Archive-Date: Wed, 01 Dec 1999 07:48:35 PST
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Date: Wed, 01 Dec 1999 10:48:26 -0500 (EST)
From: DavBarnert-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: movies
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
CC: Heyer-AT-
concentric.net
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Marian Phillips asked-

 >So I'm wondering if anyone can name other movies where ECD tunes
 >were used, and if so, which ones?

"Cold Comfort Farm" had "Orange in Bloom" in it (a Morris tune if
not also ECD). Polanski's "Tess" started with an ECD scene, but I
haven't seen it since 1979 when it was new, and don't remember the
tune.

I'm sure there are others. C'mon... anybody else?

  ______      /\/\/\/\
 <______>     | | | | |  David Barnert
 <______>     | | | | |  <davbarnert-AT-
aol.com>
 <______>     | | | | |  Albany, N.Y.
 <______>     \/\/\/\/

Ventilator   Concertina
  Bellows      Bellows
(Vocation)   (Avocation)
================================================================================
Archive-Date: Wed, 01 Dec 1999 08:30:16 PST
Sender: owner-ecd-AT-
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Date: Wed, 01 Dec 1999 11:30:03 -0500 (EST)
From: julia s sutton <jsutton-AT-
world.std.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <Pine.SGI.3.95.991201112200.29981A-100000-AT-
world.std.com>
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To anyone interested in 16th-c. italian siding: I live in the Boston area,
have been an active member of the Boston center for many years, and would
be glad to set up a workshop on "Authentic Styles" at any time.  I can
describe the siding in words, but it's much easier to show, and I'm deeply
involved at the moment in trying to finish the modern edition of Lorin
(1685) that a group of us have been working on for 10 years! After that,
whenever that is, I can try words. Arranging for me to be on electronic
tape sounds complicated. If someone else will set it up, I'll try to do
it.

For those who are not able to come to Boston or environs, I'll be
presenting a paper on Lorin in 2001 at the Playford conference in England. 
Also I'm presenting a panel at Ghent in April, so those who are attending
can find me there.

I'm delighted at the interest--

Julia Sutton

As for the evidence on Sharp and Shaw, time prohibits my looking up Sharp,
but anyone else certainly can.  As for Shaw, he told me directly when we
talked years ago.

JS




On Tue, 30 Nov 1999, julia s sutton wrote:

> Re 16th-c. siding:
> 
> I'll be glad to show it to anyone interested. The original text is a bit
> confusing, but I think I've figured it out.  We could set up a date
> easily. Let me know what you think.
> 
> Julia
> 
> 
> On Tue, 30 Nov 1999, Michael J. O'Connor wrote:
> 
> > julia s sutton wrote:
> > > There is yet another authentic siding, in Italian sources of the late
> > > 16th-c. We have no way of knowing if this kind was ever used in country
> > > dances, though we know of Italian influences in England.   This kind is
> > > the most flirtatious of the three.
> > >
> > 	Well, I'm curious; Julia, could you describe this third kind?
> > 	Mike O'Connor
> > 
> 

================================================================================
Archive-Date: Wed, 01 Dec 1999 08:45:59 PST
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Date: Wed, 01 Dec 1999 11:35:46 -0500 (EST)
From: julia s sutton <jsutton-AT-
world.std.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.SGI.3.95.991201113214.29981B-100000-AT-
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Andy,

My desire to discontinue Sharp is not based on a superficial desire for
historical accuracy, but on my search for the truth as a trained scholar
and dance historian.  In my book, there are all kinds of beauty; to me
there is a thrill in finding the beauty of the past and recreating it as
closely as possible.  While CDS is a wonderful source of fun, most of its
repertoire comes from the past; those beauties need to be recovered as
they were.

Julia





On Tue, 30 Nov 1999 adpete-AT-
jps.net wrote:

> julia s sutton <jsutton-AT-
world.std.com> wrote:
> >I personally would like to see Sharp's siding discontinued >except for those
> dances created after Sharp.
> >
> 
> To completely discontinue it you will likely meet with as much opposition from
> some of us as Sharp did when he tried to change what he had been teaching. I
> will personally lead the charge. I find the full face eye contact in Sharp siding
> more intimate than the sideways glance in Shaw's.
> 
> Your desire to discontinue it is only because what is "historically correct"
> is being recognized as Shaw's interpretation. It depends on whose history you
> refer to. I learned Playford with Sharp's interpretation because Shaw hadn't
> yet introduced his. *My* history says that those dances are done with Sharp
> siding and I find it awkward to use Shaw siding for many of them. It changes
> the way the dance flows. As Christine Helwig once said to me, "What's wrong
> with ninety years of tradition."
> 
> Andy in Portland, OR
> 

================================================================================
Archive-Date: Wed, 01 Dec 1999 08:46:01 PST
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Date: Wed, 01 Dec 1999 11:35:46 -0500 (EST)
From: julia s sutton <jsutton-AT-
world.std.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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Andy,

My desire to discontinue Sharp is not based on a superficial desire for
historical accuracy, but on my search for the truth as a trained scholar
and dance historian.  In my book, there are all kinds of beauty; to me
there is a thrill in finding the beauty of the past and recreating it as
closely as possible.  While CDS is a wonderful source of fun, most of its
repertoire comes from the past; those beauties need to be recovered as
they were.

Julia





On Tue, 30 Nov 1999 adpete-AT-
jps.net wrote:

> julia s sutton <jsutton-AT-
world.std.com> wrote:
> >I personally would like to see Sharp's siding discontinued >except for those
> dances created after Sharp.
> >
> 
> To completely discontinue it you will likely meet with as much opposition from
> some of us as Sharp did when he tried to change what he had been teaching. I
> will personally lead the charge. I find the full face eye contact in Sharp siding
> more intimate than the sideways glance in Shaw's.
> 
> Your desire to discontinue it is only because what is "historically correct"
> is being recognized as Shaw's interpretation. It depends on whose history you
> refer to. I learned Playford with Sharp's interpretation because Shaw hadn't
> yet introduced his. *My* history says that those dances are done with Sharp
> siding and I find it awkward to use Shaw siding for many of them. It changes
> the way the dance flows. As Christine Helwig once said to me, "What's wrong
> with ninety years of tradition."
> 
> Andy in Portland, OR
> 

================================================================================
Archive-Date: Wed, 01 Dec 1999 10:42:33 PST
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Date: Wed, 01 Dec 1999 13:22:50 -0500 (EST)
From: JBGrun-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: movies
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <0.311c1287.2576c17a-AT-
aol.com>
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Content-Type: text/plain; charset=us-ascii
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In a message dated 12/1/99 10:50:37 AM, DavBarnert-AT-
aol.com writes:

<< I'm sure there are others. C'mon... anybody else? >>

I seem to remember that a film based on another Hardy novel, "Jude the 
Obscure" (called I think-duh-"Jude") had quite alot of EC dancing in it, but 
can't recall the tunes.
================================================================================
Archive-Date: Wed, 01 Dec 1999 10:48:32 PST
Sender: owner-ecd-AT-
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Date: Wed, 01 Dec 1999 12:42:49 -0600
From: Gloria Krusemeyer <gloria-AT-
microassist.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD List <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <003501bf3c2b$deab6ce0$a922a3d1-AT-
gloria>
MIME-Version: 1.0
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Julia -

Thank you.  Sharp siding bothered me from the first time I met
it, long before I knew about Shaw siding.  There might be
Playford or other old dances that work better with Sharp-style
siding, but let it be known that we're then dancing a modern
variant.

Along that line, when an old dance is being reconstructed it
would be nice to have some indication in the text  of parts
that have implied as well as explicitly specified moves.
Urtext editions?

Gloria Krusemeyer

-----Original Message-----
From: julia s sutton <jsutton-AT-
world.std.com>


Andy,

My desire to discontinue Sharp is not based on a superficial
desire for
historical accuracy, but on my search for the truth as a
trained scholar
and dance historian.  In my book, there are all kinds of
beauty; to me
there is a thrill in finding the beauty of the past and
recreating it as
closely as possible.  While CDS is a wonderful source of fun,
most of its
repertoire comes from the past; those beauties need to be
recovered as
they were.

Julia





On Tue, 30 Nov 1999 adpete-AT-
jps.net wrote:

> julia s sutton <jsutton-AT-
world.std.com> wrote:
> >I personally would like to see Sharp's siding discontinued
>except for those
> dances created after Sharp.
> >
>
> To completely discontinue it you will likely meet with as
much opposition from
> some of us as Sharp did when he tried to change what he had
been teaching. I
> will personally lead the charge. I find the full face eye
contact in Sharp siding
> more intimate than the sideways glance in Shaw's.
>
> Your desire to discontinue it is only because what is
"historically correct"
> is being recognized as Shaw's interpretation. It depends on
whose history you
> refer to. I learned Playford with Sharp's interpretation
because Shaw hadn't
> yet introduced his. *My* history says that those dances are
done with Sharp
> siding and I find it awkward to use Shaw siding for many of
them. It changes
> the way the dance flows. As Christine Helwig once said to
me, "What's wrong
> with ninety years of tradition."
>
> Andy in Portland, OR
>




================================================================================
Archive-Date: Wed, 01 Dec 1999 10:48:37 PST
Sender: owner-ecd-AT-
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Date: Wed, 01 Dec 1999 13:37:47 -0500 (EST)
From: JBGrun-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Nowell Sing We Clear in Spencertown NY
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <0.5a042f6a.2576c4fb-AT-
aol.com>
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I'm posting this on behalf of the Spencertown Academy for those who live in 
the GAA (greater Albany Area), Western MA or who find themselves in & around 
Columbia County, NY:

Nowell Sing We Clear presented by The Spencertown Academy at St. Peter's

Church in Spencertown on Saturday afternoon, December 18 at 2 p.m. Tickets

are $15, $12 for Academy members, and $8 for children.  Reservations at

518-392-3693 or spencertown-AT-
taconic.net

PS: From the Shameless Commerce Division: Second Annual post-concert dinner 
at the Blue Plate in Chatham will take place around 5:30. You are welcome to 
join the guys from NSWC (are you listening, guys?) for further merrymaking.

Judy

================================================================================
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Date: Wed, 01 Dec 1999 10:55:58 -0800
From: Heyer <Heyer-AT-
concentric.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: New Year's Day in the Morning
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <01bf3c2d$b47c40a0$82ecadce-AT-
default>
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Thanks to everyone who responded, both on and off list --

Marian

-----Original Message-----
From: William DeRagon <wderagon-AT-
juno.com>
To: ECD-AT-
SSRL04.SLAC.Stanford.EDU <ECD-AT-
SSRL04.SLAC.Stanford.EDU>
Date: Tuesday, November 30, 1999 7:13 PM
Subject: Re: New Year's Day in the Morning


On Tue, 30 Nov 1999 18:47:23 -0800 Heyer <Heyer-AT-
concentric.net> writes:
> I recently noticed a tune in Barnes entitled "New Year's Day in the
> Morning," with a date of 1750, and was wondering if anyone could 
> point me to a source for the dance instructions (or even post them here
> if there aren't any copyright issues).
> 
> Thanks --
> 
> Marian Phillips

The dance instructions can be found in "English Country Dances,
Fallibroome Collection 3" by Bernard J Bentley, published & copyrighted
by EFDSS, 1980 (reprinted 1984 [at least]).  The historic source cited
therein is Johnson's "200 Favourite Country Dances...", c. 1750.

William DeRagon
Albuquerque, NM


================================================================================
Archive-Date: Wed, 01 Dec 1999 11:50:30 PST
Sender: owner-ecd-AT-
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Date: Wed, 01 Dec 1999 11:50:23 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: sharp vs. shaw
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01JIZII8692091WHPL-AT-
SSRL.SLAC.STANFORD.EDU>
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Gloria wrote:

  Along that line, when an old dance is being reconstructed it
  would be nice to have some indication in the text  of parts
  that have implied as well as explicitly specified moves.
  Urtext editions?

Well, The Playford Ball (Keller & Shimer) very usefully reprints the
original publication of the dance description in facsimile along with the 
reconstructed dances, which allows you to draw your own conclusions.

Bentley, in the Fallibroome collections, is generally good about indicating
what he's added to or cut from the originals, although he doesn't give the
original descriptions.

This still doesn't directly address the question of whether, eg, 2s lead up
when 1s cast down if only the 1s move is specified.  Is that the kind of 
thing you're hoping to see?

-- Alan


===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA  94309-0210
===============================================================================

================================================================================
Archive-Date: Wed, 01 Dec 1999 12:41:34 PST
Sender: owner-ecd-AT-
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Date: Wed, 01 Dec 1999 12:16:53 -0800 (PST)
From: Barbara Ruth <barbararuth-AT-
rocketmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Nowell Sing We Clear in New Haven, CT
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <19991201201653.14643.qmail-AT-
web2901.mail.yahoo.com>
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Well as long as someone else has posted their advertisement, er
announcement on this, Nowell Sing We Clear is also appearing in New
Haven, Connecticut on THIS SUNDAY, December 5, 1999 at 3:00 p.m. at
St. Thomas's Episcopal Church, 830 Whitney Ave.

For those not in the know, Nowell Sing We Clear, subtitled "A Pageant

of Midwinter Carols", is a festive celebration of Christmastime and
the mid-winter season, with traditional music, songs, and carols of
England and rural America, displays of step dancing and a traditional
Mummer's Play from Kentucky.

It is performed by John Roberts, Tony Barrand,Fred Breunig and Andy
Davis, names which should be known to all readers of this list, and
is an absolutely wonderful celebration of the season - so wonderful
that a nice Jewish girl like myself, goes to the effort of bringing
it to the New Haven area just so I can see the show myself!

Tickets: $14.00 in advance; $16.00 at the door; Children 12 & under
$8.00
Advance tickets on sale through the Foundry Music Co., 102 Audubon
St., New Haven   (203) 776-3650  or on the Web through: 
www.folktickets.com.






=====
NOWELL Sing We Clear, A Pageant of Midwinter Carols
Traditional songs, music and dance of the Christmas Season, including Mummers' Play
featuring John Roberts, Tony Barrand, Fred Breunig and Andy Davis
Sunday, December 5, 1999  3:00 p.m. in New Haven, CT
St. Thomas's Episcopal Church, 830 Whitney Ave.
Tickets: $14.00 in advance, $16.00 at the door, Children 12 & under: $8.00
http://www.ctnow.com/Groups-branfordfolk
__________________________________________________
Do You Yahoo!?
Thousands of Stores.  Millions of Products.  All in one place.
Yahoo! Shopping: http://shopping.yahoo.com
================================================================================
Archive-Date: Wed, 01 Dec 1999 12:59:11 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Wed, 01 Dec 1999 12:35:38 -0800 (PST)
From: Barbara Ruth <barbararuth-AT-
rocketmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: movies
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <19991201203538.29721.qmail-AT-
web2903.mail.yahoo.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7BIT



--- JBGrun-AT-
aol.com wrote:

> I seem to remember that a film based on another Hardy novel, "Jude
> the 
> Obscure" (called I think-duh-"Jude") had quite alot of EC dancing
> in it, but 
> can't recall the tunes.

Are you sure that wasn't the one with the Beatles soundtrack?  You
know "Hey, Jude."


=====
NOWELL Sing We Clear, A Pageant of Midwinter Carols
Traditional songs, music and dance of the Christmas Season, including Mummers' Play
featuring John Roberts, Tony Barrand, Fred Breunig and Andy Davis
Sunday, December 5, 1999  3:00 p.m. in New Haven, CT
St. Thomas's Episcopal Church, 830 Whitney Ave.
Tickets: $14.00 in advance, $16.00 at the door, Children 12 & under: $8.00
http://www.ctnow.com/Groups-branfordfolk
__________________________________________________
Do You Yahoo!?
Thousands of Stores.  Millions of Products.  All in one place.
Yahoo! Shopping: http://shopping.yahoo.com
================================================================================
Archive-Date: Wed, 01 Dec 1999 13:30:14 PST
Sender: owner-ecd-AT-
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Date: Wed, 01 Dec 1999 16:26:58 -0500 (EST)
From: julia s sutton <jsutton-AT-
world.std.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: ECD List <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <Pine.SGI.3.95.991201162523.4678A-100000-AT-
world.std.com>
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Gloria,

Sharp siding is out of sync  with Playford dances, which require perfect
symmetry! 81th-c. siding provides that, and so does 16th-c. siding. Thanks
for your note. 

Julia Sutton



================================================================================
Archive-Date: Wed, 01 Dec 1999 13:30:17 PST
Sender: owner-ecd-AT-
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Date: Wed, 01 Dec 1999 16:26:58 -0500 (EST)
From: julia s sutton <jsutton-AT-
world.std.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: ECD List <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <Pine.SGI.3.95.991201162523.4678A-100000-AT-
world.std.com>
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Gloria,

Sharp siding is out of sync  with Playford dances, which require perfect
symmetry! 81th-c. siding provides that, and so does 16th-c. siding. Thanks
for your note. 

Julia Sutton



================================================================================
Archive-Date: Wed, 01 Dec 1999 13:43:53 PST
Sender: owner-ecd-AT-
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Date: Wed, 01 Dec 1999 15:41:14 -0600 (CST)
From: j-sivier-AT-
ux1.cso.uiuc.edu
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Christmas Ball, 12/18 in Urbana, IL
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <199912012141.PAA18292-AT-
staff1.cso.uiuc.edu>
Content-Transfer-Encoding: 7BIT

                  The Central Illinois English Country Dancers
                                   Present An

                   E N G L I S H   C O U N T R Y   D A N C E
                          C H R I S T M A S   B A L L


   The Central Illinois English Country Dancers will be holding their fifth
annual Christmas Ball on Saturday, December 18, 1999.  The dance will be held
at the Channing-Murray Foundation, 1209 W. Oregon, Urbana, IL, on the campus of
the University of Illinois.  There will be a review of the evening's dances
from 7:00 to 8:00, followed by the Ball from 8:00 to 11:00 p.m.  Fans and
finery are encouraged.  Bring fruit or a dessert to share.  There will be a
$5.00 suggested donation to help cover the cost of the Ball.  All lovers of
English Country dance and music are welcome.

Dances Lead By: Jane Hobgood, Patricia Moffitt and Jonathan Sivier
Music Provided By: The Flatland Consort
Dance Review: 7:00 p.m.
Christmas Ball: 8:00 to 11:00 p.m.
Date: Saturday, December 18, 1999
Location: Channing-Murray Foundation, 1209 W. Oregon, Urbana, IL
Suggested Donation: $5.00

   There will be refreshments and a mummers' play at the break and a dessert
party following the dance.

   The evening's dances will be selected from the following list:

Chelmsford Assembly
Dargason
The Geud Man of Ballangigh
A Grand March
Hole In The Wall
Hunsdon House
Jack's Maggot
Jenny Pluck Pears
Jovial Beggars
Lili Burlero
Lull Me Beyond Thee
A Minuet
Shrewsbury Lasses
The Waterfall Waltz
The Wood Duck

   For further information contact Jonathan Sivier (j-sivier-AT-
uiuc.edu) at
217/359-8225 or Jane Hobgood at 217/328-1708.  You can check the Christmas
Ball website at http://www.prairienet.org/ciecd/xmas.html

   Thanks for the support of the Champaign Park District and the Urbana
Country Dancers.

   For those who are interested, the Urbana Country Dancers will be holding a
contra dance on Friday, December 17, from 8 to 11 p.m. at the Phillip's
Recreation Center, 505 W. Stoughton, Urbana.  Lisa Ornstein from Indianapolis
will be calling and the band will be Matty and the Cornstalkers.  Lisa will
be leading a free waltz workshop at 7:00 prior to the contra dance.

   Central Illinois English Country Dancers is a member of the Champaign
County Cultural Consortium.


                    If we don't see you at the Ball,
                    Then 'Happy Hols' to one and all!


-------------------------------------------------------------------------
|  Jonathan Sivier               |Q: How many angels can dance on the   |
|  j-sivier-AT-
uiuc.edu             |   head of a pin?                     |
|  Flight Simulation Lab         |A: It depends on what dance you call. |
|  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.             |
-------------------------------------------------------------------------
|  Home page URL: http://www.uiuc.edu/ph/www/j-sivier                   |
-------------------------------------------------------------------------
================================================================================
Archive-Date: Wed, 01 Dec 1999 13:51:10 PST
Sender: owner-ecd-AT-
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Date: Wed, 01 Dec 1999 15:46:14 -0600 (CST)
From: j-sivier-AT-
ux1.cso.uiuc.edu
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: 1700's slang
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <199912012146.PAA20552-AT-
staff1.cso.uiuc.edu>
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   Does anyone have a source for slang expressions from the Playford
period?  In particular I'd be interested in expressions that might
have been used by the people who did these dances.

   Thanks.

