leader of recorder and dance workshops throughout the US CHARLES GARTH, Dance. President of the Historical Dance Foundation, internationally noted = performer and teacher of Renaissance and Baroque dance. DOROTHY OLSSON, Dance and Recorder. Adjunct Professor of Dance Education= at NYU and = Director of NY Historical Dance Company. JOHN TYSON, Recorder. Performer and teacher throughout the Americas, Europe and Japan = specializing in early dance music and improvisation. Director of Renaissonics, an early dance = music ensemble. Program (choose dance only, recorder only, or a combination of both!): ** Classes in Renaissance and Baroque dance for beginners and experience= d dancers ** Recorder dance music ensembles for intermediate and advanced players ** Special =93introduction to the recorder=94 session for total beginners= ** English Country dancing for all ** Gala Saturday evening ball featuring Renaissance, Baroque, and English= country dance with = music provided by student ensembles ** Sunday afternoon concert by The Newberry Consort Registration is $80. Call Dick Stalger Concert Hall , Northwestern University at (847) 467 - 4000 (11:00 AM to 4:00 PM week-days) for full brochure or to register. Some local hospitality is available. The workshop is made possible by a grant in honor of Evelyn Dunbar and is par= t of the NU School of Music Evelyn Dunbar = Memorial Early Music Festivals. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++= ++ +++++++ ================================================================================ Archive-Date: Thu, 18 Sep 1997 13:10:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 18 Sep 1997 13:43:17 -0400 From: gaff-AT- neu.edu (Terence Gaffney) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Celebration of Helen Storrow's Birthday, and a favor To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" This Sunday CDS Boston Centre is celebrating Helen Storrow's Birthday with a picni and dance. Picnic begins at 1 on the Esplanade by the MDC playground a few blocks west of the Hatch Shell. Morris dancing by Ha'Penny at 1:30, an English demonstration at 2 with dancing for all at 2:15. The Patriot's Trail Girl Scout Council has been advertising it among their groups as well so we hope to get a big turnout of scouts and their families. As part of the festivities, we'd like to put Leonard Ware's biography of Mrs. Storrow on our web site, but we haven't been able to find any family represntatives to talk to about this. Do any list members have a lead on Mr. Ware or his family? His address at the time he wrote the biography was Washington D.C. You can reply privately to me at Gaff-AT- neu.edu. Thanks. Terry Gaffney ================================================================================ Archive-Date: Wed, 24 Sep 1997 05:02:00 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Sep 1997 09:33:16 -0230 From: mulligan-AT- morgan.ucs.mun.ca (Martin E. Mulligan) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: two questions To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hello, last spring, I wrote to this list when we started a small trial ECD group here in St. John's, Newfoundland. I'm happy to say that we have expanded to a biweekly class this Fall and at our first meeting two weeks ago we had 12 couples dancing! However, now I have to explore English dances and dancing in more detail and, inevitably, questions arise. I just obtained a copy of "Ease and Elegance" because I had seen mention on this list that it contains valuable information on teaching as well as being a collection of dances. In looking over it, I have two questions - one on a dance and one on style. (1) The dance "The Chocolate Round-O" looks quite easy and builds nicely on some of the basic figures and patterns that we have started to learn. For Bars 1-4 of B2, the instructions state: Gate fig.: 1st cu. lead thru 2nd cu. & cast back, assisted by 2nd cu. Question - what do second couple do exactly? Do they just help 1st cu. as they come up between them - holding hands for 1 or 2 bars? Do they retain hands with 1st cu. for all four bars and pivot right about as 1st cu. cast? Is the term Gate figure used in other dances and does it have the same menaing in all places? (2) As I read "Ease and Elegance", the footwork described for "forward a double" and for "siding" seems to be different from that described in "The Playford Ball" by Keller and Shimer. In "Ease and Elegance" the footwork for both figures is described as R-L-R-L with a transfer of weight on count 4 (I'll assume a jig or reel tempo here). In "The Playford Ball", the footwork is described as three steps forward and close (no weight). Can anyone offer a definitive answer? Is there one? If the footwork described in "The Playford Ball" is more standard, how does on execute right shoulder siding (which occurs in "1 is One and all alone" in "Ease and Elegance"? Do you start on the left foot? Thank you in advance for any help, advice or suggestions. Martin Mulligan ========================================================================= Dr. Martin E. Mulligan mulligan-AT- morgan.ucs.mun.ca Department of Biochemistry phone (709) 737-7978 Memorial University of Newfoundland fax (709) 737-2422 St. John's, Newfoundland, CANADA A1B 3X9 ========================================================================= ================================================================================ Archive-Date: Wed, 24 Sep 1997 07:09:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Sep 1997 10:10:40 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: two questions To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hello Martin, I'll respond to the list to your questions because they are good questions and other folks may have different answers from mine, and some general discussion of some of these would be in the spirit of this list as I understand it. On Wed, 24 Sep 1997, Martin E. Mulligan wrote: [snip] > (1) The dance "The Chocolate Round-O" looks quite easy and builds > nicely on some of the basic figures and patterns that