Archive-Date: Sun, 02 Jan 2000 16:17:00 PST
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Date: Sun, 02 Jan 2000 19:16:29 -0500
From: sol weber <solweber-AT-
juno.com>
Reply-To: ECD-AT-
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Subject: Masters In This Hall; more words
To: ECD-AT-
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  This is a belated add'l entry in the Masters In This Hall 
Sweepstakes.  Each year for about 8 years or so,
following a late December dance of CDNY (Country Dance 
New York), there has been a Holiday Caroling event, as we
meander through Greenwich Village, making frequent stops 
to serenade folks with the traditional and contemporary 
holiday songs, including a few for Hannukah, the Revels, etc,
as well as Christmas and New Years songs.  We had a
record turnout last month -- over 50 people -- and were well
received by residents coming to their windows as well as
folks in bars, restaurants, etc.  Many of us continued on with 
more singing and partying at an indoor location till almost 3am.
Even our caller for that night, Jim Kitch, came along and had
a good time.  
  New York Revels is well represented in our dance community
(or vice versa), and we do many Revels related pieces.  The 
lively Pat Shaw round, "Welcome to Our Saviour", is a favorite,
and Masters In This Hall is always included as well, using the 
version sung in the Revels; previous postings have presented 
those.  Someone gave me a completely different set of words, 
really neat ones, though anonymous.  Anyone know where they
came from originally?  Here they are.

Softly fall the snowflakes, clothing all the earth in whi-ite.
Sweetly bells are chiming   on this Christmas night.

Noel, Noel, Noel,    Sing the Saviour's birth
For the time of sorrow has gone by   
       and joy has come to Earth (to Ear--th)
                   (Repeat)

Wild the varied chimings,  one tale only they do te-ell,
Lies in Bethlehem the     great Emanuel.

Noel, Noel, Noel,   Sing with heart and voice,
For the Lord of glory has come down
            to make all hearts rejoice
                   (Repeat)

Very nice.  I think I'd change 'Wild the varied chimings' to
'Wild the bells are ringing'.  Take your choice.





+++++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.
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Archive-Date: Sun, 02 Jan 2000 19:20:21 PST
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Date: Sun, 02 Jan 2000 22:19:54 -0500
From: Themmis Anno <ruthemmi-AT-
YesterDance.Toronto.ON.CA>
Subject: Re: Of academic interest only -- what it the 'rule' for holding hands?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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It is good that someone brought this topic up.

     It contributes to the smooth flow of the dance if
everyone follows the same rule
and we don't have to "negotiate" the point with every new
dancer we meet.

     But first we must note that there are two methods of
handholding in common
use:

     a)   With the palm vertical, fingers pointing up.
This presents no problems, if everyone uses it, and is the
method commonly used in
contra dancing.
The point in its favour is that it presents no problem if
everyone uses it.
The point against it is that it is not the appropriate
period style and it is not in
character with the style of most EC dances, certainly not
with the old ones.

     b)   With the palms horizontal. This is appropriate
period style and more elegant.
The problem it poses is whose palm faces up and whose down?

     In the absence of an authoritative ruling on this point
I propose the following:

Couple #1 are the Active dancers.
Couple #2 ( and #3 in 3-couple dances ) are the Supporting
dancers.

     The rules, in priority sequence, are:

     In a circle,  Left palm up, Right palm down.

     Two of same gender, Left palm up, Right palm down.

     Active dancer palm up, supporting dancer(s) palm down.

     Man's palm up, Woman's palm down.



     This is simple enough to remember and it covers all
situations where an
alternative hold is not implied or specified, as for
instance it is in turning partner.
     In unusual situations with multiple couples in a set, a
couple nearer the top ( lower
number ) is " more active" than a couples below them.

     The rules are based on the idea that the gentlemen
"help" or "guide" the ladies,
and that the active couple lead or even demonstrate the
dance.
     These ideas are appropriate to the style of the period,
even if we may chose to
question them today.