Jonathan
================================================================================
Archive-Date: Wed, 01 Dec 1999 14:49:57 PST
Sender: owner-ecd-AT-
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Date: Wed, 01 Dec 1999 17:42:16 -0500
From: Sharon Green <mls-AT-
panix.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Yuletide Cotillion Announcement
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <4.1.19991201170701.0160b340-AT-
popserver.panix.com>
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This coming Sunday, December 5th, Country Dance*New York's annual Yuletide
Cotillion will take place from 3-6pm at the Refectory [Dining Hall] of
General Seminary, 175 Ninth Avenue between West 20th & West 21st Streets,
Manhattan.  The music will be provided by Bare Necessities, as they
conclude their glorious tristate weekend tour.  Helene Cornelius once more
will lead the dances.  As Many As Will will bring special food treats
(after all, this is New York....)

On a personal note: I am the organizer of the Cotillion, and will be
working in the hall from 1pm on; from noon till 1pm East Coast Time,
however, David and I will be glued in front of our television watching the
Santa.com holiday parade, produced by our son Phil, which will be broadcast
live from San Francisco on the USA cable network (and simultaneously on the
net at www.santa.com), and which will include the first and probably only
public performance of Joy to the World Wide Web (yes, friends, I wrote it,
don't all groan at once).  If you're in New York for the cotillion, come by
our house at the seminary and join us watching the parade--it should be a
hoot.  And *then* we'll get to dance!
Much love,
Sharon Green
================================================================================
Archive-Date: Thu, 02 Dec 1999 05:05:47 PST
Sender: owner-ecd-AT-
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Date: Thu, 02 Dec 1999 08:04:32 -0500
From: jkonvalinka <jkonvalinka-AT-
email.msn.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: movies
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <000801bf3cc5$c7826a60$f0a7153f-AT-
gwruywzj>
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SSRL.SLAC.STANFORD.EDU>


----- Original Message -----
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
To: <ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU>
Sent: Tuesday, November 30, 1999 9:14 PM
Subject: Re: movies

[snip]


> So I'm wondering if anyone can name other movies where ECD tunes were
used,
> and if so, which ones?
>
> Naturally, it's done a lot in the modern Jane Austen movies.  Check back
> through the ECD archive and you can probably find set lists for "Sense and
> Sensibility" and both versions of "Emma."

The url for the dances and music used in the Pride and Prejudice miniseries
is:

http://www.lll.hawaii.edu/esl/bley-vroman/contra/dances/austen.html



================================================================================
Archive-Date: Thu, 02 Dec 1999 06:42:32 PST
Sender: owner-ecd-AT-
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Date: Thu, 02 Dec 1999 09:42:20 -0500 (EST)
From: "Priscilla M. Burrage" <pburrage-AT-
zoo.uvm.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Levi Jackson - Help!
To: ECD <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <Pine.A41.4.10.9912020939480.70356-100000-AT-
gnu.uvm.edu>
MIME-Version: 1.0
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My husband had promised his class that he wuld teach Levi Jackson at the
next class, Dec. 10.  Now he can't find his instructions, and the CDSS
office has it on order.

Can someone reply to me privately with the instructions?

Thank you in advance,
~~~~~~~~~~~~~~~~~
Priscilla Burrage       Vermont US
(pburrage-AT-
zoo.uvm.edu)
                         

================================================================================
Archive-Date: Thu, 02 Dec 1999 08:18:18 PST
Sender: owner-ecd-AT-
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Date: Thu, 02 Dec 1999 11:20:15 -0500
From: Benjamin Stein <dancers-AT-
globalnetisp.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Levi Jackson - Help!
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <38469C3F.C2803D3D-AT-
globalnetisp.net>
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gnu.uvm.edu>



"Priscilla M. Burrage" wrote:

> My husband had promised his class that he wuld teach Levi Jackson at the
> next class, Dec. 10.  Now he can't find his instructions, and the CDSS
> office has it on order.
>
> Can someone reply to me privately with the instructions?
>
> Thank you in advance,
> ~~~~~~~~~~~~~~~~~
> Priscilla Burrage       Vermont US
> (pburrage-AT-
zoo.uvm.edu)

Priscilla:

I have a copy of Levi Jackson Rag in Pat Shaw's Pinewoods. Call me about it.

Ben

>
>



================================================================================
Archive-Date: Thu, 02 Dec 1999 08:30:09 PST
Sender: owner-ecd-AT-
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Date: Thu, 02 Dec 1999 08:29:54 -0800 (PST)
From: Barbara Ruth <barbararuth-AT-
rocketmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Elm City Ball update
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <19991202162954.16451.qmail-AT-
web2906.mail.yahoo.com>
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For reasons too complicated to go into, the name of the MC for the
Elm City Ball coming up on January 22, was left out of the
announcements. I would like to rectify that and proudly announce that
the MC for this year's ball is Mary Jones, and that furthermore, the
program for the ball is now listed on the New Haven English Dance
page at http://pantheon.yale.edu/~bfr4/NH.English.html, which has
recently (i.e. about 5 minutes ago) been updated.

=====
NOWELL Sing We Clear, A Pageant of Midwinter Carols
Traditional songs, music and dance of the Christmas Season, including Mummers' Play
featuring John Roberts, Tony Barrand, Fred Breunig and Andy Davis
Sunday, December 5, 1999  3:00 p.m. in New Haven, CT
St. Thomas's Episcopal Church, 830 Whitney Ave.
Tickets: $14.00 in advance, $16.00 at the door, Children 12 & under: $8.00
http://www.ctnow.com/Groups-branfordfolk
__________________________________________________
Do You Yahoo!?
Thousands of Stores.  Millions of Products.  All in one place.
Yahoo! Shopping: http://shopping.yahoo.com
================================================================================
Archive-Date: Thu, 02 Dec 1999 08:58:59 PST
Sender: owner-ecd-AT-
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Date: Thu, 02 Dec 1999 11:56:29 -0500 (EST)
From: "Priscilla M. Burrage" <pburrage-AT-
zoo.uvm.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Levi Jackson
To: ECD <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <Pine.A41.4.10.9912021146100.65460-100000-AT-
gnu.uvm.edu>
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Thank you to all who sent instructions.

By the way, they were all for one set.  I seem to remember doing it at
least once with dancers from one set moving on to another set.  Am I
right, or did I have too much preprandial conviviality?

~~~~~~~~~~~~~~~~~
Priscilla Burrage       Vermont US
(pburrage-AT-
zoo.uvm.edu)
                         

================================================================================
Archive-Date: Thu, 02 Dec 1999 09:39:53 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 02 Dec 1999 17:39:43 +0000 (GMT)
From: Dr Paul Davis <paul.davis-AT-
computing-services.oxford.ac.uk>
Subject: Re: Levi Jackson
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <SIMEON.9912021743.A-AT-
sixup.oucs.ox.ac.uk>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; CHARSET=US-ASCII
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The "normal" configuration is 5 couples.  Variations 
include 2 5 couple sets with their open-ends joined, men 
doing the ladies chain...
Paul

On Thu, 02 Dec 1999 11:56:29 -0500 (EST) "Priscilla M. 
Burrage" <pburrage-AT-
zoo.uvm.edu> wrote:

> Thank you to all who sent instructions.
> 
> By the way, they were all for one set.  I seem to remember 
> doing it at least once with dancers from one set moving on 
> to another set.  Am I right, or did I have too much 
> preprandial conviviality?
> 
> ~~~~~~~~~~~~~~~~~
> Priscilla Burrage       Vermont US
> (pburrage-AT-
zoo.uvm.edu)
>                          
> 

----------------------
Dr Paul Davis
Computer Teaching Officer, OUCS, 
13 Banbury Road, Oxford OX2 6NN
01865 283414

-------------------------------------------------------------


================================================================================
Archive-Date: Thu, 02 Dec 1999 10:36:56 PST
Sender: owner-ecd-AT-
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Date: Thu, 02 Dec 1999 15:45:38 +0000
From: Trevor Monson <tmonsont-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <004d01bf3cf4$1572e000$a88d01d4-AT-
trevormo>
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References: <Pine.SOL.4.10.9911301848510.29695-100000-AT-
phoenix.Princeton.EDU>


----- Original Message -----
From: Susan R. Lorand <srl-AT-
phoenix.Princeton.EDU>
To: <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Sent: Tuesday, November 30, 1999 11:55 PM
Subject: Re: sharp vs. shaw


>
> On Tue, 30 Nov 1999 adpete-AT-
jps.net wrote:
>
> > julia s sutton <jsutton-AT-
world.std.com> wrote:
> > >I personally would like to see Sharp's siding discontinued
> > >except for those
> > >dances created after Sharp.
> >
> > To completely discontinue it you will likely meet with as much
> > opposition from some of us as Sharp did when he tried to change what
> > he had been teaching. I will personally lead the charge. I find the
> > full face eye contact in Sharp siding more intimate than the
sideways
> > glance in Shaw's.
> >
> > Your desire to discontinue it is only because what is "historically
correct"
> > is being recognized as Shaw's interpretation.
>
> she didn't say that, did she?  maybe she finds shaw's interpretation
> *works* better in the dances.
>
> i'm with julia on this one, for the most part: not out of a desire to
be
> historically correct, but because, while i like sharp siding in some
> dances (particularly those written with it in mind), i find it very
> awkward in others.
>
> to play devil's advocate to christine helwig, what's wrong with giving
> other interpretations a chance? you might be pleasantly surprised at
the
> way a dance would flow.  i've enjoyed the few reconstructions by colin
> hume that i've had a chance to try.  (i'd love to try his version of
> newcastle, but in my part of the country i think the version i presume
to
> be sharp's is too firmly entrenched.)
>
> susie lorand
> princeton, nj, usa
>
> > It depends on whose history you
> > refer to. I learned Playford with Sharp's interpretation because
Shaw hadn't
> > yet introduced his. *My* history says that those dances are done
with Sharp
> > siding and I find it awkward to use Shaw siding for many of them. It
changes
> > the way the dance flows. As Christine Helwig once said to me,
"What's wrong
> > with ninety years of tradition."
>
> > Andy in Portland, OR
>

With reference to Colin Humes reconstruction of Newcastle, the standard
version is pretty well entrenched in the north of England as well!!

However, Colins version has been known to be done up here - don't forget
you only need 8 consenting adults - but if you can get more that's all
the better! (and well worth the effort).

Trevor Monson
(still dancing & calling in Yorkshire)



__________________________________________________

Do You Yahoo!?

Thousands of Stores.  Millions of Products.  All in one place.

Yahoo! Shopping: http://shopping.yahoo.com

================================================================================
Archive-Date: Thu, 02 Dec 1999 11:35:43 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 02 Dec 1999 11:36:01 -0800
From: paul/victoria bestock <bestockp-AT-
oz.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Levi Jackson
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <3.0.6.32.19991202113601.007c2450-AT-
oz.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7BIT

At 11:56 AM 12/2/1999 -0500, you wrote:

>By the way, they were all for one set.  I seem to remember doing it at
>least once with dancers from one set moving on to another set. 

These spontaneous one-time-only variants do happen.  The version I remember
 best was done at 3 AM  at Suttle lake with 6 couples still awake, and only
5 able to dance each time.  We started rotating the extra one in and out,
gradually finding fewer and fewer people willing to roatate back in so it
became the Farewell Symphony Rag, with diminishing numbers each time until
only one person, without partner, was trying to dance.  At that point the
band quit, or we'd all still be there laughing our heads off. 

But neither of these versions is how the dance actually goes.  Sorry.
Write your own exploding set dance so we can all experience the fun you
had.   

Victoria  


Check out our WEB site, at   http://www.oz.net/~bestockp/
Read about our trip to the Rockies.....
================================================================================
Archive-Date: Thu, 02 Dec 1999 12:53:04 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 02 Dec 1999 15:53:39 -0500
From: mbirming <mbirming-AT-
neo.rr.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: EC dancing in Ohio
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <3.0.6.32.19991202155339.007cc290-AT-
neo.rr.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7BIT

Hi,

Does anyone know of any ECD groups in the Akron/Canton area of Ohio?  I
tried English Country Dancing for the first time this summer and loved it,
but I can't find any groups that are near enough to me to join.  

Meredith Birmingham
Meredith Birmingham
mbirming-AT-
neo.rr.com

"Music washes away from the soul the dust of everyday life."
	-Auerbach
================================================================================
Archive-Date: Thu, 02 Dec 1999 14:37:12 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 02 Dec 1999 16:24:06 -0600
From: Dianna Shipman <diannashipman-AT-
worldnet.att.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Movies
To: English Article <ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU>
Message-ID: <014201bf3d15$9f840460$96e1490c-AT-
pavilion>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

An interesting site about dance in general in the movies:
http://libweb.uoregon.edu/music/dancevidhist.html#Movies
Dianna L. Shipman
diannashipman-AT-
worldnet.att.net
Dianna L. Shipman, P.C., Attorney at Law
PMB 134, 1436 W. Gray
Houston, TX 77019-4946
web page: http://home.att.net/~diannashipman
phone: 713-522-1212

================================================================================
Archive-Date: Thu, 02 Dec 1999 15:34:20 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 02 Dec 1999 18:31:34 -0500
From: "Hanny D. Budnick" <74031.77-AT-
compuserve.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Nowell in Philly...
To: Blind.Copy.Receiver-AT-
compuserve.com
Message-ID: <199912021834_MC2-8F61-8420-AT-
compuserve.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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Just in time to add to the whirlwind tour of the fab four from the North
East:

Nowell sing we clear in suburban Philadelphia on Friday, December 3rd.
7:30 p.m. at the Berwyn United Methodist Church, 140 Waterloo Avenue,
Berwyn. For ticket information and directions call BUMC at 610-644-5555.
See you there?

Hanny Budnick
================================================================================
Archive-Date: Thu, 02 Dec 1999 19:36:03 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 02 Dec 1999 20:03:12 +0100
From: bromka-AT-
flash.net (Sondra Bromka)
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Austen Balls & dance communities
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <v01540b01b46c631dce98-AT-
[38.26.155.129]>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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>There are also web pages describing the dances done in the movies made from
>Jane Austen's works  - I can look up the URLs if needed.
>Dianna L. Shipman
>diannashipman-AT-
worldnet.att.net

Dianna, would you kindly look up those Austen URLs for me?  I've been
calling a series of Jane Austen Balls in Central NY (getting ready for my
third one this Feb) and would love to take a look at what's out there as
resources.
......
I'm also wondering:
perhaps some of you might like to hear the most recent news about my
experiment in building audiences for English country dance? It was an
experiment that worked, and worked well... and there can never be enough
English dancers in some of these parts of the world!

I live in an Upstate New York community where English dancing  never quite
took hold. That is to say, no place for me to dance without a long drive.
I'm a musician by trade, and too much of that already!  I took as a goal
the project of  attracting --and holding the interest of--  as many
brand-spanking  new local dancers as possible, rather than trying to tie in
with the contra crowd, or attracting the eager english dancers from outside
the region.   I actually kept big publicity outside the region absolutely
mum, so that all the new dancers  would all be on equal footing  (as it
were) during our big event.  The idea, in short,  was to build a good old
fashioned sustainimg "dance community" from a void.

I used the idea of an Austen Ball as a focus, a goal, a spectacle. I  chose
also as a focal point a small, tightly knit community in the area, which
had a seed of interest and support through a local historic site. Word of
mouth and comraderie was going to be the impetus for this thing.

In order to build a core of dancers for that  first ball,  which was to be
held last February, I taught a series of four classes at the village's
private college, held weekly during winter intercession in January.  Some
college students, and many community members of all ages, and families
signed up.   The were associate courses as well, one in homemade period
costuming, and another in Jane Austen Literature.  This attracted still
more folks on the sly. Lots of folks signed up for all 3.

In order to "initiate" this core of 30-some dance students, I utilized a
montage of clips I had made of that recent spate of Austen films,  in order
to give folks an overview of where we were ultimately headed.  Yes, the
films were their first exposure to English dance! Odd, eh? But how else to
demontrate the look of the thing?

(I loved, by the way, looking at the filmed versions of these dances, and
studying why the choreographer created the variations that they did--
either to underscore thematic needs, or to execute long script passages in
the midst of the dance, etc.  Such a  artform, that!)

That solid core of student dancers  became the demonstrating  multitude at
the "pre-ball" public workshop, which attracted the core's friends, the
curious, and the historically and literary inclined. The new folks learned
fast in their newly-experieced c ompany.  Jane's Good Name did the work of
attracting area folks. The big publicity timed to hit the papers just
before the event did the rest.

By the time of our culminating Ball, word of mouth, comraderie, and
publicity, and Jane's Name brought us a huge sellout crowd, a very
delightful experience, and the courage to continue with  an outdoor
midsummer ball that would also go well. The crowd returned in June with
minimal outreach. Now we're on to our 2nd Annual mid-winter Austen Ball,
and I'm absolutely delighted.

As a would-be caller who didn't have opportunity to call because of the
lack of local dances, this brought  me what I needed to grow as well. We
were all winners!

If anyone has any questions or comments about this process of building
dance audiences, or more helpful hints, they'll be so very welcome.  It's
now that I most need the courage to go through all of this again, to go to
the next level!
Sondra Bromka


Sondra Bromka
Bells & Motley Consort
http://www.geocities.com/Vienna/Strasse/1558/


================================================================================
Archive-Date: Thu, 02 Dec 1999 20:18:35 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 02 Dec 1999 22:06:59 -0600
From: Dianna Shipman <diannashipman-AT-
worldnet.att.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Austen Balls & dance communities
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <006d01bf3d45$4656e1c0$fbf6490c-AT-
pavilion>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT
References: <v01540b01b46c631dce98-AT-
[38.26.155.129]>

the web page for Pride and Prejudice listing dances contained in the movie:
http://ourworld.compuserve.com/homepages/Opsis/pp_dance.htm

this is the page with Emma which has dance titles and descriptions of the
dances:
http://www.pemberley.com/kip/emma/3dance.html

The Lively Arts History Assn out of California does a Jane Austen ball and
lists dances with descriptions at this page:
http://www.lahacal.org/austendances.html

The Jane Austen Society of North America page is located at:
http://www.jasna.org/

An extensive list of Jane Austen links can be found at:
http://www.geocities.com/Hollywood/Set/2484/jalinks.htm

Hope that helps.  Enjoyed reading your approach to building a group -
perhaps I'll take a leaf from your book (and Jane's).  Good luck and keep
dancing,

Dianna

Dianna L. Shipman
diannashipman-AT-
worldnet.att.net
Dianna L. Shipman, P.C., Attorney at Law
PMB 134, 1436 W. Gray
Houston, TX 77019-4946
web page: http://home.att.net/~diannashipman
phone: 713-522-1212
----- Original Message -----
From: Sondra Bromka <bromka-AT-
flash.net>
To: <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Sent: Thursday, December 02, 1999 1:03 PM
Subject: Austen Balls & dance communities


> >There are also web pages describing the dances done in the movies made
from
> >Jane Austen's works  - I can look up the URLs if needed.
> >Dianna L. Shipman
> >diannashipman-AT-
worldnet.att.net
>
> Dianna, would you kindly look up those Austen URLs for me?  I've been
> calling a series of Jane Austen Balls in Central NY (getting ready for my
> third one this Feb) and would love to take a look at what's out there as
> resources.
> ......
> I'm also wondering:
> perhaps some of you might like to hear the most recent news about my
> experiment in building audiences for English country dance? It was an
> experiment that worked, and worked well... and there can never be enough
> English dancers in some of these parts of the world!
>
> I live in an Upstate New York community where English dancing  never quite
> took hold. That is to say, no place for me to dance without a long drive.
> I'm a musician by trade, and too much of that already!  I took as a goal
> the project of  attracting --and holding the interest of--  as many
> brand-spanking  new local dancers as possible, rather than trying to tie
in
> with the contra crowd, or attracting the eager english dancers from
outside
> the region.   I actually kept big publicity outside the region absolutely
> mum, so that all the new dancers  would all be on equal footing  (as it
> were) during our big event.  The idea, in short,  was to build a good old
> fashioned sustainimg "dance community" from a void.
>
> I used the idea of an Austen Ball as a focus, a goal, a spectacle. I
chose
> also as a focal point a small, tightly knit community in the area, which
> had a seed of interest and support through a local historic site. Word of
> mouth and comraderie was going to be the impetus for this thing.
>
> In order to build a core of dancers for that  first ball,  which was to be
> held last February, I taught a series of four classes at the village's
> private college, held weekly during winter intercession in January.  Some
> college students, and many community members of all ages, and families
> signed up.   The were associate courses as well, one in homemade period
> costuming, and another in Jane Austen Literature.  This attracted still
> more folks on the sly. Lots of folks signed up for all 3.
>
> In order to "initiate" this core of 30-some dance students, I utilized a
> montage of clips I had made of that recent spate of Austen films,  in
order
> to give folks an overview of where we were ultimately headed.  Yes, the
> films were their first exposure to English dance! Odd, eh? But how else to
> demontrate the look of the thing?
>
> (I loved, by the way, looking at the filmed versions of these dances, and
> studying why the choreographer created the variations that they did--
> either to underscore thematic needs, or to execute long script passages in
> the midst of the dance, etc.  Such a  artform, that!)
>
> That solid core of student dancers  became the demonstrating  multitude at
> the "pre-ball" public workshop, which attracted the core's friends, the
> curious, and the historically and literary inclined. The new folks learned
> fast in their newly-experieced c ompany.  Jane's Good Name did the work of
> attracting area folks. The big publicity timed to hit the papers just
> before the event did the rest.
>
> By the time of our culminating Ball, word of mouth, comraderie, and
> publicity, and Jane's Name brought us a huge sellout crowd, a very
> delightful experience, and the courage to continue with  an outdoor
> midsummer ball that would also go well. The crowd returned in June with
> minimal outreach. Now we're on to our 2nd Annual mid-winter Austen Ball,
> and I'm absolutely delighted.
>
> As a would-be caller who didn't have opportunity to call because of the
> lack of local dances, this brought  me what I needed to grow as well. We
> were all winners!
>
> If anyone has any questions or comments about this process of building
> dance audiences, or more helpful hints, they'll be so very welcome.  It's
> now that I most need the courage to go through all of this again, to go to
> the next level!
> Sondra Bromka
>
>
> Sondra Bromka
> Bells & Motley Consort
> http://www.geocities.com/Vienna/Strasse/1558/
>
>

================================================================================
Archive-Date: Thu, 02 Dec 1999 20:30:38 PST
Sender: owner-ecd-AT-
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Date: Fri, 03 Dec 1999 00:28:09 +0000
From: Trevor Monson <tmonsont-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Waverley Ahoy!
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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Following the discussion on "Dealing with Mistakes" etc. has anybody
come across Hilary Herbert's dance "Waverley Ahoy!"?