we have started > to learn. For Bars 1-4 of B2, the instructions state: > > Gate fig.: 1st cu. lead thru 2nd cu. & cast back, assisted by 2nd cu. > > Question - what do second couple do exactly? Do they just help 1st > cu. as they come up between them - holding hands for 1 or 2 bars? Do > they retain hands with 1st cu. for all four bars and pivot right > about as 1st cu. cast? Is the term Gate figure used in other dances > and does it have the same menaing in all places? The second couple typically backs up, pivoting around the joined hands, (so the second couple isn't really acting as a "post" for the gate,even though this is sometimes described as a "gate and post" figure), and they hang on all the way around, until the 1st couple is back to place. It is a kind of assisted cast, akin to an assisted cast in contradancing. The opportunity for the first couple to make eye contact and perhaps flirt during the first part of this figure as the 1's come up between the 2's is often emphasized. The term "gate" is used in other dances, and as far as I know is only used in this sense. It is used in "The Bishop" and in "Correlli's Maggot", to name two others that come to mind. > (2) As I read "Ease and Elegance", the footwork described for > "forward a double" and for "siding" seems to be different from that > described in "The Playford Ball" by Keller and Shimer. In "Ease and > Elegance" the footwork for both figures is described as R-L-R-L with > a transfer of weight on count 4 (I'll assume a jig or reel tempo > here). In "The Playford Ball", the footwork is described as three > steps forward and close (no weight). > > Can anyone offer a definitive answer? Is there one? I have heard the opinions of a number of well-respected teachers of ECD on this subject over several years, as well as read, as you have, opinions in several books. The definitive answer seems to be that there is no definitive answer. Except, perhaps, for performance groups, the details of footwork are usually left up the individual dancers to worry about or not worry about, as they see fit. However, in some workshops, certain teachers may have definite advice about footwork, either generally or in specific situations where it can make a clear difference in a particular figure. > If the footwork described in "The Playford Ball" is more standard, > how does on execute right shoulder siding (which occurs in "1 is One > and all alone" in "Ease and Elegance"? Do you start on the left > foot? I think of the details of footwork as a question of style that a dancer may wish to work on as he or she progresses to the point of realizing that it does affect one's dancing. As I am going through a dance, the first few times I am working out whether I want to be starting on my right or left foot for particular parts, and my default is usually to start on my right foot. Because I usually want to keep this lead unless there is a specific reason to change it, on the double, I prefer to transfer weight on the fourth step (the close), and that preserves the right-foot lead. However, if there is a good reason to change the lead from one part of the dance to another, then the double is a good place to do this, because it also works well as described in Keller & Shimer (The Playford Ball), with no weight on the close. In the siding figure, it may depend on how one returns -- sometimes one returns with a turn single, and then the direction of this turn may suggest favoring one way over the other. Historically, at different times there were different conventions, with left-foot leads being the default at certain times and places in the Renaissance, and right-foot leads the default in other places in the Baroque era, but as far as I know (I'm not a historian, but I have encountered some) no sources have turned up which give a clear answer specifically in the context of ECD. Even the setting step, which these days is generally assumed to start on the right foot (and which is a good reason for having a right foot lead generally if this convention is adopted), it seems, is open to this ambiguity (the SCA people, I believe, generally start on the left, perhaps based on the Renaissance historical information). As a teacher and a dancer, I have a preference, and if there is a situation where I feel that it makes a significant difference, I include it in my teaching. If someone who is uncertain about what to do wants some advice, I tell them what I like to do. But mostly I feel that whatever works best for the individual is fine. In a performance group I would probably have them work it out jointly and then agree on a specific footing. Eric Arnold Ann Arbor ================================================================================ Archive-Date: Wed, 24 Sep 1997 07:43:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Sep 1997 07:44:07 -0700 (PDT) From: bestockp-AT- oz.net Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Kill Him with Kindness To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi folks, Can someone explain the timing of the first part of Kill Him With Kindness? My notes say lead out for 6 beats and back for 6, which uses up the whole A, leaving no time for the half gypsy to change sides, so I was guessing you lead out for 6, lead in for 4 and sneak the half-gypsy in on the last two counts. Or do you lead out for 3, in for 3 and gypsy for 6, as one of our callers is interpreting it? Thanks for your help! Next time I'll take more detailed notes! Vicky Bestock ================================================================================ Archive-Date: Wed, 24 Sep 1997 08:39:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Sep 1997 11:40:28 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Kill Him with Kindness To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199709241540.LAA26041-AT- mail1.