Themmis

--------------------------------------------------------
Ruth vonFuchs or Themmis Anno
YesterDance
ruthemmi-AT-
YesterDance.Toronto.ON.CA
 .           www.YesterDance.Toronto.ON.CA
--------------------------------------------------------



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Archive-Date: Mon, 03 Jan 2000 04:10:10 PST
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Date: Mon, 03 Jan 2000 07:09:30 -0500
From: Sharon A McKinley <smckinley-AT-
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Subject: Of academic interest only
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re: handholding:
  i think it's of a lot more than simply academic interest.
  a coupla personal observations: 
  1. many women figure their hand should ALWAYS be on top, so no
matter what you may be doing in a dance with them, that's where
they'll be. i know who they are in my group, and always offer mine
below.
  2. in a circle of 4, i often find it simply more comfortable to
have my front hand palm up. and my back hand palm down. closely
related to promenades when the woman is expected to have her right
wrist cocked straight back over her shoulder. i have alternatives to
THAT one. no carpal tunnel dancing for MOI!
  happy new year's to all!
  sharon
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Archive-Date: Mon, 03 Jan 2000 13:09:00 PST
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Date: Mon, 03 Jan 2000 16:06:53 -0500
From: Lou Vosteen <lvosteen-AT-
widomaker.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Of academic interest only -- what it the 'rule' for holding hands?
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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[209.96.179.32]>
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I'd like to second the proposal of Ruth vonFuchs who suggested:

>     In the absence of an authoritative ruling on this point
>I propose the following:
>
>Couple #1 are the Active dancers.
>Couple #2 ( and #3 in 3-couple dances ) are the Supporting
>dancers.
>
>     The rules, in priority sequence, are:
>
>     In a circle,  Left palm up, Right palm down.
>
>     Two of same gender, Left palm up, Right palm down.
>
>     Active dancer palm up, supporting dancer(s) palm down.
>
>     Man's palm up, Woman's palm down.

I have been sugesting this convention to dancers for a number of years and
it seems to work well. There are times, of course, when one forgets the
"convention" so you just connect and keep dancing.

Along the same vein, in dances such as "Good Man of Ballangigh" or "The
First Lady," when two people are leading (or crossing) through the opposite
people, it works very well for the standing person to put their hand down
by their side with the palm facing back. In this position, the moving
person can easily pick up the hand and keep the movement flowing. It turns
out that the palm positions that result are consistent with the suggested
convention. Even when the second and first women connect to lead through
the men (in "Good Man"), the second woman has the role of "active" dancer
and will have a palm up position when she picks up the first woman.

Lou Vosteen


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Archive-Date: Tue, 04 Jan 2000 03:48:18 PST
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Date: Tue, 04 Jan 2000 11:41:25 +0000
From: Robert & Hazel Moir <rhmoir-AT-
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Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Of academic interest only -- what it the 'rule' for holding hands?
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU, ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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Having just returned from a splendid Welcome the Millenium weekend at
Southam , I thought I would join the discussion.
Have you come across this one?
I was taught that the first couple always takes presidence i.e. when two men
are dancing together to cross between two women, the first man encourages
the second man to go ahead; if leading between second man takes subordinate
role i.e. palm down.
From the female side as first woman takes presidence, she goes first or has
palm down.
When three 'same sex' are together and take hands e.g. to circle on sides of
three couple set, the middle dancer supports his/her two 'subordinates'
i.e.middle dancer has both palms up, top of set dancers act as first couples
i.e. man has palm up; woman has palm down.
It is all absolutely obvious - you just have to remember how complicated the
rules of society were in the eighteenth century. As 'dance' was an essential
element of education in order to take one's place in  society , these
matters were assimulated at an early age. I rremember it well.
There, I am glad to have got that out !
I do hope Hugh is keeping a record  of all of this for his next book.
Best wishes to all.
Robert .
!-----Original Message-----
From: Albert A. Blank <fandango-AT-
sprintmail.com>
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Date: 31 December 1999 16:51
Subject: Re: Of academic interest only -- what it the 'rule' for holding
hands?