On paper it looks an easy enough dance.  To date, in England, I
haven't found anybody who has got all the way through it.  The dance
hasn't been published yet, but people keep attempting the dance, most
likely by writing it down after having tried to dance it.

Anyway, after all the comments of how people like to help or be helped,
any comments on how to get through this dance without making a mistake
will be gratefully received!

I have had a word with Hilary, and she has agreed for the notation of
her dance to be put on the ECD listing, even though I think it will be
included in her next book.


Waverley Ahoy!     (4 couple longways, couples 2 and 4 improper)

A1    1-4    In fours, circle 1/2 way and turn single left.
         5-8    Middle four circle right 1/2 way and turn single right
while ends 2-hand turn partner once round.
A2    1-8    All face neighbour - straight heys for 4 starting right
shoulder.
B1    1-2    In fours top and bottom, 1/2 right hand star
         3-4    Middle four 1/2 left hand star while ends go single file
clockwise 1/4 round to sides of set.
         5-6    In fours on the sides, 1/2 right hand star
         7-8    Middle four 1/2 left hand star while ends go single file
clockwise 1/4 round to ends of set.
B2    1-8    Repeat B1


Progression is  3 1 4 2

She has written her own tune (please ask me for the dots if you want
them) but she says a 4 x 32 bar jig will be O.K.

So, please give it a try, and if you manage to get through it, what is
the secret?

Trevor Monson.





__________________________________________________

Do You Yahoo!?

Thousands of Stores.  Millions of Products.  All in one place.

Yahoo! Shopping: http://shopping.yahoo.com

================================================================================
Archive-Date: Thu, 02 Dec 1999 21:10:34 PST
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Date: Thu, 02 Dec 1999 20:10:17 -0500
From: Mary Beth Goodman <mgoodman-AT-
albany.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Levi Jackson
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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>By the way, they were all for one set.  I seem to remember doing it at
>least once with dancers from one set moving on to another set.  Am I
>right, or did I have too much preprandial conviviality?

We did something  like that at Pinewoods this year by putting two 
sets close together and the people swapped from set to set.  Our set 
didn't work quite right, so I didn't get to swap.  So I can't explain 
it - sorry.

Mary Beth

================================================================================
Archive-Date: Thu, 02 Dec 1999 21:11:19 PST
Sender: owner-ecd-AT-
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Date: Fri, 03 Dec 1999 01:08:09 -0800
From: "Michael J. O'Connor" <mjoconor-AT-
erols.com>
Subject: Re: Waverley Ahoy!
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
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Trevor Monson wrote:
> 
> Waverley Ahoy!     (4 couple longways, couples 2 and 4 improper)
> 
> A1 1-4  In fours, circle 1/2 way and turn single left.
             W2 M1 W4 M3
             M2 W1 M4 W3
>    5-8  Middle four circle right 1/2 way and turn single right
> while ends 2-hand turn partner once round.
             W2 M4 W1 M3
             M2 W4 M1 W3
> A2 1-8  All face neighbour - straight heys for 4 starting right
> shoulder.
             Same
> B1 1-2  In fours top and bottom, 1/2 right hand star
             W4 M2 W3 M1
             M4 W2 M3 W1
>    3-4  Middle four 1/2 left hand star while ends go single file
> clockwise 1/4 round to sides of set.
                M4 W4
                M3 W2
                W3 M2
                W1 M1
>    5-6  In fours on the sides, 1/2 right hand star
                W2 M3
                W4 M4
                M1 W1
                M2 W3
>    7-8  Middle four 1/2 left hand star while ends go single file
> clockwise 1/4 round to ends of set.
             M2 W1 M1 W2
             W3 M4 W4 M3
> B2 1-8  Repeat B1:
     1-2  In fours top and bottom, 1/2 right hand star
             M4 W3 M3 W4
             W1 M2 W2 M1
     3-4  Middle four 1/2 left hand star while ends go single file
> clockwise 1/4 round to sides of set.
                W1 M4
                W2 M2
                M3 W3
                M1 W4
     5-6  In fours on the sides, 1/2 right hand star
                M2 W2
                M4 W1
                W4 M1
                W3 M3
     7-8  Middle four 1/2 left hand star while ends go single file
> clockwise 1/4 round to ends of set.
             W3 M1 W4 M2
             M3 W1 M4 W2
                          VOILA!
> 
> Progression is  3 1 4 2

> So, please give it a try, and if you manage to get through it, what is
> the secret?

================================================================================
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Archive-Date: Fri, 03 Dec 1999 07:56:59 PST
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Date: Fri, 03 Dec 1999 10:56:52 -0500 (EST)
From: Eric Arnold <eba-AT-
umich.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Levi Jackson
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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On Thu, 2 Dec 1999, Mary Beth Goodman wrote:

> >By the way, they were all for one set.  I seem to remember doing it at
> >least once with dancers from one set moving on to another set.  Am I
> >right, or did I have too much preprandial conviviality?
> 
> We did something  like that at Pinewoods this year by putting two 
> sets close together and the people swapped from set to set.  Our set 
> didn't work quite right, so I didn't get to swap.  So I can't explain 
> it - sorry.
> 
> Mary Beth
> 

As I recall, the two sets were placed "foot to foot" -- that is, with the
open ends of the "U" formation.  When the head couples reach the bottom of
their sets after the R & L back by the sides, as the sides circle, instead
of casting back to their own head position, they swap places with the
other head couple from the other set and go on around the other set to the
other head position, where they continue with the back-to-back in the new
position and proceed with the dance in the other set.  To get to the right
place in the other set, the head couples need to cross at bottom of their
original set, and I don't remember just how this was done so as to avoid
collision with the other head couple -- it could be with right hancs
across half way with the other heads, or R & L with partner & other heads,
or just rush-hour mingle with no hands to get through.  I don't recall
just what we did at PW.

Eric Arnold
 Ann Arbor

================================================================================
Archive-Date: Fri, 03 Dec 1999 08:14:31 PST
Sender: owner-ecd-AT-
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Date: Fri, 03 Dec 1999 11:16:53 -0500
From: "Mary K. Friday" <marykfriday-AT-
erols.com>
Subject: ECD Leaders Workshop
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
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Bruce Hamilton will teach one of his famous leaders workshops 
January 28-30, 2000 in Washington, D.C.  It will be an intensive 
workshop, beginning Friday evening and ending early afternoon on 
Sunday.  It is being sponsored by the Baltimore Folk Song Society 
(BFMS) and partially underwritten by the Folklore Society of 
Greater Washington (FSGW) with additional help from the CDSS's 
May Gadd Fund. 

We have given priority to our own local callers, but there 
are a few spaces left.   If you (or someone not on the list) are 
interested in participating, please contact me privately for further 
information.  If there are more applicants than space available by 
December 15, a lottery will determine the lucky participants.

Mary Kay Friday
202-543-0355
================================================================================
Archive-Date: Fri, 03 Dec 1999 09:25:00 PST
Sender: owner-ecd-AT-
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Date: Fri, 03 Dec 1999 12:23:43 -0500
From: "Emily L. Ferguson" <elf-AT-
cape.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Levi Jackson
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <l03130300b46d66e67710-AT-
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I wonder what Pat would think!

Also, then you have to play the tune 10 times, right?

Emily L. Ferguson
elf-AT-
cape.com  508-563-6822
New England landscapes, wooden boats and races, press photography
Beetlecats on the web at:
http://www.capecod.net/sqtg/nebcba/results/99champs.html


================================================================================
Archive-Date: Fri, 03 Dec 1999 09:34:44 PST
Sender: owner-ecd-AT-
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Date: Fri, 03 Dec 1999 12:34:36 -0500
From: "Susan R. Lorand" <srl-AT-
phoenix.Princeton.EDU>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Bare Necessities in Princeton tonight!
To: ECD-AT-
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The Lambertville and Princeton Country Dancers invite you to dance to the
music of Bare Necessities, with caller Scott Higgs...

When: tonight, Friday, December 3, 1999, 8-11 p.m.
Where: the Suzanne Patterson Center
	Princeton, NJ, USA -- Monument Drive, behind Borough Hall, near
	routes 206 & 27

What to wear:  
--clean, non-marking, soft-soled shoes
--layers, because the heat in the hall is broken (we'll have
space heaters for the band, and dancers will generate a lot of heat once
we're moving).  Hot drinks will be available!

What else to bring: munchies for the break

Where to park: once the parking lot outside the hall fills up, you can
park on Stockton Street (Route 206), or across stockton street at Trinity
Church if there's space, or on neighboring residential streets (Library
Place, Boudinot St.).  Carpooling recommended.  NJ Transit train & bus and
Suburban Transit bus are other good options.

Admission: $10

Apologies for the short notice; the organizers have had some complications
to deal with this year.  We expect it to be a wonderful dance.  Please
join us if you can.

--Susie Lorand
for LCD and PCD

================================================================================
Archive-Date: Fri, 03 Dec 1999 17:38:27 PST
Sender: owner-ecd-AT-
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Date: Fri, 03 Dec 1999 20:38:20 -0500 (EST)
From: julia s sutton <jsutton-AT-
world.std.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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As to ninety years of Sharp--remember that Sharp disavowed his siding in
favor of a real one, when he found it.  Why continue to build on a fake
bottom? Sharp himself would have been embarrassed. He was a good scholar
for his time, and put no stock in his own invention.

I'm interested in all the pro and con opinions.  To me the truth is
paramount; so are several truths, which we have here, but even if you like
Sharp's invention it (as opposed to just being used to it), a fake's no
good in my opinion.

Intimacy is not the same as flirtation, and sideways glances are much
better at that!

Julia







================================================================================
Archive-Date: Fri, 03 Dec 1999 17:44:34 PST
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Date: Fri, 03 Dec 1999 20:44:26 -0500 (EST)
From: julia s sutton <jsutton-AT-
world.std.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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John Meechan:

What made you assume I was assuming anything?  As a dance historian
it is my business to be able to document any claims I make.  As I wrote,
however, I'm head over heels in Lorin right now--otherwise I'd gladly give
you chapter and verse.  Reread my note, and you'll see there are no
assumption, even without footnotes!.

Julia
On Tue, 30 Nov 1999, John Meechan wrote:

> The reason for differentiating is simple - they are different things! To
> specify which one to do could limit the amount of times you bump into your
> partner etc. If callers didn't stumble over these terms it is possible that
> the dancers may stumble over each other.
> 
> I would like to challenge the assumption that they didn't invent these
> terms/figures. I don't know whether they did or not, however they are their
> interpretations of Playford's instructions.
> 
> I don't think it is important to know who Cecil Sharp is, more what the
> figures of the dance are, however, it is nice to know more about what you
> are doing if it is to be more than aerobic exercise.
> 
> I believe that C# realised, at some stage after publication, that he had got
> it wrong but felt that 'curly' sidings were too established to change and
> might result in dancers stumbling over each other!
> 
> John Meechan
> ----- Original Message -----
> From: Sharon A McKinley <smckinley-AT-
loc.gov>
> To: <ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU>
> Sent: Tuesday, November 30, 1999 2:18 PM
> Subject: sharp vs. shaw
> 
> 
> > re:
> >   sharp vs. shaw siding:
> >   maybe this has been brought up before, but i'm sorta wondering why
> > folks have started to use different terminology for so-called "sharp"
> > and "shaw" siding. in particular, curly siding, or whatever folks
> > manage to use for sharp siding, is awkward. of course i know that they
> > didn't invent these moves themselves, but certainly they popularized
> > them, and having a term that's instantly recognizable is a nice thing.
> > who cares if it's "accurate," anyway? and just what IS accurate?
> > callers keep stumbling over the terms because they're trying to be PC
> > and they have to think twice every time they teach. among lots of
> > other reasons i can think of for continuing to use "sharp siding" is
> > the fact that many people don't have the slightest idea who sharp WAS,
> > and here's a chance to tie him right in. don't flame me, i know i'm
> > only a dilettante, but i'd like to see what other folks think....
> >   sharon "cecil WHO?" mckinley, and not an official dance
> > terminologist for any government agency
> >
> 

================================================================================
Archive-Date: Fri, 03 Dec 1999 17:48:43 PST
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Date: Fri, 03 Dec 1999 20:48:35 -0500 (EST)
From: julia s sutton <jsutton-AT-
world.std.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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Mr. Bremer,

I'm glad to agree with most of your note.  I'm puzzled, however, by what
you say of the Morris.  What is the basis for your belief that the Morris
steps and figures, as we know them today, antedate country dance figures?
The age of the Morris, I know, is greater, but evidence for its steps and
figures is not so precise, at least to my knowledge.  This is a serious
question, for if you have evidence, I am eager to see it.

Julia Sutton





On Tue, 30 Nov 1999, John Bremer wrote:

> First, this is not Sharp VERSUS anyone.
> 
> Second, Sharp interpreted the Playford movement incorrectly at first, 
> but he invented a quite delightful figure which was known as "siding" 
> from about 1912 onwards. This became so established that when Sharp 
> finally figured out what the siding in Playford really was (which he did 
> before Pat Shuldham-Shaw was born) it was too late to change.
> 
> Third, I proposed in a recent biography of Sharp that we should use 
> "siding" for what we have done in the EFDSS and CDSS tradition for more 
> than eighty years, and use "side-by-side" for the shoulder to shoulder 
> movement. This seems so unobjectionable that it should command ready 
> assent (except from those with some other agenda)and is descriptive 
> enough to be intelligible to most.
> 
> Fourth, Sharp's difficulty is somewhat surprising since he knew that the 
> basic figures of Playford set dances were derived from the 
> Morris--forward and back a double corrsponds to foot up, siding (that 
> is, side by side) with side by side, arming with half-gyp, and the hey 
> (country dance style) with the Morris hey. The latter figure was the 
> most potent and magical figure in the Morris and was changed slightly 
> when adopted for country dancing--which is USUALLY done either by men 
> and then by women separately, or, if done simultaneously, is NOT done as 
> a mirror hey (which is the Morris form).
> 
> Please, siding and side-by-side. JB
> 

================================================================================
Archive-Date: Fri, 03 Dec 1999 17:48:46 PST
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Date: Fri, 03 Dec 1999 20:48:35 -0500 (EST)
From: julia s sutton <jsutton-AT-
world.std.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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Mr. Bremer,

I'm glad to agree with most of your note.  I'm puzzled, however, by what
you say of the Morris.  What is the basis for your belief that the Morris
steps and figures, as we know them today, antedate country dance figures?
The age of the Morris, I know, is greater, but evidence for its steps and
figures is not so precise, at least to my knowledge.  This is a serious
question, for if you have evidence, I am eager to see it.

Julia Sutton





On Tue, 30 Nov 1999, John Bremer wrote:

> First, this is not Sharp VERSUS anyone.
> 
> Second, Sharp interpreted the Playford movement incorrectly at first, 
> but he invented a quite delightful figure which was known as "siding" 
> from about 1912 onwards. This became so established that when Sharp 
> finally figured out what the siding in Playford really was (which he did 
> before Pat Shuldham-Shaw was born) it was too late to change.
> 
> Third, I proposed in a recent biography of Sharp that we should use 
> "siding" for what we have done in the EFDSS and CDSS tradition for more 
> than eighty years, and use "side-by-side" for the shoulder to shoulder 
> movement. This seems so unobjectionable that it should command ready 
> assent (except from those with some other agenda)and is descriptive 
> enough to be intelligible to most.
> 
> Fourth, Sharp's difficulty is somewhat surprising since he knew that the 
> basic figures of Playford set dances were derived from the 
> Morris--forward and back a double corrsponds to foot up, siding (that 
> is, side by side) with side by side, arming with half-gyp, and the hey 
> (country dance style) with the Morris hey. The latter figure was the 
> most potent and magical figure in the Morris and was changed slightly 
> when adopted for country dancing--which is USUALLY done either by men 
> and then by women separately, or, if done simultaneously, is NOT done as 
> a mirror hey (which is the Morris form).
> 
> Please, siding and side-by-side. JB
> 

================================================================================
Archive-Date: Sat, 04 Dec 1999 00:10:12 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sat, 04 Dec 1999 00:03:16 -0800 (PST)
From: "Paul J. Stamler" <pstamler-AT-
crl.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.SUN.3.91.991203235919.13641F-100000-AT-
crl3.crl.com>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Content-Transfer-Encoding: 7BIT

On Fri, 3 Dec 1999, julia s sutton wrote:

> I'm interested in all the pro and con opinions.  To me the truth is
> paramount; so are several truths, which we have here, but even if you like
> Sharp's invention it (as opposed to just being used to it), a fake's no
> good in my opinion.

Good for what? A dissertation's one thing, a historically-informed
demonstration or re-enactment is another, and a weekly dance is another
still. If one acknowledges (at said weekly dance) that the siding being
done is a modern innovation, then perhaps it will wash, along with the use
of pianos, Boehm flutes, recently-composed dances and a microphone for the
caller. Not to mention central heating. 

Peace.
Paul
================================================================================
Archive-Date: Sat, 04 Dec 1999 06:00:00 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sat, 04 Dec 1999 12:28:19 +0000
From: Trevor Monson <tmonsont-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Waverley Ahoy!
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <000701bf3e5f$db4c7720$7c9a01d4-AT-
trevormo>
MIME-Version: 1.0
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References: <001001bf3d25$9ef67720$84989fd4-AT-
trevormo> <38478879.2F89-AT-
erols.com>

Michael,

Thanks for the time taken to reply, and for showing all the various
positions during the dance.  However, maybe some misunderstanding in the
translation across the water?!

We know where we are meant to be, it's the problem of connecting the
brain to the feet of all 8 dancers in the set, at the same time, and how
to stop people going walkabout and getting in the wrong stars.

Try dancing it! (As I said - it looks easy on paper)

Trev.
----- Original Message -----
From: Michael J. O'Connor <mjoconor-AT-
erols.com>
To: <ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU>
Sent: Friday, December 03, 1999 9:08 AM
Subject: Re: Waverley Ahoy!


> Trevor Monson wrote:
> >
> > Waverley Ahoy!     (4 couple longways, couples 2 and 4 improper)
> >
> > A1 1-4  In fours, circle 1/2 way and turn single left.
>              W2 M1 W4 M3
>              M2 W1 M4 W3
> >    5-8  Middle four circle right 1/2 way and turn single right
> > while ends 2-hand turn partner once round.
>              W2 M4 W1 M3
>              M2 W4 M1 W3
> > A2 1-8  All face neighbour - straight heys for 4 starting right
> > shoulder.
>              Same
> > B1 1-2  In fours top and bottom, 1/2 right hand star
>              W4 M2 W3 M1
>              M4 W2 M3 W1
> >    3-4  Middle four 1/2 left hand star while ends go single file
> > clockwise 1/4 round to sides of set.
>                 M4 W4
>                 M3 W2
>                 W3 M2
>                 W1 M1
> >    5-6  In fours on the sides, 1/2 right hand star
>                 W2 M3
>                 W4 M4
>                 M1 W1
>                 M2 W3
> >    7-8  Middle four 1/2 left hand star while ends go single file
> > clockwise 1/4 round to ends of set.
>              M2 W1 M1 W2
>              W3 M4 W4 M3
> > B2 1-8  Repeat B1:
>      1-2  In fours top and bottom, 1/2 right hand star
>              M4 W3 M3 W4
>              W1 M2 W2 M1
>      3-4  Middle four 1/2 left hand star while ends go single file
> > clockwise 1/4 round to sides of set.
>                 W1 M4
>                 W2 M2
>                 M3 W3
>                 M1 W4
>      5-6  In fours on the sides, 1/2 right hand star
>                 M2 W2
>                 M4 W1
>                 W4 M1
>                 W3 M3
>      7-8  Middle four 1/2 left hand star while ends go single file
> > clockwise 1/4 round to ends of set.
>              W3 M1 W4 M2
>              M3 W1 M4 W2
>                           VOILA!
> >
> > Progression is  3 1 4 2
>
> > So, please give it a try, and if you manage to get through it, what
is
> > the secret?
>



__________________________________________________

Do You Yahoo!?