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 07:44 AM 9/24/97 -0700, you wrote: >Hi folks, > >Can someone explain the timing of the first part of Kill Him With Kindness? >My notes say lead out for 6 beats and back for 6, which uses up the whole >A, leaving no time for the half gypsy to change sides, so I was guessing >you lead out for 6, lead in for 4 and sneak the half-gypsy in on the last >two counts. > >Or do you lead out for 3, in for 3 and gypsy for 6, as one of our callers >is interpreting it? Vicky, love: I do it lead out with neighbor in 3 beats, turn to face partner in 3 [changing hands], lead back in 3, and 2-h turn partner 1/2-way in 3. I probably picked that up from Christine's teaching. [See "Purcell, Playford and the English Country Dance," Vol. I.] Great eye-contact dance, especially coming out of the cloverleaf turn single, when you've time to connect with your partner before you face your neighbor for the 3 changes. See you at the Portland Ball! Sharon Green ================================================================================ Archive-Date: Wed, 24 Sep 1997 09:49:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Sep 1997 09:50:03 -0700 (PDT) From: dodson-AT- socrates.berkeley.edu (allen and alisa dodson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: BACDS Fall Weekend To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hello Out There, I've been asked to post this message about the Bay Area's Fall Dance Weekend, coming up next month already! So here it is: -- Alisa The Bay Area Country Dance Society's FALL DANCE CAMP October 17 - 19, 1997 at Monte Toyon (near Santa Cruz, CA) Fall Camp will include workshops in: American Contra and Square Dancing (Erik Hoffman and the ContraBandits) English Ceilidh Dancing (Alisa Dodson) Cotswold Morris and Longsword (Andra Herzbrun Horton) North West Clog Morris (Peter ffoulkes) Singing (Doug Olsen of Oak Ash & Thorn) *** and LOTS of ENGLISH COUNTRY DANCING *** We are pleased to announce that Fall Camp 1997 will be importing, all the way from Arkansas, Neil Kelley to teach English Country dancing. She will be teaching three workshops: first, dances of Jane Austen's era; next, ECD done to O'Carolan tunes; and, finally, dances with a surprise! Neil has been involved in English dance since at least 1978, and has been teaching for the last 18 years. She is deeply interested in dance origins and evolution, as well as in that's going on today. For further information regarding this camp, please contact Vanessa Schnatmeier at 415-365-2913, or e-mail ================================================================================ Archive-Date: Wed, 24 Sep 1997 12:19:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Sep 1997 12:19:10 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: two questions To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01IO0QK9MHOY91VWSX-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Martin Mulligan had some questions, to which I'll give my own (opinionated and unauthoritive) answers: >(1) The dance "The Chocolate Round-O" looks quite easy and builds >nicely on some of the basic figures and patterns that we have started >to learn. For Bars 1-4 of B2, the instructions state: >Gate fig.: 1st cu. lead thru 2nd cu. & cast back, assisted by 2nd cu. >Question - what do second couple do exactly? Do they just help 1st >cu. as they come up between them - holding hands for 1 or 2 bars? Do >they retain hands with 1st cu. for all four bars and pivot right >about as 1st cu. cast? Is the term Gate figure used in other dances >and does it have the same menaing in all places? I largely agree with Eric Arnold here; the 1s and 2s retain hands throughout the figure, and the twos move with the ones, at least a little. The motion is more like "pivot right about" in the choice above, but the 2s act as a counterweight, which means moving a bit. (However, the axis around which the 1 and 2 rotate is closer to the 2; the 1 definitely covers a lot more ground.) Other dances where "Gate" has this meaning: Wakefield Hunt, Sun Assembly. >(2) As I read "Ease and Elegance", the footwork described for >"forward a double" and for "siding" seems to be different from that >described in "The Playford Ball" by Keller and Shimer. In "Ease and >Elegance" the footwork for both figures is described as R-L-R-L with >a transfer of weight on count 4 (I'll assume a jig or reel tempo >here). In "The Playford Ball", the footwork is described as three >steps forward and close (no weight). >Can anyone offer a definitive answer? Is there one? Respectively: Yes. No. (I think Fried is offering a definitive answer, and I don't think there is one.) >If the footwork described in "The Playford Ball" is more standard, >how does on execute right shoulder siding (which occurs in "1 is One >and all alone" in "Ease and Elegance"? Do you start on the left >foot? I was taught, and teach, the "double" footwork as three steps and close, and the same for curvy siding (which is, I think, the only siding "The Playford Ball" addresses). I think closing on 4 as you turn into place, facing back the way you came, gives a much more 'finished' feeling than not closing. This is less vital with into-line siding. I also agree with Eric here. In most cases outside of performance, which foot you're on isn't that important. (In setting, which foot you're on affects which direction you're going on the floor, which _is_ important.) I also think that, if it is important, the leader can mention it when it comes up -- or leave it to the dancers to figure out, which is actually good for them. All this is just my opinion, of course; I could be wrong. -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.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: Wed, 24 Sep 1997 17:56:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Sep 1997 21:13:15 -0400 From: Faina Riftina Subject: Re: Kill Him with Kindness To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3429BAAB.1750-AT- is3.nyu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <199709241540.LAA26041-AT- mail1.panix.com> Sharon Green wrote: > > I do it lead out with neighbor in 3 beats, turn to face partner in 3 > [changing hands], lead back in 3, and 2-h turn partner 1/2-way in 3. I > probably picked that up from Christine's teaching. [See "Purcell, Playford > and the English Country Dance," Vol. I.] > > Great eye-contact dance, especially coming out of the cloverleaf turn > single, when you've time to connect with your partner before you face your > neighbor for the 3 changes. > > See you at the Portland Ball! > > Sharon Green This is indeed a lovely dance and fairly easy for beginners. It's reconstructed in Frank Van Cleef's book Twenty-four Country Dances from the Playford Editions as a proper dance, but, also probably under Christine Helwig's influence, I've always danced and taught it as a duple minor improper dance. As Sharon knows, I teach it with a different timing from hers: * 3 counts to turn away from partner, taking inside hands with neighbor ready to lead away at the end of the bar; * 3 counts to lead away, turning in toward neighbor to face partner at the end of the bar; and then the remainder as Sharon indicates * 3 counts to return to line, and 3 to gypsy 1/2. Mine is not the way most people time this first figure, but I prefer it because of the expressive quality and sense of anticipation you can give to the turning away from partner to lead out with another of the opposite sex and because, even if this possibility doesn't appeal to you, you may dislike the brusk turning away from partner that the "lead away in the first bar" interpretation requires. Try both timings and see which one you prefer.--Paul Ross, CD*NY and Westchester Country Dancers ================================================================================ Archive-Date: Wed, 24 Sep 1997 17:56:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Sep 1997 21:13:15 -0400 From: Faina Riftina Subject: Re: Kill Him with Kindness To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3429BAAB.1750-AT- is3.nyu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <199709241540.LAA26041-AT- mail1.panix.com> Sharon Green wrote: > > I do it lead out with neighbor in 3 beats, turn to face partner in 3 > [changing hands], lead back in 3, and 2-h turn partner 1/2-way in 3. I > probably picked that up from Christine's teaching. [See "Purcell, Playford > and the English Country Dance," Vol. I.] > > Great eye-contact dance, especially coming out of the cloverleaf turn > single, when you've time to connect with your partner before you face your > neighbor for the 3 changes. > > See you at the Portland Ball! > > Sharon Green This is indeed a lovely dance and fairly easy for beginners. It's reconstructed in Frank Van Cleef's book Twenty-four Country Dances from the Playford Editions as a proper dance, but, also probably under Christine Helwig's influence, I've always danced and taught it as a duple minor improper dance. As Sharon knows, I teach it with a different timing from hers: * 3 counts to turn away from partner, taking inside hands with neighbor ready to lead away at the end of the bar; * 3 counts to lead away, turning in toward neighbor to face partner at the end of the bar; and then the remainder as Sharon indicates * 3 counts to return to line, and 3 to gypsy 1/2. Mine is not the way most people time this first figure, but I prefer it because of the expressive quality and sense of anticipation you can give to the turning away from partner to lead out with another of the opposite sex and because, even if this possibility doesn't appeal to you, you may dislike the brusk turning away from partner that the "lead away in the first bar" interpretation requires. Try both timings and see which one you prefer.--Paul Ross, CD*NY and Westchester Country Dancers ================================================================================ Archive-Date: Wed, 24 Sep 1997 21:39:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Sep 1997 00:40:39 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Kill Him with Kindness To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199709250440.AAA26645-AT- mail1.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 09:13 PM 9/24/97 -0400, Paul Ross wrote: >As Sharon knows, I teach it with a different timing from hers: > >* 3 counts to turn away from partner, taking inside hands with neighbor >ready to lead away at the end of the bar; >* 3 counts to lead away, turning in toward neighbor to face partner at >the end of the bar; >and then the remainder as Sharon indicates >* 3 counts to return to line, and 3 to gypsy 1/2. > >Mine is not the way most people time this first figure, but I prefer it >because of the expressive quality and sense of anticipation you can give >to the turning away from partner to lead out with another of the >opposite sex and because, even if this possibility doesn't appeal to >you, you may dislike the brusk turning away from partner that the "lead >away in the first bar" interpretation requires. Vicky [yet another note]: Paul & I really don't differ as much on the interplay in "Kill Him with Kindness" as his note might seem to suggest. I operate on the theory that the dance begins with the upbeat [or even before--depends on the partner], and tend to be deeply involved with my partner until bar 1, when, of course, I turn my _full_ attention on the charming gentleman who is leading me away. And as I complete the three changes of R & L, I certainly my attention is drawn back to my partner for a parting glance before the next round begins. It _is_ a question of timing, and of intent. What one dancer finds brusque, another finds mischievous, even flirtatious. And, of course, I learned to flirt out West... Sharon Green (The Minister's Wife) ================================================================================ Archive-Date: Thu, 25 Sep 1997 04:25:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Thu, 25 Sep 1997 13:25:20 +0200 From: Philippe Callens Subject: Re: Kill Him with Kindness To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <342A4A20.2B48-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: Here's how I teach "Kill him with kindness". A1 Bar 1 Neigbours lead out two steps and turn on the third count. Bar 2 Lead back (three steps) Bar 3-4 Partners Hole in the wall cross over (six steps) Frank