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================================================================================
Archive-Date: Sat, 04 Dec 1999 06:00:28 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sat, 04 Dec 1999 13:51:51 +0000
From: Trevor Monson <tmonsont-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Waverley Ahoy!
To: Eric Arnold <eba-AT-
umich.edu>
CC: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <000801bf3e5f$dcb492a0$7c9a01d4-AT-
trevormo>
MIME-Version: 1.0
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References: <Pine.SOL.4.10.9912031059390.29802-100000-AT-
tempest.gpcc.itd.umich.edu>

This is a multi-part message in MIME format.

--Boundary_(ID_PHL60xbqP3VXj+f9zkc3fg)
Content-type: text/plain; charset=iso-8859-1
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Eric,

Attached is jpg of tune for Waverley Ahoy.

As I've only been on the internet a few months (and not had a PC for
much longer), I'm still trying to find my way around with different file
types etc., so hope this is legible when it gets to you.  (The photocopy
I scanned was very pale, but I hope I increased that enough before
changing the file to a jpg).  I'll send it to the ECD listing as an
attachment as it seems a fairly small file.  If it is unreadable please
let me know - I'll either send you a larger file, or work out the "ABC"
notation, but as I have only just found that, I haven't tried to enter a
tune yet!

Hilary Herbert's book is called "Hilary's Humours" and contains the
notation for 20 tunes and 9 tunes.  A CD or tape is also available to
accompany the book, and contains music for 12 of the dances.  The
CD/tape is by "Triple Thyme" which is part of the "Wild Thyme" band, and
all are available from Cotswold Music at cotswoldmusic-AT-
ndirect.co.uk
They also have a Website at http://www.ndirect.co.uk/~cotswoldmusic

The book has some (I think!) really good dances - and is worth every
penny just for "St. Vignalis' Garden" (2 couples); "The Silver Nutmeg"
(a 3 couple circle with the nursery rhyme tune) and "Lakeside" (a waltz
in square formation).  And there are still another 17 to go at after
those little gems. (Advert Over!)

Trevor Monson


----- Original Message -----
From: Eric Arnold <eba-AT-
umich.edu>
To: Trevor Monson <tmonsont-AT-
yahoo.com>
Sent: Friday, December 03, 1999 4:05 PM
Subject: Re: Waverley Ahoy!


>
>
> On Fri, 3 Dec 1999, Trevor Monson wrote:
>
> > Following the discussion on "Dealing with Mistakes" etc. has anybody
> > come across Hilary Herbert's dance "Waverley Ahoy!"?
>
> It's not a dance I know yet, but I really like the dances which change
> their orientation from up & down to across & back, so I'm intrigued.
>
> > I have had a word with Hilary, and she has agreed for the notation
of
> > her dance to be put on the ECD listing, even though I think it will
be
> > included in her next book.
>
> I'd like very much to get the dots, too.  Can you put it out in abc or
in
> gif on a web page or something?
>
> That won't keep me from buying her book(s) -- in fact, it's more
likely to
> whet the appetite.  I'd like to find out what she has already
published,
> and how to get it.
>
> Eric Arnold
>  Ann Arbor, MI, US
>
>


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--Boundary_(ID_PHL60xbqP3VXj+f9zkc3fg)--
================================================================================
Archive-Date: Sat, 04 Dec 1999 09:33:50 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sat, 04 Dec 1999 09:33:45 -0500
From: Lucy Whitehouse <lucyw-AT-
ampsc.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: shaw vs. sharp
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <01bf3e64$91fb9920$b7a166cf-AT-
reels.amps.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

I know who Sharp is, but who is Shaw, and has he published any books?

Fiona.



































































































































































































================================================================================
Archive-Date: Sat, 04 Dec 1999 20:45:18 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sat, 04 Dec 1999 20:45:09 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: Waverley Ahoy!
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: TMONSONT-AT-
YAHOO.COM
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01JJ484KD0EK91XIVH-AT-
SSRL.SLAC.STANFORD.EDU>
MIME-Version: 1.0
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Trevor --

No problem with the commercial for Hilary's book; it sounds interesting,
and perhaps CDSS should make arrangements to carry the book and tune set 
over here, as they do with various other UK publications.  (Or do the 
authors/publishers initiate the arrangements?  I don't know, but I know
it's easier not to have to go through a currency exchange and transatlantic
shipping, and that at summer camps I can leaf through the books before buying
them.)

However, please don't post binary attachments - like jpegs - to the list.
If you have a binary, either put it up on the web or offer to mail it to
anybody who asks.  Quite a lot of us will only see the MIME gibberish from
the attachment, and those who read the digest will need to scroll through
page after page of it.

How, you might ask, are you supposed to post tunes on the list?  The best
answer isn't very good.  Look into ABC tune notation, which is an ASCII
representation of musical notes; not too hard for musicians to deal with.
(It's used extensively on the morris dancing discussion list.)  The reason
it isn't good is that you can't just scan something and get abc of it; you
have to read the music and write the code.  (Actually, if you have all the
right hardware and the right public domain software, you can play the tune
on a MIDI keyboard and get ABC output, but that's asking a lot.)

Curiously, this hasn't come up here very often.

Best,

-- Alan (in the role of list owner)

PS: Everybody else, don't jump on Trevor over this.  It's covered.


===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA  94309-0210
===============================================================================

================================================================================
Archive-Date: Sun, 05 Dec 1999 08:00:33 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sun, 05 Dec 1999 11:56:38 +0100
From: bromka-AT-
flash.net (Sondra Bromka)
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Austen Ball  in Central New York
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <v01540b06b46fea47d29f-AT-
[38.26.155.150]>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7BIT

To all you folks with English-Dance-interested associates in Central New York;

Thanks for  enlisting  your friends and relatives! This is great news!
                                                        (And I wonder if
they know you've enlisted them...)

DATE  of the next Ball:  Feb. 5, 2000

LOCATION:   Cazenovia, a village about 10 miles east of Syracuse, specific
venue TBA. Last year was the historic Linklaen House.

WORKSHOPS:  We're still working on time and date of the workshop(s) to
prepare dancers,  new and old.
Quite possibly, that same afternoon, perhaps with a potluck between times.

Do have your enlistees get in touch with me to be kept abreast of emerging
details.
I keep an email list of folks who want to receive dance info, if they want
to be included on that.

Also mention for folks to keep an eye to our web page for the final
details, as well as our "Bells & Motley Consort" Christmas Concert
performance schedule.   Our seasonal programs are of Victorian,
Renaissance, (British Isles and French) and other quirky music and
traditions,  withthe occasional participatory mummer's play to boot.  All
this will probably be right up their alley as well.

Welcome Yule'All!

Sondra Bromka

Sondra Bromka
Bells & Motley Consort
http://www.geocities.com/Vienna/Strasse/1558/


================================================================================
Archive-Date: Sun, 05 Dec 1999 12:21:50 PST
Sender: owner-ecd-AT-
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Date: Sun, 05 Dec 1999 15:21:41 -0500 (EST)
From: julia s sutton <jsutton-AT-
world.std.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: "INTERNET:ECD-AT-
SSRL04.SLAC.Stanford.EDU" <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
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Dear Gene Murrow,

I'll gladly accept the offer to do a workshop in Venice, provided, of
course, that you pay my way!

Julia





================================================================================
Archive-Date: Sun, 05 Dec 1999 12:21:53 PST
Sender: owner-ecd-AT-
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Date: Sun, 05 Dec 1999 15:21:41 -0500 (EST)
From: julia s sutton <jsutton-AT-
world.std.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp vs. shaw
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: "INTERNET:ECD-AT-
SSRL04.SLAC.Stanford.EDU" <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
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Dear Gene Murrow,

I'll gladly accept the offer to do a workshop in Venice, provided, of
course, that you pay my way!

Julia





================================================================================
Archive-Date: Mon, 06 Dec 1999 00:44:52 PST
Sender: owner-ecd-AT-
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Date: Mon, 06 Dec 1999 02:43:34 -0600
From: Charlene Charette <charlene-AT-
flash.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: movies
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <384B7736.8397212B-AT-
flash.net>
MIME-Version: 1.0
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References: <01bf3ba7$b468af80$f8eaadce-AT-
default>

Heyer wrote:

> So I'm wondering if anyone can name other movies where ECD tunes were used,
> and if so, which ones?

Pet peeve -- I hate it when the movie doesn't list the tunes in the credits.  I
hate having the name on the tip of my tongue, but not remembering exactly what
it is.  And I don't know how many documentaries I've watched twice -- once for
the show and once again to figure out the background music.  :-)

--Charlene

--
The real art of conversation is not only to say the right thing in the right
place, but also to leave unsaid the wrong thing at the tempting moment.


================================================================================
Archive-Date: Mon, 06 Dec 1999 08:26:08 PST
Sender: owner-ecd-AT-
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Date: Mon, 06 Dec 1999 11:25:57 -0500 (EST)
From: DavBarnert-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: shaw vs. sharp
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
CC: lucyw-AT-
ampsc.com
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Fiona asked:

 >I know who Sharp is,

So far, so good...

 >but who is Shaw,

I don't see any other answers yet (I'm on the digest, and it's
been an hour and a half since the last installment, so apologies
if someone's answered this already) so I'll take the stab...

Pat Shaw was (died 1977) a well-loved and prolific composer and
choreographer of many favorite ECDs: Bare Necessities, Levi
Jackson Rag, Miss DeJersey's Memorial, etc, etc. He also wrote a
lot of great rounds: Welcome to Our Saviour, I Sat Down with the
Duchess, We'd Be in Less Danger, etc.

 >and has he published any books?

See the CDSS Store web site (8 entries):

http://www.cdss.org/sales/english_dance.html

  ______      /\/\/\/\
 <______>     | | | | |  David Barnert
 <______>     | | | | |  <davbarnert-AT-
aol.com>
 <______>     | | | | |  Albany, N.Y.
 <______>     \/\/\/\/

Ventilator   Concertina
  Bellows      Bellows
(Vocation)   (Avocation)
================================================================================
Archive-Date: Mon, 06 Dec 1999 09:17:55 PST
Sender: owner-ecd-AT-
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Date: Mon, 06 Dec 1999 14:08:21 +0100
From: Antony Heywood <antony-AT-
iae.nl>
Subject: =?UNKNOWN?Q?=C6gle?= Hoekstra
To: "'Mailing List, ECD'" <ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <19991206171743.629C07C7E-AT-
iaehv.iae.nl>
MIME-Version: 1.0
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One of our favourite Dutch callers, Ægle (say Aygler) Hoekstra (say
Hookstra) died two weeks ago aged 47 after a long battle against cancer. Not
only was he a caller and a regular visitor to Sidmouth International
Festival -- yes he was there this year for the last time -- but he also
composed dances. His "Hemel Hempstead Roundabout" was on the CD "Dutch
Crossing"; his "Something Elsche" was published in English Dance and Song
and two of his dances reached the last 12 of the Dance Search competition in
England a couple of years ago and "Star.Star" won third prize.

The Dutch Folk Dance Society, NVS, is preparing a book of his dances for
publication and there will be a CD of the music. Ægle wrote the text and
approved the layout before he died and a Dutch company is busy getting the
music together for the CD. It should be ready in about 3 months and will
make a fitting tribute to a fine dancer and friend.

Keep in touch with the NVS website for news of release of the CD and book
(and for "Dutch Crossing") http://www.nvs-dance.nl and for a tribute to Ægle
from the Morris Club where he danced and taught, go to
http://members.brabant.chello.nl/~h.reints/morris/aegle.htm

Antony Heywood
Volksdansvereniging NVS
and Morrisdansgroep Helmond


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end

================================================================================
Archive-Date: Mon, 06 Dec 1999 09:47:46 PST
Sender: owner-ecd-AT-
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Date: Mon, 06 Dec 1999 09:47:39 -0800 (PST)
From: Lyrl Ahern <lyrl-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: shaw vs. sharp
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <19991206174739.23669.qmail-AT-
web2102.mail.yahoo.com>
MIME-Version: 1.0
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> Fiona asked:
> 
>  >I know who Sharp is, but who is Shaw?

Another thing Pat Shaw did was arrange dance tunes for voice, Swingle
Singers' style. When he was at Pinewoods in the mid-70s, a bunch of
us worked on them and sang one for dancing at the evening party. I
still have my copies somewhere, stuck in a shape note book, I think.

--Lyrl

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Archive-Date: Mon, 06 Dec 1999 11:37:33 PST
Sender: owner-ecd-AT-
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Date: Mon, 06 Dec 1999 11:36:00 -0800 (PST)
From: "J. Beer" <jbintercultural-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Sir Roger de Coverley
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <19991206193600.2823.qmail-AT-
web1104.mail.yahoo.com>
MIME-Version: 1.0
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Hi all. 

I'd like to finish our before-Christmas dance here in
Philadelphia with Sir Roger de Coverley, using the original slip
jig tune. (And maybe a juicy quote or two from Dickens...)

Two questions:

Are the instructions in 24 Country Dances the standard ones for
the dance? -- 1st man fig 8 or hey with 2's, 1st woman ditto;
1st couple cross, cast, turn halfway; 1st & 2nd couples loops
(leadncast/castnlead).

Any historical footnotes welcome: Why was this dance so popular
in for so long? Was it usually an end-the-evening dance?

Thanks,
Jenny Beer

Send personal replies to my real email:
jbeer-AT-
culture-at-work.com

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Archive-Date: Mon, 06 Dec 1999 11:54:44 PST
Sender: owner-ecd-AT-
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Date: Mon, 06 Dec 1999 15:52:11 -0400
From: John Wood <johnwood-AT-
accesscable.net>
Subject: Question re Circles in Waverley Ahoy!
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
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Hi, folk

Can anyone tell me if the circles in bars 1 to 8 in waverley Ahoy!
are dance walked or is slip-step used?

I hope to try it out tomorrow night in class.

Cheers, John

<http://www.homestead.com/theplayforddancers/index_4.html>
 
 
 

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<HTML>
Hi, folk

<P>Can anyone tell me if the circles in bars 1 to 8 in waverley Ahoy!
<BR>are dance walked or is slip-step used?

<P>I hope to try it out tomorrow night in class.

<P>Cheers, John

<P><U><FONT COLOR="#3333FF">&lt;<A HREF="http://www.homestead.com/theplayforddancers/index_4.html">http://www.homestead.com/theplayforddancers/index_4.html</A>></FONT></U>
<BR>&nbsp;
<BR>&nbsp;
<BR>&nbsp;</HTML>

--Boundary_(ID_7+vKpTIwbbjRn+zQZPW7TA)--
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Archive-Date: Mon, 06 Dec 1999 12:18:53 PST
Sender: owner-ecd-AT-
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Date: Mon, 06 Dec 1999 12:18:08 -0800 (PST)
From: Barbara Ruth <barbararuth-AT-
rocketmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Sir Roger de Coverley
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <19991206201808.17138.qmail-AT-
web2906.mail.yahoo.com>
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Hi Jenny,
  Lovely ball t'other night.  Hard to come back to reality after
that.

  I can't answer any of your questions, but, if you're looking for
juicy quotes, George Elliot also mentions Sir Roger de Coverly in
_Silas Marner_, where it is danced at the Christmas feast. My
recollection is that it is the opening dance there and the fiddler's
playing of it is the signal for the honored guests to get up off
their duffs and get dancing.  Also mentioned by name, if I recall
correctly is the tune "Far and Away."

Barbara
Back in New Haven, alas.


--- "J. Beer" <jbintercultural-AT-
yahoo.com> wrote:
> Hi all. 
> 
> I'd like to finish our before-Christmas dance here in
> Philadelphia with Sir Roger de Coverley, using the original slip
> jig tune. (And maybe a juicy quote or two from Dickens...)


=====
NOWELL Sing We Clear, A Pageant of Midwinter Carols
Traditional songs, music and dance of the Christmas Season, including Mummers' Play
featuring John Roberts, Tony Barrand, Fred Breunig and Andy Davis
Sunday, December 5, 1999  3:00 p.m. in New Haven, CT
St. Thomas's Episcopal Church, 830 Whitney Ave.
Tickets: $14.00 in advance, $16.00 at the door, Children 12 & under: $8.00
http://www.ctnow.com/Groups-branfordfolk
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Archive-Date: Mon, 06 Dec 1999 12:42:05 PST
Sender: owner-ecd-AT-
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Date: Mon, 06 Dec 1999 12:41:56 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: Sir Roger de Coverley
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01JJ6JHKNWNY91WG8X-AT-
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MIME-Version: 1.0
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>Hi all. 

Hi, Jenny!  Long time no see.

>I'd like to finish our before-Christmas dance here in
>Philadelphia with Sir Roger de Coverley, using the original slip
>jig tune. (And maybe a juicy quote or two from Dickens...)

Look for the quote about Mr. Fezziwig's calves glowing with an almost 
supernatural light.  It's something like that, anyway.

>Two questions:

>Are the instructions in 24 Country Dances the standard ones for
>the dance? -- 1st man fig 8 or hey with 2's, 1st woman ditto;
>1st couple cross, cast, turn halfway; 1st & 2nd couples loops
>(leadncast/castnlead).

No.

(Which "24 Country Dances" is this?  Is this Morrison's early American book,
giving a Virginia Reel?  If so, it's _a_ Virginia Reel, not the Virginia Reel
that seems to be popular from the 1840s forward.  Incidentally, in the
bookstore at Jamestown Landing this March I picked up a terrifying book called
"De Old Virginia Ham Book by de Old Virginia Ham Cook", which includes calls
for the Virginia Reel.  What's particularly terrifying about the books is that
it's copyright 1949, and nonetheless has all kinds of Uncle-Remusy dialect in
it.)

Here's my adapted version of Dudley Laufman's rendition of RdC:
-----------------------------------------------------------------------
Sir Roger de Coverly 
Four - Six couple long ways set
(Dudley Laufman's version)

Part 1:  First corners forward and back
         Second corners the same
         Turn by right
         Turn by left
         Turn two hands
         Turn no hands

Part 2:  (1s slip down the set and back, or not - we don't do that out here)
         "Strip the Willow" [Actually, out here we lace the boot, which has no 
          arming at all; just passing partner, looping around inactive person,
          passing partner again.  For strip the willow, do the below:)
             1s arm right 1.5,
               1s arm left with next couple below once,
             1s arm right 1,
               etcetera to the bottom.
         1s slip or polka to the top.

Part 3:   All face up.  1s cast, the rest follow. 
          [1s - don't go below the end of the set!]
          1s meet at the bottom, make an arch, others duck under to get to
          the top.

Repeat until everyone has been first couple.
-----------------------------------------------------------------------

The original tune is fabulous.  However, don't stress if the sets get out
of synch; people don't know how to phrase to slip jigs, usually.

>Any historical footnotes welcome: Why was this dance so popular
>in for so long? Was it usually an end-the-evening dance?

It's easy enough that you can do it without much instruction; I think that's
why it survived the general demise of country dance.  I understand that it was
a very frequent end-the-evening dance, although I'm told that the (somewhat
similar) Le Boulanger also fulfilled that function in the early 1800s.

If I can dig up the riduculously long posting I made to the Morris Dance
Discussion List (of all places) on this topic, I'll post it again here.

-- Alan


===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
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At 12:03 AM -0800 12/4/99, Paul J. Stamler wrote:
>On Fri, 3 Dec 1999, julia s sutton wrote:
>
> > I'm interested in all the pro and con opinions.  To me the truth is
> > paramount; so are several truths, which we have here, but even if you like
> > Sharp's invention it (as opposed to just being used to it), a fake's no
> > good in my opinion.
>
>Good for what? A dissertation's one thing, a historically-informed
>demonstration or re-enactment is another, and a weekly dance is another
>still. If one acknowledges (at said weekly dance) that the siding being
>done is a modern innovation, then perhaps it will wash, along with the use
>of pianos, Boehm flutes, recently-composed dances and a microphone for the
>caller. Not to mention central heating.
>
>Peace.
>Paul

Well, I just couldn't let that pass.  You're probably not 
sufficiently local, but if you are, come to my 4th Tuesday 
Renaissance Dance, in Harvard Square, and you can avoid C# sidings, 
Boehm flutes, recently-composed dances, and microphones all at once. 
If you wait till the spring, you can avoid the central heat as well!

The building, I'm afraid, is only 100 years old, but the style is a 
rather handsome (historic landmark building) gothic.  Stone, not one 
of these oddball brick gothic buildings that Boston has so many of.

In all honesty, we only do a little bit of ECD -- mostly we do other 
early dances, which may or may not have influenced or been influenced 
by ECD (see, Julia, I'm learning to hedge my statements when I don't 
really know), but those ECD dances that we do, we do as described. 
And I think there is far more enjoyment in doing them with the modern 
scholarly interpretation of siding than with C#'s invention, though I 
acknowledge that there are modern dances that were composed with C# 
sidings in mind, and if I were at a modern dance doing those dances, 
I would expect to use the C# siding.  I see no reason not to correct 
the way people do older dances, though.