Van Cleef and Christine Helwig are not very clear in their interpretation. So this is the way I have been doing this dance for may years. By the way, it has been recorded on the Little Tinkers' CD "Both sides of the Atlantic" which came out in July. In the accompanying booklet (which I edited) the version mentioned above can be found. "Kill him with kindness" is a fine dance, beautiful and fairly simple in movements, to a lovely piece of music. Philippe Callens ================================================================================ Archive-Date: Thu, 25 Sep 1997 06:18:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Sep 1997 09:18:58 -0400 (EDT) From: "Priscilla M. Burrage" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: two questions To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Wed, 24 Sep 1997, Alan Winston - SSRL Central Computing wrote: > > Martin Mulligan had some questions, to which I'll give my own (opinionated > and unauthoritive) answers: > > >(1) The dance "The Chocolate Round-O" {snip} > >Gate fig.: 1st cu. lead thru 2nd cu. & cast back, assisted by 2nd cu. > > >Question - what do second couple do exactly? Both Eric and say first couple dance forward and second couple dance backward, with joined nearer hands. Eric says the pivot point is the joined hands. Alan prefers the pivot point to be closer to the second couple, i.e., they execute a smaller circle (backwards). In my experience, if you teach Eric's description, you will get the dancers doing the figure the way Alan describes it. (Many dancers are afraid of backing up.) Personally I like to go for it and make my second-woman backwards movement as large as the first woman will go along with. ~~~~~~~~~~~~~~~~~ Priscilla Burrage Vermont US (pburrage-AT- zoo.uvm.edu) ================================================================================ Archive-Date: Thu, 25 Sep 1997 11:49:41 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Sep 1997 11:49:29 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: two questions To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01IO249PMSOE91VWSX-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Priscilla says: In my experience, if you teach Eric's description, you will get the dancers doing the figure the way Alan describes it. (Many dancers are afraid of backing up.) I think this is both true and wise, and has implications far beyond this particular dance. Well said! -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.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 Sep 1997 11:52:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Sep 1997 11:52:07 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Minor corrections on Fall Weekend announcement To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01IO24E72LUS91VWSX-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Alisa wrote: =========================================================================== The Bay Area Country Dance Society's FALL DANCE CAMP October 17 - 19, 1997 at Monte Toyon (near Santa Cruz, CA) Fall Camp will include workshops in: American Contra and Square Dancing (Erik Hoffman and the ContraBandits) English Ceilidh Dancing (Alisa Dodson) Cotswold Morris and Longsword (Andra Herzbrun Horton) North West Clog Morris (Peter ffoulkes) Singing (Doug Olsen of Oak Ash & Thorn) *** and LOTS of ENGLISH COUNTRY DANCING *** We are pleased to announce that Fall Camp 1997 will be importing, all the way from Arkansas, Neil Kelley to teach English Country dancing. She will be teaching three workshops: first, dances of Jane Austen's era; next, ECD done to O'Carolan tunes; and, finally, dances with a surprise! Neil has been involved in English dance since at least 1978, and has been teaching for the last 18 years. She is deeply interested in dance origins and evolution, as well as in that's going on today. For further information regarding this camp, please contact Vanessa Schnatmeier at 415-365-2913, or e-mail ============================================================================ which is true and good until the very last line. That's Vanessa Schnatmeier at 650-365-2913, or -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.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 Sep 1997 17:16:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Sep 1997 17:16:26 -0700 (PDT) From: bestockp-AT- oz.net Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: The Ball To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >All right, Vicky, I give up: _What's_ The Road to Dendron? > >Hugs, >Sharon The Rhododendron is the Washington state flower. And the Road to Dendron is Washington's answer to all the other Roads to everywhere else in the ECD repertory. Its a new dance by Mike Richardson, and we'll be doing it at the ball this year. Ball dance descriptions are in progress-- written but not edited-- so you'll have to wait until you get your booklet (shortly after you sign up). You can try it out then. Or you could do what Mike prefers, and wait until the ball to be surprised and delighted! Vicky ================================================================================ Archive-Date: Thu, 25 Sep 1997 20:24:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Sep 1997 23:25:03 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: The Ball To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199709260325.XAA11249-AT- mail1.