I must admit I'm a bit of a curmudgeon; I hate having people do 
buzz-step swings at an ECD whether its a modern dance or not.

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Subject: Re: Sir Roger de Coverley
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Jenny,

Just a quick note on Sir Roger de C--there was an extensive discussion on 
this list awhile back, covering both Sir Roger and the Virginia Reel. Check 
the subject headings in the searchable archives under "Roger and Ginny" (or 
was it "Ginny and Roger?")

Best,
JoAnne Rawls
from 'ol' Virginny

______________________________________________________
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From: Alan Winston - SSRL Central Computing <winston-AT-
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Subject: Way too much about Sir Roger
To: ECD-AT-
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[Folks --

I originally wrote this piont for the morris dance discussion list, where 
there was some discussion about feast dancing and some about contra dancing;
I think that much context will make this comprehensible.  I'm taking the
opportunity presented by Jenny's question to post this here.  

Someday I might adapt this into an article, and I'd certainly be interested
if other people have information, corrections, amplifications, etc.  This
was originally sent out 10/30/98.

-- APW]

MDDLers --

[This is likely to be long.  Sorry about that.]

Eustace and Graham were wondering about Sir Roger de Coverly, which Eustace
thinks isn't like a contra dance or a Playford dance, although he might have
seen it in the good "Christmas Carol" movie, and Graham always thought it
_was_ a Playford dance, and what's the story anyway?

To quote Mr. Dickens (as excerpted on the flyer for the Regency-period 
Mr. Fezziwig's Christmas Ball a local group is running November 28 (at 
a science-fiction convention; don't ask)): "There were more dances, and 
there were forfeits, and more dances, and there was cake, and there was
negus . . . But the great effect of the evening came after ... when the fiddler
struck up 'Sir Roger de Coverly.'"  Then there's stuff about Mr. Fezziwig's
calves emitting an unearthly radiance, but you get the idea.  Dickens had
Fezziwig and crew dancing "Sir Roger de Coverly."

Here's some notation for a version of Sir Roger:

Sir Roger de Coverly
Four - Six couple long ways set
(Dudley Laufman's version)

Part 1:  First corners forward and back
         Second corners the same
         Turn by right
         Turn by left
         Turn two hands
         Turn no hands (eg, back to back)

Part 2:  (1s slip down the set and back, or not)
         "Strip the willow"
             1s arm right 1.5,
               1s arm left with next couple below once,
             1s arm right 1,
               etcetera to the bottom.
         1s slip or polka to the top.

Part 3:   All face up.  1s cast, the rest follow. 
          [1s - don't go below the end of the set!]
          1s meet at the bottom, make an arch, others duck under to get to
          the top.

Repeat until everyone has been first couple.  Danced unphrased to the
music.


Americans (and UK and Commonwealth types exposed to the Community Dance
Manuals) may recognize this as the Virginia Reel.  Bush dancers may
recognize the Queensland Backstep, which I gather is danced phrased, and
has a tune in a different meter for each portion.

It is a very old dance and tune.  I'm told there are references to the tune
(originally as "Thomas of Cauverly") in the 1400s.  The tune as we know it
now is a slip-jig, incidentally.  It was assumed to be an old dance in the
1700s; one of the satirical characters in Addison & Steele's SPECTATOR was
a Roger de Coverly who was described as a descendant of the one the dance
was named after.

This was the default ending dance for balls in England through the 1700s
and 1800s -- although Austen refers to "Le Boulanger" as the closing dance
in one of her novels -- and was current through the 1920s.  At least,
Dorothy L. Sayers could use it without explaining it in one of the Peter
Wimsey short stories, "The Queen's Square."

So, is it a contra dance or a Playford dance or what?  The problem with
answering that question is that those terms all mean different things in
different contexts.  It's certainly a whole-set longways dance.

To Eustace, I betcha, a contra dance is a longways American dance done
(usually) to reels or jigs, involving duple minor progression and partner
swings.  (For the first part, that means the longways set is divided up 
into minor sets of two couples, who execute a sequence of figures together
strictly phrased to the music, and then pass on in a fixed direction and
execute the same sequence with  the next couple.)  Sir Roger isn't that,
for sure.  Some people -- Dudley Laufman, for example -- figure that
anything in which the initial formation is a longways set -- eg, two
contrary lines facing each other -- is a contra dance, and Laufman has
publised a book of Quebecois contras which are mostly whole-set dances --
that is, ones where the set isn't divided up into smaller groups, but
interacts as a whole --  and not very recognizable to American contra
dancers.  In that sense, Sir Roger definitely is a contra.  (Laufman has
also published a book entitled "Sir Roger de Coverly's Whole Set Catalogue,
listing 20 or so whole set dances of different flavors.)

[By the way, I read Graham's description of Feast Dancing as short-set
longways duple-minor progression dancing, which was certainly found
scattered over England when collectors went looking in the early part of this
century.]

So is it a Playford dance?  I'm told that in England they tend to divide up
their country dance scene into Playford and ceilidh/barn dance material,
which means Playford is everything that isn't barn dance. In that sense,
it's not Playford; it's a simple, bouncy dance that bands can go to town
on, and very suitable for barn dance or ceilidh.

There's a logical use of "Playford", to mean a dance published by John
Playford (or his sucessors in publishing), in the many editions between
1651 and the late 1700s.  I don't think Sir Roger is in any of them, but
some dances bearing surprising similarities are, especially "Trenchmore"
published (according to John Millar, who's good on citations but sometimes 
dubious on conclusions) in 1721, but with references in literature going
back a good deal earlier.  (He says it was mentioned in a 1564 play by
William Bulleyn, of whom I've never otherwise heard.)

(There's also "Playford-style" used to indicate the first-edition small-set
up-a-double siding and arming dances, like Black Nag, Epping Forest, etc. 
Sir Roger isn't one of those. (Ooh, morris content after all! Those
"Playford-style" dances are clearly structurally related to a lot of
Cotswold Morris, including not only the pattern of having common figures
and a distinctive figure for a dance, but including what the common figures
are.  Forward a double (and back) is foot up, siding (especially siding
into line) is "half-gyp".  I haven't really seen arming in Cotswold, but
"whole gyp" is a lot like "gypsy", a figure in use in Playford by 1686 if
not earlier.) The first edition has all kinds of weird formations, like
Dargason (single file of six people) or Halfe Hannikin (longways as many as
will with the lines offset by one person so tops and bottoms are across
from nobody).  As time went on, country dancing got quite regularized, so
by the end of the 1700s it's virtually all longways duple or triple minor
progressions -- which happens to be what evolved into modern American
contra.  But I digress.)

It happens that the San Francisco Bay Area is a hotbed of dancing Sir Roger
de Coverly.  The Dickens Faire (put on by the inventors of the Renaissance
Pleasure Faire) had a Fezziwig's dance room where a version of the dance
was done.  (Whoever introduced it seems to have taken the Community Dance 
Manual Virginia Reel instructions, because that has a lines forward and
back at the beginning that I haven't seen in Sir Rogers that don't derive
from Dickens Faire.)  They used the name tune, a splendid slip jig.  From
the Dickens Faire spun off the Gaskell Balls, bi-monthly Victorian costume 
balls which have run for many years but in the last five have become
enormously popular, drawing 300-600 participants, many in their teens, to
do waltzes, polkas, schottisches, something they think is a mazurka, and
simple country dances including Galopede and Sir Roger.  (The band
deliberately plays faster and faster as the dance goes on, spurring the
dancers on to exhaustion.)  Drawing on an audience that includes many of
those historical recreationists, a group called PEERS (www.peers.org for
more info) has held a zillion dance events set in different time periods,
including the future, most of which somehow work Sir Roger in.  (At their
"Secret Agents Mardi Gras Masquerade Ball", a 1960s spy-themed dance, they
did "Sir Sean de Connery" to a medley of the Ventures' greatest hits.)  My
own Regency group uses it where appropriate, like the Pride & Prejudice
Ball at Netherfield last Saturday and certainly  the Fezziwig's ball next
month.

Summing up: Is it a contra dance?  Yes and no.  Is it a Playford dance? 
Mostly no.  Is it like a feast dance?  Maybe Graham can answer that now.

Thus concludes this weeks chapter of "Way More Than You Wanted to Know
about Sir Roger de Coverly."  

-- Alan


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 Alan Winston --- WINSTON-AT-
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 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA  94309-0210
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From: Christine Robb <cedar-AT-
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Subject: Re: Way too much about Sir Roger
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One addendum:

If you want to look at an original source of instructions, go to the LOC
site and search for

Wilson, Thomas dancing master; The complete system of English country
dancing, containing all the figures ever used in English country dancing,
with a variety of new figures, and new reels ... By Thomas Wilson ..;
London, Sherwood, Neeley and Jones [1815?]

and you'll find it there, with its own header.


Christine
p.s. It may even be done at An Elegant Madness, February 19th, in Toronto.
For more details, see the website below.

---
For information about English Country dancing in Toronto, Canada, see
http://www.interlog.com/~cedar

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From: Sharon Green <mls-AT-
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Subject: The Gaskells: A Sidenote
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At 01:41 PM 12/6/99 -0700, Alan Winston - SSRL Central Computing wrote:

>The Dickens Faire (put on by the inventors of the Renaissance
>Pleasure Faire) had a Fezziwig's dance room where a version of the dance
>was done. <snip>  They used the name tune, a splendid slip jig.  From
>the Dickens Faire spun off the Gaskell Balls, bi-monthly Victorian costume 
>balls which have run for many years but in the last five have become
>enormously popular, drawing 300-600 participants, many in their teens, to
>do waltzes, polkas, schottisches, something they think is a mazurka, and
>simple country dances including Galopede and Sir Roger.  

An excessively weird sidenote:

Once upon a time I was stage mother to a child fiddler [translate as
terminally cute coin-attracting machine] at the Dickens Fair.  Not having
much to do, I put together a costumed meet/greet group to interact with
customers ["My! that _is_ a baby!"], sing in the parades, dance at
Fezziwigs, and lend color to the event.  The eminent Victorian I chose to
portray was Elizabeth Gaskell; David portrayed her husband (the noted
Unitarian minister); Michael Siemon was Charles Eliot Norton, their friend
from across the pond.  Eventually we quit doing the Fair and moved East,
but the Gaskells continued to be a presence at the Fair.

I really have to get to a Gaskell Ball one of these days and see how many
dancers I can recruit for ECD!

Much love,
Sharon (ever proselytizing for the cause)
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From: Will Quale <quale-AT-
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Subject: Re: Way too much about Sir Roger
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here's the entire section from Chapter 2 "The First of the Three Spirits",
in Dickens' _A Christmas Carol_:

-----------------------------------------------------------------------
There were more dances, and there were forfeits, and more dances, and
there was cake, and there was negus, and there was a great piece of Cold
Roast, and there was a great piece of Cold Boiled, and there were
mince-pies, and plenty of beer. But the great effect of the evening came
after the Roast and Boiled, when the fiddler (an artful dog, mind! The
sort of man who knew his business better than you or I could have told it
him!) struck up "Sir Roger de Coverley". Then old Fezziwig stood out to
dance with Mrs. Fezziwig. Top couple, too; with a good stiff piece of work
cut out for them; three or four and twenty pair of partners; people who
were not to be trifled with; people who would dance, and had no notion of
walking. 

But if they had been twice as many: ah, four times: old Fezziwig would
have been a match for them, and so would Mrs. Fezziwig. As to her, she was
worthy to be his partner in every sense of the term. If that's not high
praise, tell me higher, and I'll use it. A positive light appeared to
issue from Fezziwig's calves. They shone in every part of the dance like
moons. You couldn't have predicted, at any given time, what would become
of 'em next. And when old Fezziwig and Mrs. Fezziwig had gone all through
the dance; advance and retire, hold hands with your partner, bow and
curtsey; corkscrew; thread-the-needle, and back again to your place;
Fezziwig cut -- cut so deftly, that he appeared to wink with his legs, and
came upon his feet again without a stagger. 

When the clock struck eleven, this domestic ball broke up. Mr and Mrs
Fezziwig took their stations, one on either side of the door, and shaking
hands with every person individually as he or she went out, wished him or
her a Merry Christmas. When everybody had retired but the two 'prentices,
they did the same to them; and thus the cheerful voices died away, and the
lads were left to their beds; which were under a counter in the back-shop. 
-----------------------------------------------------------------------
source: http://members.aol.com/depress/ccarol2b.htm

--will

"More prospective marriages have been marred through the abuse of
asparagus at table than through mixed bathing at Tunbridge Wells."
  --The Punch Guide to Good Living

Will's Hole in the Web		     http://www.cs.swarthmore.edu/~quale
Folk Dance Club's Page	    http://www.sccs.swarthmore.edu/org/folkdance

			"Faith manages." -- Delenn

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Subject: Re: Way too much about Sir Roger
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Alan Winston wrote:
>     <<snip>>    Re: Sir Roger
>So, is it a contra dance or a Playford dance or what?  The >problem with answering
that question is that those terms all >mean different things in different contexts.
 It's certainly a >whole-set longways dance.
>
>To Eustace, I betcha, a contra dance is a longways American >dance done (usually)
to reels or jigs, involving duple minor >progression and partner swings. (For
the first part, that 
>means the longways set is divided up into minor sets of two >couples, who execute
a sequence of figures together strictly >phrased to the music, and then pass
on in a fixed direction and >execute the same sequence with  the next couple.)


Contra dances are not necessarily duple minor. Many of the old dances (such
as Chorus Jig) were once triple minor and evolved into duple minor. There are
still a few triple minor dances around but not done often enough to be remembered
by most of todays dancers. Even recent dances do not necessarily have swings
in them although most contra dancers today feel jipped if they don't get to
swing their partner. Either Warren Argo, on Friday, or Laura Me Smith, on Saturday,
called a dance in which you had to wait to become a two before you got to swing
your partner. Thirty years ago many of the contras I experienced were old traditional
dances that didn't have partner swings and most were proper dances. Now it is
rare to encounter one of the old dances.

>Sir Roger 
>isn't that, for sure.  Some people -- Dudley Laufman, for >example -- figure
that anything in which the initial formation >is a longways set -- eg, two contrary
lines facing each other >-- is a contra dance, and Laufman has publised a book
of >Quebecois contras which are mostly whole-set dances -- that is, >ones where
the set isn't divided up into smaller groups, but >interacts as a whole -- 
and not very recognizable to American >contra dancers.  In that sense, Sir Roger
definitely is a >contra.  (Laufman has also published a book entitled "Sir Roger
>de Coverly's Whole Set Catalogue, listing 20 or so whole set >dances of different
flavors.)
>

I had the experience eleven years ago of spending a week at Port Townsend, WA
with Frantisek Bonus teaching Czech dances. (The following week he was one of
the teachers at the Mazurka Week.) One of the dances he taught was a contredanse
to a Mozart piece which was preserved on video tape. I can't recall it now but
I do remember it as being more elegant and somewhat different from the old American
contras that I know.

Andy in Portland
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Subject: Re: Question re Circles in Waverley Ahoy!
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  ----- Original Message ----- 
  From: John Wood 
  To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU 
  Sent: Monday, December 06, 1999 7:52 PM
  Subject: Question re Circles in Waverley Ahoy!


  Hi, folk 
  Can anyone tell me if the circles in bars 1 to 8 in waverley Ahoy! 
  are dance walked or is slip-step used? 

  I hope to try it out tomorrow night in class. 

  Cheers, John 

  <http://www.homestead.com/theplayforddancers/index_4.html> 
    
  John,

  We have always walked the circles (in fact we walk all the dance - but the heys could be danced) as it is easier to turn single out of them, and then for the middle people to go into the second circle - I suppose this is more symetrical as the ends will be walking the 2-hand turn at the same time.

  Good luck!

  Trev.  
    


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style="BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px; PADDING-RIGHT: 0px">
  <DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV 
  style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B> 
  <A href="mailto:johnwood-AT-
accesscable.net" title=johnwood-AT-
accesscable.net>John 
  Wood</A> </DIV>
  <DIV style="FONT: 10pt arial"><B>To:</B> <A 
  href="mailto:ECD-AT-
SSRL04.SLAC.STANFORD.EDU" 
  title=ECD-AT-
SSRL04.SLAC.STANFORD.EDU>ECD-AT-
SSRL04.SLAC.STANFORD.EDU</A> </DIV>
  <DIV style="FONT: 10pt arial"><B>Sent:</B> Monday, December 06, 1999 7:52 
  PM</DIV>
  <DIV style="FONT: 10pt arial"><B>Subject:</B> Question re Circles in Waverley 
  Ahoy!</DIV>
  <DIV><BR></DIV>Hi, folk 
  <P>Can anyone tell me if the circles in bars 1 to 8 in waverley Ahoy! <BR>are 
  dance walked or is slip-step used? 
  <P>I hope to try it out tomorrow night in class. 
  <P>Cheers, John 
  <P><U><FONT color=#3333ff>&lt;<A 
  href="http://www.homestead.com/theplayforddancers/index_4.html">http://www.homestead.com/theplayforddancers/index_4.html</A>&gt;</FONT></U> 
  <BR>&nbsp; <BR><FONT face=Arial size=2>John,</FONT></P>
  <P><FONT face=Arial size=2>We have always&nbsp;walked the circles 
  (in&nbsp;fact we walk all the dance - but the heys could be danced) as it is 
  easier to turn single out of them, and then for the middle people to go into 
  the second circle - I suppose this is more symetrical as the ends will be 
  walking the 2-hand turn at the same time.</FONT></P>
  <P><FONT face=Arial size=2>Good&nbsp;luck!</FONT></P>
  <P><FONT face=Arial size=2>Trev.</FONT>&nbsp;&nbsp;<BR>&nbsp; 
</P></BLOCKQUOTE></BODY></HTML>

--Boundary_(ID_+nb9bIoX/1Ac0RiZ/Xhiaw)--
================================================================================
Archive-Date: Mon, 06 Dec 1999 15:59:01 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 06 Dec 1999 23:57:17 +0000
From: Trevor Monson <tmonsont-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Waverley Ahoy!
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <009a01bf4045$e05bd8e0$8f9501d4-AT-
trevormo>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT


Alan (and everyone else who contacted me),

Please accept my apologies for the jpg attachment, at least I now know
not to do that again!
And a big thank you to the people who have sent  me the ABC notation for
 it - I can now forward that to anyone who asks, and it is a lot more
readable.

 Regarding American sales - I'm not sure either, but I'll have a word
 over here and see what they say.

 Thanks for the help everyone,
 Trev.
>
> ----- Original Message -----
> From: Alan Winston - SSRL Central Computing
<winston-AT-
SLAC.Stanford.EDU>
> To: <ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU>
> Cc: <TMONSONT-AT-
YAHOO.COM>
> Sent: Sunday, December 05, 1999 3:45 AM
> Subject: Re: Waverley Ahoy!
>
>
> >
> > Trevor --
> >
> > No problem with the commercial for Hilary's book; it sounds
> interesting,
> > and perhaps CDSS should make arrangements to carry the book and tune
> set
> > over here, as they do with various other UK publications.  (Or do
the
> > authors/publishers initiate the arrangements?  I don't know, but I
> know
> > it's easier not to have to go through a currency exchange and
> transatlantic
> > shipping, and that at summer camps I can leaf through the books
before
> buying
> > them.)
> >
> > However, please don't post binary attachments - like jpegs - to the
> list.
> > If you have a binary, either put it up on the web or offer to mail
it
> to
> > anybody who asks.  Quite a lot of us will only see the MIME
gibberish
> from
> > the attachment, and those who read the digest will need to scroll
> through
> > page after page of it.
> >
> > How, you might ask, are you supposed to post tunes on the list?  The
> best
> > answer isn't very good.  Look into ABC tune notation, which is an
> ASCII
> > representation of musical notes; not too hard for musicians to deal
> with.
> > (It's used extensively on the morris dancing discussion list.)  The
> reason
> > it isn't good is that you can't just scan something and get abc of
it;
> you
> > have to read the music and write the code.  (Actually, if you have
all
> the
> > right hardware and the right public domain software, you can play
the
> tune
> > on a MIDI keyboard and get ABC output, but that's asking a lot.)
> >
> > Curiously, this hasn't come up here very often.
> >
> > Best,
> >
> > -- Alan (in the role of list owner)
> >
> > PS: Everybody else, don't jump on Trevor over this.  It's covered.
> >
> >
> >
>
========================================================================
> =======
> >  Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
> >  Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:
> 650/926-3056
> >  Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA
> 94309-0210
> >
>
========================================================================
> =======
> >
>






__________________________________________________

Do You Yahoo!?

Thousands of Stores.  Millions of Products.  All in one place.

Yahoo! Shopping: http://shopping.yahoo.com

================================================================================
Archive-Date: Mon, 06 Dec 1999 16:04:18 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 06 Dec 1999 16:04:09 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: Way too much about Sir Roger
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01JJ6QKHE60Q91WG8X-AT-
SSRL.SLAC.STANFORD.EDU>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; CHARSET=US-ASCII
Content-Transfer-Encoding: 7BIT

Andy wrote:

(well, quoted me writing)

>>To Eustace, I betcha, a contra dance is a longways American >dance done
>>(usually) to reels or jigs, involving duple minor >progression and partner
>>swings. (For the first part, that  >means the longways set is divided up
>>into minor sets of two >couples, who execute a sequence of figures together
>>strictly >phrased to the music, and then pass on in a fixed direction and
>>execute the same sequence with  the next couple.)
 
(and then wrote)

>Contra dances are not necessarily duple minor. Many of the old dances (such
>as Chorus Jig) were once triple minor and evolved into duple minor. There
are still a few triple minor dances around but not done often enough to be
>remembered by most of todays dancers. Even recent dances do not necessarily
>have swings in them although most contra dancers today feel jipped if they
>don't get to swing their partner. Either Warren Argo, on Friday, or Laura
>Me Smith, on Saturday, called a dance in which you had to wait to become a
>two before you got to swing your partner. Thirty years ago many of the
>contras I experienced were old traditional dances that didn't have partner
>swings and most were proper dances. Now it is rare to encounter one of the
>old dances.

The context here was that Eustace was asking whether 'feast dances' were
more like contras or more like 'Roger de Coverly.'  I felt that to answer
that question usefully, I was obliged to guess what he meant about contra
dances, and what you quoted is my guess about what Eustace - a
California-based morris dancer who's involved in Renaissance Faires, has
only see ECD as a RenFaire performance art, and has no particular
historical dance interest - meant by it.

I am personally well aware of such triple-minor contras as Sackett's
Harbor, and have bemoaned the decline of variety in contradancing to the 
duple-minor-equal-improper-partner-swing-required form popular today.  


>I had the experience eleven years ago of spending a week at Port Townsend, WA
>with Frantisek Bonus teaching Czech dances. (The following week he was one of
>the teachers at the Mazurka Week.) 

I heard Frantisek Bonus lecture in Prague on the history of the polka.  
His tremendous affection for the subject and love for the dance really
shone through, although I didn't find his assertions of strictly-Bohemian
origin for the dance (and such spinoffs as the schottische) completely 
convincing.

>One of the dances he taught was a contredanse
to a Mozart piece which was preserved on video tape. 

I didn't know videotape was around before 1791, but I know Mozart loved new
technology.

>I can't recall it now but I do remember it as being more elegant and
>somewhat different from the old American contras that I know.

It's worth remembering that Professor Bonus choreographed as well as
reconstructing; unless he claimed it was an old dance and cited a source,
you may have been doping a modern dance.  (In any case, comparing rural
American style from this century, even for dances originating post-War of
1812, to European contredances is probably pointless.  ECD is a better
comparison, but because of the absence of footwork in most modern ECD,
probably not that close either.)

-- Alan


===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA  94309-0210
===============================================================================

================================================================================
Archive-Date: Mon, 06 Dec 1999 22:25:10 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 06 Dec 1999 22:24:17 -0800 (PST)
From: "Paul J. Stamler" <pstamler-AT-
crl.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Sir Roger de Coverley
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.SUN.3.91.991206222316.13839C-100000-AT-
crl.crl.com>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
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On Mon, 6 Dec 1999, Barbara Ruth wrote:

>   I can't answer any of your questions, but, if you're looking for
> juicy quotes, George Elliot also mentions Sir Roger de Coverly in
> _Silas Marner_, where it is danced at the Christmas feast. My
> recollection is that it is the opening dance there and the fiddler's
> playing of it is the signal for the honored guests to get up off
> their duffs and get dancing.  Also mentioned by name, if I recall
> correctly is the tune "Far and Away."

It also shows up in a short story by Dorothy L. Sayers, featuring Lord 
Peter Wimsey. I believe it's the last dance of the evening in that case 
(and of course it does become a case).

Peace.
Paul
================================================================================
Archive-Date: Mon, 06 Dec 1999 22:40:08 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 06 Dec 1999 22:37:37 -0800 (PST)
From: "Paul J. Stamler" <pstamler-AT-
crl.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Sir Roger de Coverley
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.SUN.3.91.991206223121.13839F-100000-AT-
crl.crl.com>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
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On Mon, 6 Dec 1999, Alan Winston - SSRL Central Computing wrote:

> Incidentally, in the
> bookstore at Jamestown Landing this March I picked up a terrifying book called
> "De Old Virginia Ham Book by de Old Virginia Ham Cook", which includes calls
> for the Virginia Reel.  What's particularly terrifying about the books is that
> it's copyright 1949, and nonetheless has all kinds of Uncle-Remusy dialect in
> it.)

Terrifying, perhaps, but not too surprising; the "Fireside Book of Folk
Songs", from the same era, uses similar dialect in several places, and I
remember running across it in material published into the early 1960s. In
a different context, the African-American singer Taj Mahal put out a
brilliant LP of traditional songs ca. 1970 under the title of "De Ole
Folks at Home" -- from his pen, of course, the dialect has a more complex 
affect. 

Peace.
Paul
================================================================================
Archive-Date: Tue, 07 Dec 1999 05:43:09 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Tue, 07 Dec 1999 09:40:49 -0400
From: John Wood <johnwood-AT-
accesscable.net>
Subject: Re: Question re Circles in Waverley Ahoy!
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <384D0E61.E252B0A5-AT-
accesscable.net>
MIME-Version: 1.0
Content-Type: multipart/alternative; boundary="Boundary_(ID_vCza4lRGiGM9HAFtNX+4ZQ)"
References: <384C13EB.71EA5FDF-AT-
accesscable.net> <009801bf4045$dd9ae420$8f9501d4-AT-
trevormo>


--Boundary_(ID_vCza4lRGiGM9HAFtNX+4ZQ)
Content-type: text/plain; charset=x-user-defined
Content-transfer-encoding: 8BIT

Hi Trevor:

Thank you for your help. Cheers, John

>  Question re Circles in Waverley Ahoy!

> We have always walked the circles

 

--Boundary_(ID_vCza4lRGiGM9HAFtNX+4ZQ)
Content-type: text/html; charset=x-user-defined
Content-transfer-encoding: 7BIT

<HTML>
<BODY BGCOLOR="#FFFFFF">
Hi Trevor:

<P>Thank you for your help. Cheers, John
<BLOCKQUOTE TYPE=CITE>&nbsp;Question re Circles in Waverley Ahoy!</BLOCKQUOTE>

<BLOCKQUOTE TYPE=CITE><FONT FACE="Arial"><FONT SIZE=-1>We have always walked
the circles</FONT></FONT></BLOCKQUOTE>
&nbsp;
</BODY>
</HTML>

--Boundary_(ID_vCza4lRGiGM9HAFtNX+4ZQ)--
================================================================================
Archive-Date: Wed, 08 Dec 1999 08:25:47 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Wed, 08 Dec 1999 11:28:46 -0500
From: John Bremer <Jbremer-AT-
together.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: sharp and siding and the Morris
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <384E873E.5A08-AT-
together.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7BIT
References: <Pine.SGI.3.95.991203204516.14966D-100000-AT-
world.std.com>

To Julia S. Sutton:

Dear Julia Sutton,

Sorry to take so long to reply.

Since folk dance, by its very nature of being folk, is passed on orally, 
the availability of evidence for anything ancient is slight. While we 
preserve when we notate dances or songs we also freeze them, and that is 
the basic evidence from which we all begin.

I can say little that will be of help to you, and what little I can say 
you already know. First, if you have not read them recently, I would 
look again at Sharp's introduction to the Country Dance Books. He 
changed his mind about some things--and, of course, his knowledge 
grew--so that it is best to read ALL of them in sequence. He does refer 
to siding and the Morris in Part 6, pp.10-11. It might (I speak from 
memory) be worth looking at his The Dance (with Oppe).

The little information I was able to collect (many years ago)about the 
connection between the Morris and Country Dance figures (NOT the 
steps) is buried away, if I still have it, and it would take much effort 
to search. But I don't think that it went much beyond obvious parallels 
and inference as one looks at the transition from chain dance to caroles 
to round and square dances to longways.

Since the Morris is, itself, derived from either the Long Sword dance or 
from some common ancestor, I think there is some continuity bewteen the 
three of them, but it is all based on similarity of figures and 
inferences. Perhaps the existence of longways set dances would provide 
the strongest evidence--they tend to pre-date longways 
for-as-many-as-will--and  because of two factors : one is the 
correspondence between figures, such as foot-up and forward and back a 
double, and the other the similarity in formation--six or eight people 
arranged in pairs, which in country dance became couples (because it is 
a social dance) and which in Morris tended to be thought of as masters 
and apprentices (with the masters corresponding to the men of the 
country dance). That seems to be the pivotal transition.

It might be worth studying the three and four couple country dances 
(especially Grimstock)found in Playford's first edition. But I suspect 
that similarity is the most one can look for--nobody ever wrote down 
that these dances were modelled after the Morris, although I am sure 
they were.

There, I do not think that helps you very much, for which I am sorry, 
but I am sure that somewhere in Sharp's notes there is the evidence he 
accumulated. It may not be much, but he was a better and more thorough 
scholar than most of his successors. Have you visited Clare College, 
Cambridge?

Good luck in your researches,
John Bremer
================================================================================
Archive-Date: Thu, 09 Dec 1999 15:49:21 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 09 Dec 1999 18:49:09 -0500 (EST)
From: Cerrina-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: ceilidh on friday december the 12th
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <0.2f52c536.258199f5-AT-
aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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buon divertimento. mi dispiace che non posso essere li adesso, ma vado a 
Piemonte tutte i estati. Che una festa in lulio o agosto?

Gladys Cerrina
405 Prospect Ave
Mamaroneck, N>Y>

or Fubine, Alessandria, It
================================================================================
Archive-Date: Tue, 14 Dec 1999 16:30:27 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Tue, 14 Dec 1999 19:29:17 -0500 (EST)
From: "Susan R. Lorand" <srl-AT-
phoenix.Princeton.EDU>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Wed. 29 Dec. 1999--special ECD in Princeton, NJ, USA
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.SOL.4.10.9912141919030.14701-100000-AT-
yuma.Princeton.EDU>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
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Announcing a special Wednesday night English dance in Princeton, NJ
(PCD's last dance of the 1900s):

Scott Higgs with Hold the Mustard (Daniel Beerbohm, Barbara Greenberg,
Paul Prestopino, and Kathy Talvitie)

December 29, 8-10:30 p.m.

at the Suzanne Patterson Center, on Monument Drive behind Princeton
Borough Hall, near the intersection of routes 27 and 206

(Yes, we expect the heat to be working by then!)

For anyone visiting New York or Philadelphia, Princeton is easily
accessible by public transportation.  You can walk from the bus or train
to the dance hall.

Please bring clean, soft-soled, non-marking shoes.  

For more info., see PCD's website <http://www.princetonol.com/groups/pcd>
or send me e-mail (but don't expect a quick response between Dec. 20 and
28).

--Susie Lorand
  Princeton, NJ, USA

================================================================================
Archive-Date: Fri, 17 Dec 1999 09:13:14 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Fri, 17 Dec 1999 12:14:17 -0500
From: Michael Bergman <eclectic-AT-
mit.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Renaissance Dance, Boston, 12/28/99
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <v04210108b4801e92f0b1-AT-
[24.128.25.60]>
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=us-ascii
Content-Transfer-Encoding: 7BIT
References: <Pine.SOL.4.10.9912141919030.14701-100000-AT-
yuma.Princeton.EDU>

Going to be in Boston for the holidays?  Live here already but don't 
get out much?  Tired of doing nothing but English Dance, day in, day 
out, week after week?  (:-)

Come dancing, the Tuesday after XMAS, at the Old Cambridge Baptist 
Church, a beautiful Gothic Revival stone church in Harvard Square.

Music will be provided by:
   Laura Conrad, recorder, and
   Bonnie Rogers, recorder and viol

We will do a mix of dances, as usual, with the main focus being on a 
couple of Italian Dances.  We will also go through most of Arbeau's 
bransles and some pavan and galliard figures.  For those of you who 
have seen The Christmas Revels' Italian Renaissance show this year, a 
little more than half our dances will be out of the same tradition(s) 
(and sources) as the Renaissance dances used in the show, though not 
the same choreographies.

All dances will be taught, by Ken Pierce, of the Longy School of 
Music's early dance program.  BEGINNERS WELCOME.  Some of these 
dances are very easy; some are harder but if you pay attention you 
can get through them while the more experienced dancers learn about 
style and carriage and improve their footwork.

Period refreshments will be served.  Donations of $5 are requested, 
but pay what you can/will.

The dance starts at 7:30, and ends around 10:00.

The OCBC is at 1151 Massachusetts Avenue, near Bow Street, next to 
the Inn at Harvard.  It is also known locally as the Stone Church 
with the Red Door.

There is a parking lot next to the church, which we have access to 
for free parking, a prized commodity in Harvard Square.

The church is a couple of blocks east of the Harvard Square T station.

Questions?  Email or phone Harald Longfellow, (617) 964-7684, or 
eclectic-AT-
mit.edu

--Harald
================================================================================
Archive-Date: Sun, 19 Dec 1999 11:02:04 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sun, 19 Dec 1999 14:01:53 -0500 (EST)
From: RLHAYDEN-AT-
amherst.edu
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: The Shortest Day
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <01JJOSFKUIMEAC7AEQ-AT-
amherst.edu>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN
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Friends,

Does anyone remember what tune is used for Sue Dupre's dance The Shortest
Day?  (Sue, are you out there?)  I have the directions but apparently
forgot to make a note of the music.  (How unlike me.)  :)

Robin Hayden
jettisoning grey cells at an exponential rate in Amherst
================================================================================
Archive-Date: Sun, 19 Dec 1999 12:59:38 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sun, 19 Dec 1999 14:43:51 -0600
From: Dianna Shipman <diannashipman-AT-
worldnet.att.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Winter Solstice
To: English Article <ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU>
Message-ID: <00b201bf4a63$fcd812e0$b8e0490c-AT-
pavilion>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

If anyone is willing, could you send me privately info on the dance Winter
Solstice - we're dancing Dec 22 (the winter solstice) and I'd like to
include it if I can get info in time.
Thanks,
Dianna
Dianna L. Shipman
diannashipman-AT-
worldnet.att.net
Dianna L. Shipman, P.C., Attorney at Law
PMB 134, 1436 W. Gray
Houston, TX 77019-4946
web page: http://home.att.net/~diannashipman
phone: 713-522-1212

================================================================================
Archive-Date: Sun, 19 Dec 1999 20:05:10 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sun, 19 Dec 1999 23:02:00 -0500
From: MARTHA C DAVEY <marthacd-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: See what one of our dancers does
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <19991219.230206.-230607.4.marthaCD-AT-
juno.com>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7BIT

when not on the dance floor
http://www.openair.org/alerts/artist/nydub.html
 look at paragraph 3
Martha
================================================================================
Archive-Date: Sun, 19 Dec 1999 21:03:30 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 20 Dec 1999 00:03:21 -0500 (EST)
From: Eric Arnold <eba-AT-
umich.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: The Shortest Day
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.SOL.4.10.9912192357570.1712-100000-AT-
centipede.gpcc.itd.umich.edu>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
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On Sun, 19 Dec 1999 RLHAYDEN-AT-
amherst.edu wrote:

> Friends,
> 
> Does anyone remember what tune is used for Sue Dupre's dance The Shortest
> Day?  (Sue, are you out there?)  I have the directions but apparently
> forgot to make a note of the music.  (How unlike me.)  :)

Greensleeves and Yellow Lace was the tune that Sue said they had used;
from a recent discussion of this dance with her, I think she would be
interested in knowing if there are other tunes you like to use for it.

Eric Arnold

================================================================================
Archive-Date: Mon, 20 Dec 1999 00:34:08 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 20 Dec 1999 03:18:05 -0500
From: sol weber <solweber-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Pat Shaw/Dick's Maggot
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <19991220.031807.-125875.0.solweber-AT-
juno.com>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7BIT

Re recent postings about Pat Shaw's playful variations on 
Dick's Maggot, I've come across 2 sheets from 1972 which 
includes a Swingle-Singer-style set of words, etc.  In hopes 
this is not a major copyright issue, I'll be happy to send copies 
to anyone who might find a use for them, in return for a SASE.
I'll even pay for the photocopying, so I can't be accused of 
profiteering.  Write to the address below.  (No, I can't send it by 
fax or other electronic means, but if you have a carrier pigeon...)  

+++++Sol "Roundman"  Weber --- "So many rounds, so little time"
+++++25-14  37th St, Astoria, NY 11103; 718-278-4389 (after 11am)
++SINGERS and musicians, contact me for info on books, albums, and 
   misc musical fun;  solweber-AT-
JUNO.com; FAX 1-917-677-5414  (917
            is a NYC area code) Urgent message?  Please phone.
================================================================================
Archive-Date: Mon, 20 Dec 1999 01:23:32 PST
Sender: owner-ecd-AT-
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Date: Mon, 20 Dec 1999 10:04:02 +0100
From: Philippe Callens <Philippe.Callens-AT-
uia.ua.ac.be>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Looking for address
To: ECD discussion list <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <385DF101.E08C8C92-AT-
uia.ua.ac.be>
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Does anyone have an address for Geoff Mendham, accordeonist living in
the Midlands?

Philippe Callens

================================================================================
Archive-Date: Mon, 20 Dec 1999 06:11:46 PST
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Date: Mon, 20 Dec 1999 06:11:38 -0800 (PST)
From: Barbara Ruth <barbararuth-AT-
rocketmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Masters in the Hall
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <19991220141138.1835.qmail-AT-
web2904.mail.yahoo.com>
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Surely I wasn't the only one listening to "A Prairie Home Companion"
this weekend, when the band played the tune to "Jack's Health", which
my recollection wants to claim is "Bolt the Door" but which Garrison
Keillor introduced as a Christmas tune, called "Masters in the Hall."
 Comments?

Barbara

=====
Do you know about the Hunger Site?
Sponsors of the hunger site donate money to the United 
Nations World Food Programme for every visitor to the site.
No purchases - all you do is click on the site.
Visit http://www.thehungersite.com to help fight world hunger.
__________________________________________________
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Archive-Date: Mon, 20 Dec 1999 06:57:33 PST
Sender: owner-ecd-AT-
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Date: Mon, 20 Dec 1999 09:58:28 -0500
From: "Emily L. Ferguson" <elf-AT-
cape.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Masters in the Hall
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <l03130300b483f4663901-AT-
[140.186.55.106]>
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Not the same tune.  Bolt the door and the tune for Female Sailor/Masters in
this hall etc aren't the same.

Emily L. Ferguson
elf-AT-
cape.com  508-563-6822
New England landscapes, wooden boats and races, press photography
Beetlecats on the web at:
http://www.capecod.net/sqtg/nebcba/results/99champs.html


================================================================================
Archive-Date: Mon, 20 Dec 1999 09:17:16 PST
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Date: Mon, 20 Dec 1999 12:17:08 -0500 (EST)
From: Eric Arnold <eba-AT-
umich.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Next summer
To: ECD discussion list <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <Pine.SOL.4.10.9912201156080.27349-100000-AT-
joust.gpcc.itd.umich.edu>
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Hello Philippe,

Henry Morgenstein tells me that he has arranged with you to be one of the
dance leaders at his "Between the Bays" camp next summer.  I am delighted
that you may be in Michigan again soon.  I hope there will be an
opportunity in connection with that to arrange a visit to Ann Arbor and
have you lead an evening dance event or a weekend here, depending on what
fits your plans and the other activities here.  There is a fairly active
dance community in the Ann Arbor area, with considerable activity in both
contra and English country, so we are in a position to appreciate a wide
range of your broad skills and interests.  However, some of the regular
events suspend for the summer months, and other events get scheduled on a
one-time basis, so it will help to ensure the success of any such venture
to plan it well in advance so other things can be planned around it rather
than the other way around.  

Therefore I would like to determine what interest, if any, you might have
in doing something in Ann Arbor next summer, what time would suit you
best, and what other arrangements you would like to make or have made to
maximize the experience for all involved.  What do you think?  At this
point, I believe we're pretty flexible here.  I'm on the board of the Ann
Arbor Council for Traditional Music and Dance (AACTMAD), which I expect to
be the principal sponsoring organization for such an event, and I would
like to approach them soon with the idea if it is something you would be
interested in doing.

By the way, I made good use of one of your books -- "Both Sides of the
Atlantic" -- recently, from which I got "Manhattan Chowder" by Beverly
Francis, for a dance celebrating Don Theyken's 59th birthday.  I
considered your dance for Ted Sanella's 59th birthday also, and considered
making a modification so it could be called "Don's Birthday dance," but I
could only do one and time interfered with the process, so I went with
Beverly' s dance, which was well received.  I don't often call contras,
but I thought of your books as soon as I had the invitation to call one
here, since I thought your selections would be good ones, and the only
difficulty was, I found so many there that I liked and which would have
served well, it was hard to choose!

Best regards and wishes for a joyous holiday season and for the new year!