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The check is in the mail... Love, Sharon P.S. Now, what version of "Kill Him with Kindness" _will_ you do? ================================================================================ Archive-Date: Fri, 26 Sep 1997 07:39:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 26 Sep 1997 10:37:03 -0500 From: Mary K Friday Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re[2]: The Ball -- or -- Rhododendron To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9709268752.AA875284791-AT- smtp-gw5.census.gov> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit And Jenny Beer has written a dance (and the tune! -- which is a round you can SING) titled: Surprise and Delight It is dedicated to Tanya Rotenberg and Ted Rudofker, from whose wedding vows the title words were taken. Nice dance, too! Mary Kay Friday Washington, D.C. P.S. Did I miss something about The Ball? ______________________________ Reply Separator _________________________________ Subject: Re: The Ball Author: at SMTP-GATEWAY Date: 9/25/97 5:16 PM >All right, Vicky, I give up: _What's_ The Road to Dendron? > >Hugs, >Sharon The Rhododendron is the Washington state flower. And the Road to Dendron is .... Or you could do what Mike prefers, and wait until the ball to be surprised and delighted! Vicky ================================================================================ Archive-Date: Sun, 28 Sep 1997 08:59:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 28 Sep 1997 11:59:29 -0400 From: Diane Schmit Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Baltimore Playford Ball To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3.0.2.32.19970928115929.007c4aa0-AT- popd.ix.netcom.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I just learned the Baltimore Playford Ball, on Saturday October 4, still has openings. If interested, contact Sharon McKinley at 410 740-3250 (smckinley-AT- loc.gov), or send email to me. Music will be by Marty Taylor, Liz Donaldson, and Andrea Hoag. There is an afternoon 'practice' session (music by Dave Wiesler) as well as the evening ball. The dance program includes: Bishop Dick's Maggot Draper's Garden Dublin Bay Easter Thursday Fandango Fenterlarick Halfe Hannikin Hambleton's Round O Heartsease Hudson Creek Hunsdon House King of Poland Maiden Lane Nobody's Jigg Parthenia Room For Ramblers Siege of Limerick Sun Assembly Wa is me, What Mun I Do Diane Diane Schmit dschmit-AT- ix.netcom.com ================================================================================ Archive-Date: Sun, 28 Sep 1997 11:49:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 28 Sep 1997 14:50:12 -0400 (EDT) From: julia s sutton Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: two questions To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Eric Arnold's reply about the progressive step pattern in English Country Dance forgets that a very brief description is given in Playford, 1651: "A double is foure steps forward or back, closing both feet." The implication is, of course, that you close feet on the last of the four steps, which we now interpret as three steps and a close. The problem is that this step pattern more closely resembles Arbeau's double of 1588 than it does the three-step pas de bouree given for English Country Dances by Lorin in 1685 (our first collection with notation for step-patterns). But no one will fault you if you follow the description of 1651. What is sure is that simple walking steps with no closure or any other recognizable pattern were NOT done to Playford dances, either in the 16th, 17th, or 18th centuries, and we have lots of proof of this. Julia Sutton ================================================================================ Archive-Date: Sun, 28 Sep 1997 11:49:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 28 Sep 1997 14:50:12 -0400 (EDT) From: julia s sutton Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: two questions To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Eric Arnold's reply about the progressive step pattern in English Country Dance forgets that a very brief description is given in Playford, 1651: "A double is foure steps forward or back, closing both feet." The implication is, of course, that you close feet on the last of the four steps, which we now interpret as three steps and a close. The problem is that this step pattern more closely resembles Arbeau's double of 1588 than it does the three-step pas de bouree given for English Country Dances by Lorin in 1685 (our first collection with notation for step-patterns). But no one will fault you if you follow the description of 1651. What is sure is that simple walking steps with no closure or any other recognizable pattern were NOT done to Playford dances, either in the 16th, 17th, or 18th centuries, and we have lots of proof of this. Julia Sutton ================================================================================ Archive-Date: Mon, 29 Sep 1997 07:02:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Sep 1997 10:05:00 -0400 (EDT) From: Larkin Irfona Reply-To: ECD-AT- playford.slac.stanford.edu Subject: O'Carolan tunes To: ECD Message-ID: <342FB5A9-AT- its.nlc-bnc.ca> Content-Transfer-Encoding: 7BIT Help! Can anyone tell me where I can find O'Carolan tunes? Is there a published collection? I have searched local libraries without success. Irfona Larkin ================================================================================ Archive-Date: Mon, 29 Sep 1997 08:10:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Sep 1997 11:11:48 -0400 (EDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: need dates of spring events in the midwest To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199709291511.LAA19677-AT- staff1.cso.uiuc.edu> Our local group is working on our schedule for the spring of 1998 and I'd like to try top avoid conflicts where possible. If you know of a midwest ECD or contra weekend or ball next spring let me know the date(s). Thanks. Jonathan ================================================================================ Archive-Date: Mon, 29 Sep 1997 08:46:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Sep 1997 11:46:28 -0400 From: James Abrams Subject: Re: O'Carolan tunes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <342FCD54.49E7-AT- twd.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <342FB5A9-AT- its.nlc-bnc.ca> Hi, The best book of O'Carolan tunes that I know of is "The Complete Works of O'Carolan," 2nd edition 1989, published by Ossian Publications in Ireland. The book can be mail ordered through Elderly Instruments in Michigan (517) 372-7890. Jim Abrams Larkin Irfona wrote: > > Help! > Can anyone tell me where I can find O'Carolan tunes? Is there a published > collection? I have searched local libraries without success. > Irfona Larkin ================================================================================ Archive-Date: Mon, 29 Sep 1997 10:55:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: Peter.Fricke-AT- noaa.gov Date: Mon, 29 Sep 1997 12:59:17 -0400 From: Peter Fricke Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: need dates of spring events in the midwest To: j-sivier-AT- ux1.cso.uiuc.edu (Return requested), ECD-AT- SSRL04.SLAC.STANFORD.EDU (Return requested) Message-ID: <026EB342FDE6500C*/c=US/admd=ATTMAIL/prmd=GOV+NOAA/o=CCNMFS/s=Fricke/g=Peter/-AT- MHS> These are approaching mid-west (i.e. near Pittsburgh)... January 16-19, 1998: American Ski-Dance Weekend; Trent, PA Contras and Squares with Jim Kitch, Peter Fricke, Elke Baker, Larry Unger, David Wiesler and Friends... sponsored by FSGW and PATC; for info. call 301-589-7539 or write Ski-Dance Weekends, P.O. Box 2011, Shepherdstown, WV 25443 February 13-16, 1998: Washington's Ski-Dance Weekend; Trent, PA. English Country Dance and Contras with Sue Dupre, Peter Fricke, Amaryllis (Alison Thompson and Friends) and Julie and Wes Merchant... sponsored by FSGW and PATC; for info. call 301-589-7539 or write Ski-Dance Weekends, P.O. Box 2011, Shepherdstown, WV 25443 Cost of weekends: children (<12)-$52; members (FSGW, PATC, CDSS)-$132; non-members $148... includes 3 nights lodging and meals, dances and dance workshops, cross-country skiing and instruction ================================================================================ Archive-Date: Mon, 29 Sep 1997 11:16:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Sep 1997 13:14:18 -0500 From: Mike or Norma Briggs Subject: Re: O'Carolan tunes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <342FEFFA.409D-AT- execpc.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <342FB5A9-AT- its.nlc-bnc.ca> Larkin Irfona wrote: > > Help! > Can anyone tell me where I can find O'Carolan tunes? Is there a published > collection? I have searched local libraries without success. > Irfona Larkin Check this out: http://www.epix.net/~lesley/carolan.html#top Also, try checking your library's catalog/database under Carolan rather than O'Carolan. Mike Briggs ************************************************* Norma and Mike Briggs 1.608.2571600 (voice) Briggs Law Office 1.608.2571611 (fax) 1914 Monroe St Madison WI 53711-2057 USA brigglaw-AT- execpc.com ------------------------------------------------- A N E I G H B O R H O O D L A W O F F I C E ************************************************* ================================================================================ Archive-Date: Mon, 29 Sep 1997 11:48:30 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Sep 1997 12:58:53 -0400 From: Sharon A McKinley Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: need dates of spring events in the midwest -Reply To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: hey, peter, how come you're not coming to the baltimore ball? not too late to sign up, ya know...sharon >>> Peter Fricke 9/29/97, 12:59pm >>> These are approaching mid-west (i.e. near Pittsburgh)... January 16-19, 1998: American Ski-Dance Weekend; Trent, PA Contras and Squares with Jim Kitch, Peter Fricke, Elke Baker, Larry Unger, David Wiesler and Friends... sponsored by FSGW and PATC; for info. call 301-589-7539 or write Ski-Dance Weekends, P.O. Box 2011, Shepherdstown, WV 25443 February 13-16, 1998: Washington's Ski-Dance Weekend; Trent, PA. English Country Dance and Contras with Sue Dupre, Peter Fricke, Amaryllis (Alison Thompson and Friends) and Julie and Wes Merchant... sponsored by FSGW and PATC; for info. call 301-589-7539 or write Ski-Dance Weekends, P.O. Box 2011, Shepherdstown, WV 25443 Cost of weekends: children (<12)-$52; members (FSGW, PATC, CDSS)-$132; non-members $148... includes 3 nights lodging and meals, dances and dance workshops, cross-country skiing and instruction ================================================================================ Archive-Date: Mon, 29 Sep 1997 11:54:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Sep 1997 14:39:00 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: O'Carolan tunes To: ECD Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Mon, 29 Sep 1997, Larkin Irfona wrote: > > Help! > Can anyone tell me where I can find O'Carolan tunes? Is there a published > collection? I have searched local libraries without success. > Irfona Larkin > Hi Irfona, I once had a copy, but I couldn't find it when I looked for it this noon. It probably was Music of O'Carolan Mel Bay Publishers, Inc. P.O. Box 66 4 Industrial Dr. Pacific, MO 63039 This was published in 1993. There also is, apparently, a "Deluxe Anthology of O'Carolan's Music" published more recently, but I don't have the details on it. Eric Arnold Ann Arbor ================================================================================ Archive-Date: Mon, 29 Sep 1997 11:59:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Sep 1997 11:52:19 -0700 (PDT) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: need dates of spring events in the midwest 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 The St. Louis English Dancers' ball is normally on the first Saturday in May, although this year we had to do it on the second Saturday. And the St. Louis contra dance weekend, Kimmswick, is on Memorial Day weekend. Peace. Paul ================================================================================ Archive-Date: Mon, 29 Sep 1997 12:00:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Sep 1997 13:07:15 -0400 From: Sharon A McKinley Reply-To: ECD-AT- playford.slac.stanford.edu Subject: oops To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: to th ecd list: good heavens, this new email system made it look like i was sending that back to peter. oh, well, peter and the rest of the world. glad i didn't say anthing incriminating. anyway, you can ALL still come to the baltimore ball next saturday, oct. 4. sorry about