Eric Arnold
 Ann Arbor, MI


================================================================================
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Date: Mon, 20 Dec 1999 12:22:58 -0500 (EST)
From: Eric Arnold <eba-AT-
umich.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: OOPS! Re: Next summer
To: ECD discussion list <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
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Sorry, Philippe & List Members; that was intended as a private message.

Eric


================================================================================
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Date: Mon, 20 Dec 1999 18:53:29 +0000
From: Trevor Monson <tmonsont-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Looking for address
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <005b01bf4b1b$d82707e0$ea8d01d4-AT-
trevormo>
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References: <385DF101.E08C8C92-AT-
uia.ua.ac.be>

Phillippe,

I'm not sure about Geoff Mendam - but try contacting Tracy Middleton of
"Amaryllis" at traceymiddleton-AT-
amaryllis.force9.net  as Amaryllis
produced the book and tape of his tunes and dances.

Trevor Monson


----- Original Message -----
From: Philippe Callens <Philippe.Callens-AT-
uia.ua.ac.be>
To: ECD discussion list <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Sent: Monday, December 20, 1999 9:04 AM
Subject: Looking for address


> Does anyone have an address for Geoff Mendham, accordeonist living in
> the Midlands?
>
> Philippe Callens
>



__________________________________________________

Do You Yahoo!?

Thousands of Stores.  Millions of Products.  All in one place.

Yahoo! Shopping: http://shopping.yahoo.com

================================================================================
Archive-Date: Mon, 20 Dec 1999 14:02:53 PST
Sender: owner-ecd-AT-
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Date: Mon, 20 Dec 1999 17:00:35 -0500
From: Gene Murrow <gmurrow-AT-
compuserve.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: See what one of our dancers does
To: "INTERNET:ECD-AT-
SSRL04.SLAC.Stanford.EDU" <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
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Martha (and others),

I think I've missed the point of this (a reference to a press release
quoting dancer Elizabeth Freedman speaking in her day job as a member of NY
City's corporate counsel regarding the City's position on artists selling
their works on the sidewalks).

If it was meant to rally support for or against the City of NY's position
on sidewalk art vendors, we're way too late.  This all happened almost 3
years ago.

If it was meant to flatter or condemn (depending on one's point of view) a
member of our dance community, I'm not sure the ECD list is the place to do
it.  I really enjoy the reality that, on this list, we're all just dancers.

.... or did I really miss the point?  

Gene Murrow
EC Dancer, Musician and Caller and defender of the 1st Amendment,
individual rights, art on the sidewalk and the art of siding
================================================================================
Archive-Date: Mon, 20 Dec 1999 14:05:18 PST
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Date: Mon, 20 Dec 1999 17:03:51 -0500
From: Mary Beth Goodman <mgoodman-AT-
albany.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Masters in the Hall
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <385EA7C7.2F4032C6-AT-
albany.net>
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Wasn't that the tune to The Female Saylor?

Mary Beth

Barbara Ruth wrote:
> 
> Surely I wasn't the only one listening to "A Prairie Home Companion"
> this weekend, when the band played the tune to "Jack's Health", which
> my recollection wants to claim is "Bolt the Door" but which Garrison
> Keillor introduced as a Christmas tune, called "Masters in the Hall."
>  Comments?
> 
> Barbara
> 
> =====
> Do you know about the Hunger Site?
> Sponsors of the hunger site donate money to the United
> Nations World Food Programme for every visitor to the site.
> No purchases - all you do is click on the site.
> Visit http://www.thehungersite.com to help fight world hunger.
> __________________________________________________
> Do You Yahoo!?
> Thousands of Stores.  Millions of Products.  All in one place.
> Yahoo! Shopping: http://shopping.yahoo.com
================================================================================
Archive-Date: Mon, 20 Dec 1999 14:13:47 PST
Sender: owner-ecd-AT-
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Date: Mon, 20 Dec 1999 14:13:38 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: See what one of our dancers does
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01JJQ6VBCYEA8WVZ18-AT-
SSRL.SLAC.STANFORD.EDU>
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Gene wrote:

  I think I've missed the point of this (a reference to a press release
  quoting dancer Elizabeth Freedman speaking in her day job as a member of NY
  City's corporate counsel regarding the City's position on artists selling
  their works on the sidewalks).

  If it was meant to rally support for or against the City of NY's position
  on sidewalk art vendors, we're way too late.  This all happened almost 3
  years ago.

  If it was meant to flatter or condemn (depending on one's point of view) a
  member of our dance community, I'm not sure the ECD list is the place to do
  it.  I really enjoy the reality that, on this list, we're all just dancers.

I have no knowledge why Martha posted it, but I didn't read the posting as
political at all.  I thought this was just a "look, somebody we know was in
the paper" kind of posting.  I don't actually mind this, and doing this
kind of thing occasionally isn't so bad on a 200-member mailing list as it
would be  in a forum with thousands of participants, but it probably does
set a bad precedent.  

While pointing out each other's non-ECD publications and media appearances is
a community building activity that lets us learn a little more about each
other, and thus a good thing, it is (a) quite off-topic and (b) would be bad
for bandwidth if every list member's articles, papers, or letters to the editor
were cited everytime they had one.  So on the whole, I'd rather not see too
much of this kind of thing, but would make an exception for such off-topic
items as birth, death, and wedding announcements where the participants are
ECDers.  

-- Alan (ECD list owner)


===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA  94309-0210
===============================================================================

================================================================================
Archive-Date: Mon, 20 Dec 1999 14:47:21 PST
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Date: Mon, 20 Dec 1999 14:47:10 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: Masters in the Hall
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01JJQ77OALGO8WVZ18-AT-
SSRL.SLAC.STANFORD.EDU>
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Well, I only heard part of "Prairie Home Companion" and it wasn't the part
with that tune.  In my head, at least, the two dances "Female Saylor" and
"Jack's Health" (with the "Bolt the Door" tune, not the original tune) are
filed in the same drawer, because they feel similar to me.  ("Collier's
Daughter" is half-in that drawer and half-out, because the sense of motion 
is similar but the tune is darker and smokier.)

So is it remotely possible, Barbara, that you misremembered which dance went
to which tune?

In a useless attempt to disambiguate, here's how the two tunes start:

"Bolt the door": tah rubbledy tum  tee-tum tee tum,
                 tee-tum tee-tum tee-tum tee-taaah (tum) 

"Female Saylor": tump tee-tum tee tah-dum
                 tumpty tumpty tumpty ta-dum
                 tump tee-tum tee tah-dum
                 tumpty tumpy tum

-- Alan


===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA  94309-0210
===============================================================================

================================================================================
Archive-Date: Mon, 20 Dec 1999 15:32:50 PST
Sender: owner-ecd-AT-
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Date: Mon, 20 Dec 1999 15:32:43 -0800 (PST)
From: Barbara Ruth <barbararuth-AT-
rocketmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Masters in the Hall
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <19991220233243.5568.qmail-AT-
web2904.mail.yahoo.com>
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Oh, I think the possibility that I got it wrong is far from remote. 
In fact, given the number of people who've corrected me so far, I'd
say it's a dead certainty.  Nothing like embarressing yourself in
front of 200 or so of your closest friends. And I was so pleased with
myself for recognizing a dance tune out of context.  For those of you
who can remember tunes without words that may not seem like a big
deal, but speaking as one of the melodically challenged, it's not so
easy.  At least I got it in the same "drawer" as you put it.  I do
also find that the two dances have the same motion and "feel" to me.
I think I mis-recognized the tune because it made me want to do an
energetic cross with partner.  

I also like your description of "the Collier's Daughter" as "smokey"
(certainly appropriate to the title), and I'd probably agree if I
could remember how it went.

But what really caught my interest in hearing it on the show, was
Keillor's saying that it was a Christmas tune, which I hadn't known. 
I was wondering if anyone had more information on that score.  (Right
now as I'm trying to hear the tune in my head I find it sliding into
"Tidings of Comfort and Joy" - but that may just be
hyper-suggestability).

Barbara

--- Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
wrote:
 
> Well, I only heard part of "Prairie Home Companion" and it wasn't
> the part
> with that tune.  In my head, at least, the two dances "Female
> Saylor" and
> "Jack's Health" (with the "Bolt the Door" tune, not the original
> tune) are
> filed in the same drawer, because they feel similar to me. 
> ("Collier's
> Daughter" is half-in that drawer and half-out, because the sense of
> motion 
> is similar but the tune is darker and smokier.

 
> So is it remotely possible, Barbara, that you misremembered which
> dance went
> to which tune?


=====
Do you know about the Hunger Site?
Sponsors of the hunger site donate money to the United 
Nations World Food Programme for every visitor to the site.
No purchases - all you do is click on the site.
Visit http://www.thehungersite.com to help fight world hunger.
__________________________________________________
Do You Yahoo!?
Thousands of Stores.  Millions of Products.  All in one place.
Yahoo! Shopping: http://shopping.yahoo.com
================================================================================
Archive-Date: Mon, 20 Dec 1999 15:47:49 PST
Sender: owner-ecd-AT-
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Date: Mon, 20 Dec 1999 15:47:39 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: Masters in the Hall
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01JJQA0IIGSI8WVZ18-AT-
SSRL.SLAC.STANFORD.EDU>
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Barbara wrote:

  But what really caught my interest in hearing it on the show, was
  Keillor's saying that it was a Christmas tune, which I hadn't known. 
  I was wondering if anyone had more information on that score.  (Right
  now as I'm trying to hear the tune in my head I find it sliding into
  "Tidings of Comfort and Joy" - but that may just be
  hyper-suggestability).

I'm not an expert in this area, but my understanding is that (late Victorian
designer) William Morris picked up the Female Saylor tune (which was a country
dance tune in 1710,  when it shows up in Feuillet/Essex) and set
pseudo-medieval words to it. (One year in the Bay Area Christmas Revels, the
chorus sang "Masters in this Hall" followed by men from Deer Creek Morris and
women from Mayfield doing three rounds of "Female Saylor."

A quick search on Altavista turns up these lyrics, which aren't exactly 
the ones I vaguely remember them singing in the Revels; I think the chorus
had "Nowell, Nowell, nowell, nowell sing we clear . . ."  And I also remember
a line about "casteth down the proud" which I don't see hear.  But this does
scan to "Female Saylor", at least.



Masters in This Hall 
Masters in this hall 
Hear ye news today, 
Brought from over seas 
And ever you I pray: 
Sing we now noel, 
Sing we noel clear! 
Holpen all the folk on earth 
Born the Son of God so dear! 

Then to Bethl'em town 
Went we two by two, 
In a sorry place 
We heard the oxen low: 
Sing we now noel, 
Sing we noel clear! 
Holpen all the folk on earth 
Born the Son of God so dear! 

Ox and ass Him know, 
Kneeling on their knee, 
Wonderous joy had I 
This little babe to see. 
Sing we now noel, 
Sing we noel clear! 
Holpen all the folk on earth 
Born the Son of God so dear! 

This is Christ, the Lord, 
Masters be ye glad! 
Christmas is come in, 
And no folk shall be sad! 
Sing we now noel, 
Sing we noel clear! 
Holpen all the folk on earth 
Born the Son of God so dear! 


-- Alan


===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA  94309-0210
===============================================================================

================================================================================
Archive-Date: Mon, 20 Dec 1999 17:09:35 PST
Sender: owner-ecd-AT-
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Date: Mon, 20 Dec 1999 20:09:24 -0500 (EST)
From: SallenNic-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re:  Pat Shaw/Dick's Maggot
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <0.c89b97f.25902d44-AT-
aol.com>
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In a message dated 20/12/1999 3:02:04 pm, you wrote:

<<From: sol weber <solweber-AT-
juno.com>
Subject: Pat Shaw/Dick's Maggot
Message-ID: <19991220.031807.-125875.0.solweber-AT-
juno.com>

Re recent postings about Pat Shaw's playful variations on 
Dick's Maggot, I've come across 2 sheets from 1972 which 
includes a Swingle-Singer-style set of words, etc.  In hopes 
this is not a major copyright issue, I'll be happy to send copies 
to anyone who might find a use for them, in return for a SASE.
I'll even pay for the photocopying, so I can't be accused of 
profiteering.  Write to the address below.  (No, I can't send it by 
fax or other electronic means, but if you have a carrier pigeon...) >>

This arrangement of Dick's Maggot is published in "Simi Jadech" - Dance-songs 
and rounds by Pat Shaw, edited by Elisabeth J. Wild, which is Sing for 
Pleasure Song Books - Book 2. It is copyright 1992.
Pat was Vice-Chairman of 'Sing for Pleasure'. and the songs and arrangements 
in "Simi Jadech" were Pat's gift to SfP in much the same way as he gave the 
Pinewoods dances to Pinewoods Camp as a means of raising funds.
Details from :
Mrs Lynda Parker, 25, Fryerning Lane, INGATESTONE, Essex. CM4 0DD   
TEL. 01277-353691
    I'll be happy to make preliminary enquiries for anyone who is interested.
                                                                Nicolas 
Broadbridge.

================================================================================
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Date: Mon, 20 Dec 1999 20:52:50 -0500
From: pam-AT-
tedcrane.com (Pamela Goddard)
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Masters in the Hall
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <99122020525085-AT-
tedcrane.com>
Content-Transfer-Encoding: 7BIT

This is a tune which somehow has made it into
the "bag of tricks" of one of our contra dance bands,
as well as the English Country dance.
It's not unknown at holiday time for the tune to be played for a dance,
and half the hall to be singing the chorus along with...

"Nowel, Nowel, Nowel, Nowel sing we clear
Hopen all are folk on earth, born is God's son so dear.
Nowel, Nowel Nowel, Nowel sing we loud
God today hath poor folks raised up and cast a-down the proud."

There are some who sing the verses also,
but not many... it's a great sound when it happens.

-Pamela
Another odd Ithaca "tradition"
================================================================================
Archive-Date: Mon, 20 Dec 1999 22:11:39 PST
Sender: owner-ecd-AT-
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Date: Tue, 21 Dec 1999 01:11:24 -0500 (EST)
From: Punxeguda-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Masters in the Hall
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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aol.com>
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A long time ago, in a galaxy far, far away (actually Dec 12, 1980, in NYC) I 
was in a group which performed Gustav Holst's "Christmas Day."  I can not now 
find the music (I am amazed I found the program!), but I vaguely recall that 
it included the words Alan posted for Masters in this Hall to a tune which 
even then sounded to me like the Female Saylor.  I also have vague memories 
of the NYC dancers singing those words when dancing.  In both cases, I think 
the chorus was

Nowell Nowell Nowell,
Nowell sing we clear
Holpen all the folk on earth 
Born the Son of God so dear! 
Nowell Nowell Nowell,
Nowell sing we loud
God today hath poor folk raised
And cast a down the proud.

Aithne
================================================================================
Archive-Date: Tue, 21 Dec 1999 07:50:47 PST
Sender: owner-ecd-AT-
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Date: Tue, 21 Dec 1999 10:50:33 -0500 (EST)
From: DavBarnert-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Masters in the Hall
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
CC: barbararuth-AT-
rocketmail.com
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Barbara wrote:

 >Oh, I think the possibility that I got it wrong is far from remote.
 > [snip]
 >But what really caught my interest in hearing it on the show, was
 >Keillor's saying that it was a Christmas tune, which I hadn't
 >known.

After all the publicity, did you not attend the performance of
"Nowell Sing We Clear"? I missed it this year, and also missed the
"Prairie Home Companion" in question. But I have seen "Nowell Sing We
Clear" many times, and they have *always* sung "Masters in the Hall."
It's where they got the name of their show.

  ______      /\/\/\/\
 <______>     | | | | |  David Barnert
 <______>     | | | | |  <davbarnert-AT-
aol.com>
 <______>     | | | | |  Albany, N.Y.
 <______>     \/\/\/\/

Ventilator   Concertina
  Bellows      Bellows
(Vocation)   (Avocation)
================================================================================
Archive-Date: Tue, 21 Dec 1999 18:14:25 PST
Sender: owner-ecd-AT-
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Date: Tue, 21 Dec 1999 21:10:47 -0800
From: Stephanie Smith <steph-AT-
boo.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Presidents' Ski-Dance Weekend, Laurel Highlands,PA
To: ECD list <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <38605D57.2371BCB5-AT-
boo.net>
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For those of you on the East Coast who are not going to the Dance
Flurry, consider the Presidents' Ski-Dance Weekend sponsored by The
Folklore Society of Greater Washington, Sierra Club Outings Section, and
the
Potomac-Appalachian Trail Ski-Touring Section, February 18-21, 2000.

Come join us in the Laurel Highlands of Pennsylvania (near Somerset and
Seven Springs).  We ski (downhill and cross country), sled, dance, make
music, and have lots of fun outdoors and indoors in a beautiful rustic
setting at Camp Soles.  Bring your talents and instruments to share. 
The weekend is as relaxed or fast-paced as you want to make it.  The
Frank Lloyd Wright house "Falling Waters" is nearby, and usually a group
goes to take the tour at some point during the weekend.  

The details:
English, Contras, and Squares Called by: Brad Sayler, Stephanie Smith,
and Peter Fricke, with music by Marty Taylor, Alexander Mitchell, and
Dave Wiesler

For more info:  Stephanie Smith (301-229-3577) steph-AT-
boo.net; Bob
Mathis/Tali Stopak (301-589-7539); Marty Taylor (410-235-4537); Peter
Fricke (304-728-6400) Peter_Fricke-AT-
hotmail.com 

Fees:  $52 for children 6 - 12 years; $142 for adult members of
FSGW, CDSS, BFMS, PATC, and the Sierra Club Outings Section;  $158 for
all others (includes dancing, ski instruction, three nights lodging, and
eight meals).

We are working on getting the information up on a website, but we're not
there yet.  If you contact me via email or phone, I can send you a flyer
with registration form, or email the registration form to you.  This is
a lovely weekend, all the more unusual because we have a mixture of
outdoor enthusiasts and dancers.  It would be great to see some of you
there!

Stephanie Smith
Bethesda, MD
================================================================================
Archive-Date: Wed, 22 Dec 1999 01:44:45 PST
Sender: owner-ecd-AT-
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Date: Wed, 22 Dec 1999 04:44:31 -0500 (EST)
From: SallenNic-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re:  Masters in this Hall (long!)
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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aol.com>
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Having been singing this for the last 45 years, I got out my School copy from 
1955 (where our director of music was Arnold Foster, known to some as an ECD 
piano arranger - EFDS New Series no. 1 and others - who was V-W's favourite 
pupil, and friend of Holst and Imogen) which is described as "Old French 
Melody arr. by Gustav Holst: English words by William Morris".
Copyright 1924 by Gustav Holst
Published : London; J. Curwen and Sons Ltd., 24 Berners St., W1
            New York; G. Schirmer Inc., Sole agents for U.S.A. and Eastern 
Canada
I'll put two lines into one for brevity(!):

1Masters in this Hall hear ye news today
Brought from oversea, and ever I you pray.
refrain: 
Nowell! Nowell! Nowell! Nowell! sing we clear! 
Holpen are all folk on earth, born is God's son so dear;
Nowell! Nowell! Nowell! Nowell! sing we loud! 
God today hath poor folk rais'd and cast a-down the proud.

2 Going o'er the hills; thro' the milk-white snow,
Heard I ewes bleat while the wind did blow

3 Shepherds many an one sat among the sheep,
No man spake more word than they had been asleep.

4 Quoth I "Fellows mine, why this guise sit ye?
Making but dull cheer shepherds tho' ye be?

5 Shepherds should of right leap and dance and sing,
Thus to see ye sit, is a right strange thing.

6 Quoth those fellows then, "To Bethlem town we go,
To see a Mighty Lord lie in Manger low."

7 "How name ye this Lord Shepherds?" then said I
"Very God", they said, "Come from Heaven high."

8 Then to Bethlem town we went two and two,
And in a sorry place heard the oxen low.

9 Therein did we see A sweet and goodly May 
And a fair old man, upon the straw she lay.

10 And a little Child on Her arm had She
"Wot ye Who This is?" said the hinds to me.

11 Ox and ass Him know, kneeling on their knee,
Wondrous joy had I this little Babe to see.

12 This is Christ the Lord, Masters be ye glad!
Christmas is come in, and no folk should be sad.

Caps are as printed - very old fashioned to us today, I suppose.
                                                Nicolas B., Lanark, Scotland.
================================================================================
Archive-Date: Wed, 22 Dec 1999 02:12:32 PST
Sender: owner-ecd-AT-
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Date: Wed, 22 Dec 1999 10:12:20 +0000
From: Hugh Stewart <hugh-AT-
ugsolutions.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Dance Index
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <3860A404.190C9506-AT-
ugsolutions.com>
MIME-Version: 1.0
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References: <0.108d3d5d.2591f77f-AT-
aol.com>

Apologies for taking so long, but I have finally got my dance index
code visible to the big wide world.

I exepect the address will be liable to change, but if you want to
find where a dance was published, or who wrote it, see:-

     http://ban.joh.cam.ac.uk/~abs21/dance.html

This is basically Bob Howe's index, merged with various other sources.
It attempts to do approximate matches to cope with people who kant
spel propurly.
If something is missing then you can add it to the index.