that. sharon "so why is the new hi-falutin' email system no better than the old one?" mckinley, and CERTAINLY not a purveyor of ANY email systems for any government agency ================================================================================ Archive-Date: Mon, 29 Sep 1997 15:16:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Sep 1997 11:42:45 -0400 From: marthacd-AT- juno.com (MARTHA C DAVEY) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: O'Carolan tunes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19970929.180359.4062.0.marthaCD-AT- juno.com> References: <342FB5A9-AT- its.nlc-bnc.ca> Hi Irfonia- There is a book- "The Complete Works of O'Carolan". Publisher": Ossian Publications Ltd. P.O. Box 84, Cork, Ireland .ISBN 0 946005 168 The price tag on my copy says MUSIC SALES CORP. Hope this information proves to be useful. Martha Davey 25-14 37 ST, Astoria, NY 11103 (718)278-4389 On Mon, 29 Sep 1997 10:05:00 -0400 (EDT) Larkin Irfona writes: > >Help! >Can anyone tell me where I can find O'Carolan tunes? Is there a >published >collection? I have searched local libraries without success. >Irfona Larkin > ================================================================================ Archive-Date: Mon, 29 Sep 1997 20:34:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Sep 1997 23:35:20 -0400 From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Kill Him with Kindness To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Message-ID: <199709292335_MC2-223E-526A-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable What! Only 3 variants of Kill HIm with Kindness? If we're going to keep the Scottish dancers really confused, we're going to have to do better th= an that. :-) Gene Murrow EC Dancer and Caller who likes to Vex 'em with Variations if he can't Kil= l 'em with Kindness ================================================================================ Archive-Date: Tue, 30 Sep 1997 04:31:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: Peter.Fricke-AT- noaa.gov Date: Tue, 30 Sep 1997 07:33:22 -0400 From: Peter Fricke Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Child care at Playford balls-Reply To: smckinley-AT- loc.gov (Return requested), ECD-AT- SSRL04.SLAC.STANFORD.EDU (Return requested) Message-ID: <00B0B3430E382007*/c=US/admd=ATTMAIL/prmd=GOV+NOAA/o=CCNMFS/s=Fricke/g=Peter/-AT- MHS> I'm not going to the Baltimore Ball, alas, or the Richmond Ball because there are no baby-sitting arrangements for out-of-town people with young children in tow. Parents... the Portland Ball is not only a *great* ball but the committee has worked hard for it to be kid-friendly too; I wish we could persuade other groups to take note. (This is a reply to sharon mckinley, but others on the list may have thoughts on this, too) Peter Fricke The Old Rectory, Middleway Route 1 Box 162 Kearneysville, WV 25430 304-728-6400 ================================================================================ Archive-Date: Tue, 30 Sep 1997 09:39:43 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Sep 1997 12:45:22 -0400 (EDT) From: David.Millstone-AT- VALLEY.NET (David Millstone) Subject: O'Carolan tunes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <922144-AT- lyme.VALLEY.NET> Several years ago, when we put together an entire evening of dances set to O'Carolan compositions, these books were most helpful: The Complete Works of O'Carolan. Ossian Publications, Cork. 2nd ed. 1989 O'Neill's Music of Ireland - 1,850 Melodies. Francis and James O'Neill, 1903. (D.M.Collins ed.) Note: there are are several editions of O'Neill's but this is the one you want. Music by Carolan for Recorder and Keyboard, Douglas Gunn. Ossian Publications, 1983. 40 O'Carolan Tunes for All Harps, Sylvia Woods. Woods Music and Books, Los Angeles, 1985. David Millstone Lebanon, NH ================================================================================ Archive-Date: Tue, 30 Sep 1997 17:41:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Sep 1997 17:42:13 -0700 (PDT) From: bestockp-AT- oz.net Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Kill Him with Kindness To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >What! Only 3 variants of Kill HIm with Kindness? If we're going to keep >the Scottish dancers really confused, we're going to have to do better than >that. :-) > >Gene Murrow >EC Dancer and Caller who likes to Vex 'em with Variations if he can't Kill >'em with Kindness Gene. RATS! There I was Reveling in Reconstructions, and you didn't even come up with the One Awesome Answer. I guess the amount of space between sets will determine if we can lead out for 6 beats or if we have to limit it to 3 and use the extra time on the gypsy. Vicky Bestock PS. I understand you were in Seattle recently for Early Music stuff. Let me know next time you are coming, and maybe we can arrange for you to call a dance. Or did you wear your other hat on purpose to avoid that? ================================================================================ Archive-Date: Tue, 30 Sep 1997 20:15:47 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Sep 1997 20:18:28 -0700 From: Pettengill Family Subject: Long Odds, Anyone? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3431C104.6186-AT- proaxis.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <199708241823_MC2-1E13-6033-AT- compuserve.com> Hi There, ECD Folks, I am having trouble locating the instructions for "Long Odds". Tried the dance indexes, CDSS, and a few other places, but nothing doing. I have the tune on my brain and I won't be happy until I find the instructions. Does anyone know of a source, or can anyone post them? Yes, the indexes do say the dance is to be found in "5 Dances - Preston Collection", but no sign of that anywhere so far. Another minor question - is the EFDSS store electronically connected, does anyone know? CDSS certainly is and it's a great place to shop. I rely on these materials out here in the wilderness (well, not quite, but close, as far as ECD is concerned). Thanks for any help here, Don Pettengill Corvallis, Oregon