Hugh Stewart
================================================================================
Archive-Date: Wed, 22 Dec 1999 04:03:27 PST
Sender: owner-ecd-AT-
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Date: Wed, 22 Dec 1999 07:03:40 -0500
From: Mary E Jones <mjones-AT-
javanet.com>
Subject: Re: Dance Index
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <3860BE1C.65C3-AT-
javanet.com>
MIME-Version: 1.0
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References: <0.108d3d5d.2591f77f-AT-
aol.com> <3860A404.190C9506-AT-
ugsolutions.com>

Hugh Stewart wrote:

> my dance index
> http://ban.joh.cam.ac.uk/~abs21/dance.html

Hugh -

WOW!!!!!!!!!!!

What a Christmas present to all of us!  I'm speechless with thanks...

Mary (I love you; will you marry me; so what if you have a wife:every
wife needs a wife) Jones
================================================================================
Archive-Date: Wed, 22 Dec 1999 05:02:02 PST
Sender: owner-ecd-AT-
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Date: Wed, 22 Dec 1999 05:01:50 -0800 (PST)
From: Lyrl Ahern <lyrl-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re:  Masters in this Hall
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <19991222130150.4952.qmail-AT-
web2104.mail.yahoo.com>
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"Masters in This Hall" is No. 137 in the Oxford Book of Carols.
__________________________________________________
Do You Yahoo!?
Thousands of Stores.  Millions of Products.  All in one place.
Yahoo! Shopping: http://shopping.yahoo.com
================================================================================
Archive-Date: Wed, 22 Dec 1999 07:26:58 PST
Sender: owner-ecd-AT-
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Date: Wed, 22 Dec 1999 10:16:57 -0500
From: gaff-AT-
neu.edu (Terence Gaffney)
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Dance Index
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <v02130515b4869b9d8c68-AT-
[129.10.72.165]>
MIME-Version: 1.0
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>Apologies for taking so long, but I have finally got my dance index
>code visible to the big wide world.
>
>I exepect the address will be liable to change, but if you want to
>find where a dance was published, or who wrote it, see:-
>
>     http://ban.joh.cam.ac.uk/~abs21/dance.html
>
Dear Hugh,
 This is very nice. Do you have any provision for adding dances? Some of my
recent favorites are missing.

best,
 terry gaffney


================================================================================
Archive-Date: Wed, 22 Dec 1999 07:34:50 PST
Sender: owner-ecd-AT-
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Date: Wed, 22 Dec 1999 15:34:36 +0000
From: Hugh Stewart <hugh-AT-
ugsolutions.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Dance Index
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <3860EF8C.2F1D27EA-AT-
ugsolutions.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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References: <v02130515b4869b9d8c68-AT-
[129.10.72.165]>

Terence Gaffney wrote:
> 
> >Apologies for taking so long, but I have finally got my dance index
> >code visible to the big wide world.
> >
> >I exepect the address will be liable to change, but if you want to
> >find where a dance was published, or who wrote it, see:-
> >
> >     http://ban.joh.cam.ac.uk/~abs21/dance.html
> >
> Dear Hugh,
>  This is very nice. Do you have any provision for adding dances? Some of my
> recent favorites are missing.
> 
> best,
>  terry gaffney


It is supposed to say something like:-

Sorry, but I can find no dances with names like dance-not-in-the-index


Enter a new dance,     Enter a new book
Go to start page


If it fails.  Following the 'Enter a new dance' link should ask you
who you are (sorry, it's hacker protection really) and then invite
you to enter details of some dance.

Enter a new book is set up to do a whole batch in one go.
================================================================================
Archive-Date: Wed, 22 Dec 1999 07:51:33 PST
Sender: owner-ecd-AT-
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Date: Wed, 22 Dec 1999 10:41:29 -0500
From: gaff-AT-
neu.edu (Terence Gaffney)
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Dance Index
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <v02130516b486a139de00-AT-
[129.10.72.165]>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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>> Dear Hugh,
>>  This is very nice. Do you have any provision for adding dances? Some of my
>> recent favorites are missing.
>>
>> best,
>>  terry gaffney
>
>
>It is supposed to say something like:-
>
>Sorry, but I can find no dances with names like dance-not-in-the-index
>
>
>Enter a new dance,     Enter a new book
>Go to start page
>
>
>If it fails.  Following the 'Enter a new dance' link should ask you
>who you are (sorry, it's hacker protection really) and then invite
>you to enter details of some dance.
>
>Enter a new book is set up to do a whole batch in one go.
This is a good clarification. When I first saw the instructions you
indicate, I thought they were an invitation to begin a new search.
best,
 terry


================================================================================
Archive-Date: Wed, 22 Dec 1999 21:40:24 PST
Sender: owner-ecd-AT-
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Date: Wed, 22 Dec 1999 23:21:57 -0600
From: Dianna Shipman <diannashipman-AT-
worldnet.att.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Winter Solstice
To: English Article <ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU>
Message-ID: <00eb01bf4d08$434c1540$3de2490c-AT-
pavilion>
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Tonight we danced Winter Solstice - a great dance - it went quite well -
thanks to all the generous and kind hearted people who patiently replied
with emails to educate a Scottish dancer in English terminology - which they
did quite well - I was able to teach it to my group without a hitch -- I
quite enjoyed it -- and couldn't have done it without all the wonderful
help -- I used the tune to John Tallis' Canon on the Favorites of the Boston
Centre CD Vol. 1 -- which worked quite well - although it's a 7 times thru
piece of music.  Let me know if anyone knows of any CDs that have 5 times
thru music that would work well with Winter Solstice.
Thanks again - and wishing you a wonderful winter solstice, a Merry
Christmas and a Happy New Year,
Dianna

Dianna L. Shipman
diannashipman-AT-
worldnet.att.net
Dianna L. Shipman, P.C., Attorney at Law
PMB 134, 1436 W. Gray
Houston, TX 77019-4946
web page: http://home.att.net/~diannashipman
phone: 713-522-1212

================================================================================
Archive-Date: Wed, 22 Dec 1999 22:27:27 PST
Sender: owner-ecd-AT-
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Date: Thu, 23 Dec 1999 01:28:22 -0500
From: "Emily L. Ferguson" <elf-AT-
cape.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Winter Solstice
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <l03130300b48770b985ea-AT-
[140.186.55.79]>
MIME-Version: 1.0
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Tonight we did Winter Solstice to the tune we've used since we met the
dance - Early One Morning, which we were fortunate to have played by
Jacqueline and Earl.

I'm trying, however, to imagine it to Tallis' Canon and imagine what Pat
would have thought about melding them when he labored so to get that tune
to work for that spectacular dance.

Somehow, I can't get it, but I'm glad you had a good time anyway.  It's
just that something in me would like to see Tallis' Canon saved for the
dance to which it belongs.

Emily L. Ferguson
elf-AT-
cape.com  508-563-6822
New England landscapes, wooden boats and races, press photography
Beetlecats on the web at:
http://www.capecod.net/sqtg/nebcba/results/99champs.html


================================================================================
Archive-Date: Wed, 22 Dec 1999 23:33:11 PST
Sender: owner-ecd-AT-
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Date: Thu, 23 Dec 1999 01:33:28 -0600
From: Dianna Shipman <diannashipman-AT-
worldnet.att.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Winter Solstice
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <021101bf4d18$04ac0740$3de2490c-AT-
pavilion>
MIME-Version: 1.0
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References: <l03130300b48770b985ea-AT-
[140.186.55.79]>

I quite agree (about tunes with their own dances) - but I'm new to English
dance and at this point have a very limited supply of music and wanted to do
the dance for the solstice - it was shown as 6/8 time and that was the
shortest piece of 6/8 music I had -- and so far I haven't been able to
identify a source of recorded music for Winter Solstice and unfortunately we
don't have live music for it (yet) -- however, a couple of my Scottish
dancers liked the music so much now they want to learn the dance that
actually goes with it.
Dianna
Dianna L. Shipman
diannashipman-AT-
worldnet.att.net
Dianna L. Shipman, P.C., Attorney at Law
PMB 134, 1436 W. Gray
Houston, TX 77019-4946
web page: http://home.att.net/~diannashipman
phone: 713-522-1212
----- Original Message -----
From: Emily L. Ferguson <elf-AT-
cape.com>
To: <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Sent: Thursday, December 23, 1999 12:28 AM
Subject: Re: Winter Solstice


> Tonight we did Winter Solstice to the tune we've used since we met the
> dance - Early One Morning, which we were fortunate to have played by
> Jacqueline and Earl.
>
> I'm trying, however, to imagine it to Tallis' Canon and imagine what Pat
> would have thought about melding them when he labored so to get that tune
> to work for that spectacular dance.
>
> Somehow, I can't get it, but I'm glad you had a good time anyway.  It's
> just that something in me would like to see Tallis' Canon saved for the
> dance to which it belongs.
>
> Emily L. Ferguson
> elf-AT-
cape.com  508-563-6822
> New England landscapes, wooden boats and races, press photography
> Beetlecats on the web at:
> http://www.capecod.net/sqtg/nebcba/results/99champs.html
>
>

================================================================================
Archive-Date: Thu, 23 Dec 1999 07:47:35 PST
Sender: owner-ecd-AT-
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Date: Thu, 23 Dec 1999 10:49:08 -0500
From: Lou Vosteen <lvosteen-AT-
widomaker.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Winter Solstice
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <l03110705b487f4a45d08-AT-
[209.96.185.123]>
MIME-Version: 1.0
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The tune I generally use for Winter Solstice is "The Weezle" on From Two
Barns, vol 3. It's five times thru and fits the dance quite well.

Lou


================================================================================
Archive-Date: Thu, 23 Dec 1999 09:14:25 PST
Sender: owner-ecd-AT-
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Date: Thu, 23 Dec 1999 12:14:15 -0500 (EST)
From: Eric Arnold <eba-AT-
umich.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Winter Solstice
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.SOL.4.10.9912231152270.6596-100000-AT-
stargate.gpcc.itd.umich.edu>
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On Thu, 23 Dec 1999, Lou Vosteen wrote:

> The tune I generally use for Winter Solstice is "The Weezle" on From Two
> Barns, vol 3. It's five times thru and fits the dance quite well.
> 
> Lou
> 
> 

I gather that the use of alternative tunes for Wendy Crouch's dance
"Winter Solstice" is primarily based on the need for a recorded version
which fits for those dance groups which don't have the benefit of live
music.  For those who do, why not make the effort to get the tune by David
Dean written specifically for this dance, which gives the dance its own
special character.  

I know well that folks here in the US like to do it to "Early One Morning"
played AABB -- that's the way I first did it, too, and I enjoyed it that
way.  The tune was published with the dance in English Folk Dance & Song,
I think in 1996; I don't have the reference here.  Perhaps CDSS could get
permission to republish it in the CDSS News (hint hint, Robin & Bruce!)?
Perhaps Gene Murrow could persuade Bare Necessities to include it among
the selections for their third CD of English Country dance selections?
After all, isn't one of the purposes of this series to enable folks
without a band to do ECD to the appropriate tunes?

I realize the reluctance to change ways that have become familiar, and
that it is harder to change in proportion to the inverse square of the
distance from Boston, but even there, while they may never have done this
dance to the David Dean tune, at least they haven't been dancing it to
"Early One Morning" for 80 years yet...  };-^>

Eric Arnold
 who is just now recovering from our Ann Arbor Winter Solstice Party, 
and who likes "Winter Solstice" having its own tune.



================================================================================
Archive-Date: Thu, 23 Dec 1999 09:30:57 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 23 Dec 1999 12:31:15 -0500
From: "Emily L. Ferguson" <elf-AT-
cape.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Winter Solstice
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <l03130300b4880cb218fd-AT-
[140.186.55.26]>
MIME-Version: 1.0
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We've done it to its own tune.  I think I sensed that most of us preferred
the first tune we did it to, but who knows.

It just never felt like a jiggy dance to me, personally.

Emily L. Ferguson
elf-AT-
cape.com  508-563-6822
New England landscapes, wooden boats and races, press photography
Beetlecats on the web at:
http://www.capecod.net/sqtg/nebcba/results/99champs.html


================================================================================
Archive-Date: Thu, 23 Dec 1999 10:10:07 PST
Sender: owner-ecd-AT-
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Date: Thu, 23 Dec 1999 13:09:18 -0500 (EST)
From: Eric Arnold <eba-AT-
umich.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Winter Solstice
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.SOL.4.10.9912231301470.6596-100000-AT-
stargate.gpcc.itd.umich.edu>
MIME-Version: 1.0
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On Thu, 23 Dec 1999, Emily L. Ferguson wrote:

> We've done it to its own tune.  I think I sensed that most of us preferred
> the first tune we did it to, but who knows.
> 
> It just never felt like a jiggy dance to me, personally.

It's a very smooth jig, tho'

Actually, I think it might have been someone from the Boston area who
persuaded me to give the David Dean tune a try -- it _was_ somewhere in
the US where they had tried it, and Boston is a likely candidate for
that -- and at least this person liked it.

Eric

================================================================================
Archive-Date: Thu, 23 Dec 1999 20:28:00 PST
Sender: owner-ecd-AT-
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Date: Thu, 23 Dec 1999 20:31:40 -0800
From: Heyer <Heyer-AT-
concentric.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Winter Solstice
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <01bf4dc7$c5f8a2a0$34eaadce-AT-
default>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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Eric Arnold writes:
>>I gather that the use of alternative tunes for Wendy Crouch's dance
"Winter Solstice" is primarily based on the need for a recorded version
which fits for those dance groups which don't have the benefit of live
music [ . . . .] The tune was published with the dance in English Folk Dance
& Song,
I think in 1996<<

It sounds as if getting a recording isn't the only problem -- I'd love to
have the sheet music but from the above it seems as if that isn't really
available either.  Is it currently in print anywhere?

Marian Phillips

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From: Orly Krasner <okrasner-AT-
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Subject: Re: Winter Solstice
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"Winter Solstice" and the tune by David Dean are both published in Wendy 
Crouch's collection "Further Flights of Fancy" (1998).  I was given my copy 
by a friend in the UK.  I'll see if I can find out what its availability is. 
  I've always been fond of this dance; when I was a rank beginner, this was 
the first dance I did where suddenly the little lightbulb clicked on and I 
"saw" the patterns!

Orly Krasner
okrasner-AT-
hotmail.com
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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Subject: Re: Winter Solstice
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Marian Phillips wrote:

 >It sounds as if getting a recording isn't the only problem -- I'd
 >love to have the sheet music but from the above it seems as if that
 >isn't really available either. Is it currently in print anywhere?

Can anyone who knows or has the tune throw together an abc version?

I haven't seen abc discussed much on this list, but this is a perfect
example of how useful it can be. The abc music notation protocol was
developed with British Isles dance tunes in mind, although it has now
been extended way beyond that (there's an abc version of the slow
movement of Beethoven's 7th Symphony out there on the web somewhere
and there's a link to it on the web page cited below).

For those who have no idea what I'm talking about, abc is a way of
expressing music notation in ASCII text (ie, nothing you can't type
with a simple computer keyboard) that has the following properties:

1) It can be communicated in any way that any text message can (eg,
in the body of an e-mail message) and is therefore not dependent on
any particular platform (music written on a Mac can be shared with
Windows, Unix, DOS, etc). The files are usually pretty short: a few
lines of header, and a line of text for each line of music.

2) It is intuitive enough that it can be written and interpreted on
paper or computer screen by humans with a modest amount of learning.

3) It is rigorous enough that it can be written and interpreted by
computer software, which can make abc notation out of MIDI files, and
turn abc notation into MIDI, printed standard notation, or sound from
the computer's speaker.

More complete information can be found at the abc web page:

          <A HREF="http://www.gre.ac.uk/~c.walshaw/abc/">http://www.gre.ac.uk/
~c.walshaw/abc/</A>

which also has links to all the software applications that have been
written for different types of computer. This is all a pretty recent
development, and the protocol is still being defined (join the "abc
users" discussion list and watch it happen).

  ______      /\/\/\/\
 <______>     | | | | |  David Barnert
 <______>     | | | | |  <davbarnert-AT-
aol.com>
 <______>     | | | | |  Albany, N.Y.
 <______>     \/\/\/\/

Ventilator   Concertina
  Bellows      Bellows
(Vocation)   (Avocation)
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From: "Susan R. Lorand" <srl-AT-
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Subject: Re: Winter Solstice
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On Thu, 23 Dec 1999, Heyer wrote:

> Eric Arnold writes:
> >>I gather that the use of alternative tunes for Wendy Crouch's dance
> "Winter Solstice" is primarily based on the need for a recorded version
> which fits for those dance groups which don't have the benefit of live
> music [ . . . .] The tune was published with the dance in English Folk Dance
> & Song,
> I think in 1996<<
> 
> It sounds as if getting a recording isn't the only problem -- I'd love to
> have the sheet music but from the above it seems as if that isn't really
> available either.  Is it currently in print anywhere?
> 
> Marian Phillips

"early one morning" is found in peter barnes' book (the second edition).
watch the number of A and B parts, though.

it wasn't clear to me from eric's message which tune was published in
efdss - was it the tune by david dean?

--susie lorand
  princeton, nj

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On Thu, 23 Dec 1999, Orly Krasner wrote:

> "Winter Solstice" and the tune by David Dean are both published in Wendy 
> Crouch's collection "Further Flights of Fancy" (1998).  I was given my copy 
> by a friend in the UK.  I'll see if I can find out what its availability is. 

Thanks, Orly, for this information.  I'm glad that it's now published in a
form which has the potential for wider distribution.

I obtained a copy of it's predecessor from the Anglo-American Dance
Service (AADS) in Belgium, and I just checked their site to see if this
book is listed yet, but it wasn't.  I hope it will be soon, because it is
easy to purchase from them, and they have a _lot_ of the English
publications which don't make it into the folk shops over here, and they
have a convenient arrangement for U.S. customers to pay: an account with
an American bank, to which payments may be sent.  Their catalog pages, too
are quite useful, with pictures of the covers of many of the books, so it
is easier to tell if it's something I already have or not...  I recommend
them highly.  Their web site is at:

	http://gallery.uunet.be/aads/

Eric Arnold
 Ann Arbor

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From: Hugh Stewart <hugh-AT-
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Subject: Of academic interest only -- what it the 'rule' for holding hands?
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You know and I know that there is no strong convention on how to hold hands,
but every so often someone asks what the rule is and I feel it is only fair
to give a consistent answer.

Cecil Sharp says:- "When two men or two women join inside hands, it is suggeted
that the dancer having the lower number should always take the man's position
(i.e. give his hand palm upward)."
(Pedants please note "it is suggested" so even Cecil Sharp does not phrase it as
an absolute rule.)

In the Playford Ball Keller and Shimer use essentially the same phrasing.

Now, ever since kindergarten I have understood that one is a lower number than
two,  but someone has just explained that it is obvious to them that since
we number off from the top it is self-evident that one is higher than two.

I'm confused!  Can the Internet Oracle rescue me?

The rule I have always worked to is that a man gives palms up to a woman (who
gives palms down to him) and the numerically lesser person gives palms up
to a numerically greater person of the same sex.  In other words when joining
hands in long lines in a duple minor proper set all the ones offer palms
up and all the twos palms down.

I know perfectly well this is just an academic question so don't reply
"who cares?" (pedants do) and don't bother telling me that I don't follow
my own rule when I dance with you (I sometimes cooperate with my fellow
dancers).
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Hugh Stewart wrote (in part):

> You know and I know that there is no strong convention on how to hold hands,
> but every so often someone asks what the rule is --

This is from memory, so please make allowances for minor error:
    The leading person (man if leading woman, first man if leading man, first woman
if leading woman) offers  the right hand in thumb uppermost position (n.b. the palm
is in a vertical plane, not up) and the hand is taken by  placing the respondning
palm upright on the back of the offered hand and folding the fingers over to enable
a secure giving of weight. The offered hand does not clutch. I believe Wilson says
this is so the woman may withdraw her hand if she deems it necessary.
    The general rules are a little more complex:  a man always offers a hand  in the
thumb upward position to lead or support a woman:  Between two dancers of the same
sex, if connected by same hands, the leading person (lower number) supports, if
connected by opposite hands, the right hand supports.
Albert Blank
e-mail: fandango-AT-
sprintmail.com


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Subject: Re: Of academic interest only -- what it the 'rule' for holding hands?
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>You know and I know that there is no strong convention on how to hold hands,

>but every so often someone asks what the rule is and I feel it is only fair

>to give a consistent answer.
>

I hope I'm not duplicating as I tried to send this and my e-mail choked.

I find that one time that I need to have palm upward no matter which number
I am is when I am the gatepost. In a gate the person backing up is leading the
other person around and it is very difficult to have your hand palm down and
lead another person.

Generally the man presents his hand palm upward to the woman. By necessity,
the rule has to be flexible according to who is leading.

The trick to dancing smoothly is thinking ahead to the next movement and moving
through a space at the beginning of the phrase in the music. In addition to
being in position, one must think ahead to present the hand appropriately for
the next movement. There occasionally are times when the woman is in the position
of leading the man into the next figure. She should have the stronger leading
hand position.

Andy in Portland, OR