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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Date: Tue, 04 Jan 2000 11:41:25 +0000
From: Robert & Hazel Moir <rhmoir-AT-
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Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Of academic interest only -- what it the 'rule' for holding hands?
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU, ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <001501bf56a8$bee90560$b85595c1-AT-
oemcomputer>
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Having just returned from a splendid Welcome the Millenium weekend at
Southam , I thought I would join the discussion.
Have you come across this one?
I was taught that the first couple always takes presidence i.e. when two men
are dancing together to cross between two women, the first man encourages
the second man to go ahead; if leading between second man takes subordinate
role i.e. palm down.
From the female side as first woman takes presidence, she goes first or has
palm down.
When three 'same sex' are together and take hands e.g. to circle on sides of
three couple set, the middle dancer supports his/her two 'subordinates'
i.e.middle dancer has both palms up, top of set dancers act as first couples
i.e. man has palm up; woman has palm down.
It is all absolutely obvious - you just have to remember how complicated the
rules of society were in the eighteenth century. As 'dance' was an essential
element of education in order to take one's place in  society , these
matters were assimulated at an early age. I rremember it well.
There, I am glad to have got that out !
I do hope Hugh is keeping a record  of all of this for his next book.
Best wishes to all.
Robert .
!-----Original Message-----
From: Albert A. Blank <fandango-AT-
sprintmail.com>
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Date: 31 December 1999 16:51
Subject: Re: Of academic interest only -- what it the 'rule' for holding
hands?




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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Archive-Date: Wed, 05 Jan 2000 00:23:18 PST
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Date: Wed, 05 Jan 2000 00:23:12 -0800 (PST)
From: Lyrl Ahern <lyrl-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Of academic interest only -- what is the 'rule' for holding hands?
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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--- Themmis Anno <ruthemmi-AT-
YesterDance.Toronto.ON.CA> wrote:

> In the absence of an authoritative ruling on this point
> I propose the following:
> 
>      The rules, in priority sequence, are:
> 
>      In a circle,  Left palm up, Right palm down.
I dislike having my hands in different directions in a circle. It
makes me feel a little...out of balance, for lack of another way to
put it. Lopsided. Having my hands in the same direction somehow makes
the circle feel more round; this is probably more important in a
slipping circle. 

>      Man's palm up, Woman's palm down.
There are times when the reverse makes more sense: how can you gate
someone well without having the supporting (up) hand?

--Lyrl
__________________________________________________
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Archive-Date: Thu, 06 Jan 2000 08:25:38 PST
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Date: Thu, 06 Jan 2000 11:11:33 -0500
From: Themmis Anno <ruthemmi-AT-
YesterDance.Toronto.ON.CA>
Subject: Re: Of academic interest only -- what is the 'rule' for holding hands?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
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: Lyrl Ahern <lyrl-AT-
yahoo.com> wrote:
>
> >      Man's palm up, Woman's palm down.
> There are times when the reverse makes more sense: how can
you gate
> someone well without having the supporting (up) hand?
>
I agree with you; this is a situation " where an alternative
hold is implied or specified."


>
> >      In a circle,  Left palm up, Right palm down.
> I dislike having my hands in different directions in a
circle. It
> makes me feel a little...out of balance, for lack of
another way to
> put it. Lopsided. Having my hands in the same direction
somehow makes
> the circle feel more round; this is probably more
important in a
> slipping circle.
>
It is understandable that people have personal preferences
for one way or another.
The issue is, when two dancers whith different preferences
meet, whose preferences prevail?
We can settle the matter either
    a)    by both dancers applying an objective rule known
to all, or
    b)    by "fumbling" or "gropping" until the more
determined dancer prevails.
I suggest that (a) is the more practical choice.


Themmis
--------------------------------------------------------
Ruth vonFuchs or Themmis Anno
YesterDance
ruthemmi-AT-
YesterDance.Toronto.ON.CA
 .           www.YesterDance.Toronto.ON.CA
--------------------------------------------------------


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Archive-Date: Thu, 06 Jan 2000 09:02:41 PST
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Date: Thu, 06 Jan 2000 12:02:26 -0500 (EST)
From: Chicoqueen-AT-
aol.com
Reply-To: ECD-AT-
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Subject: Re: Of academic interest only -- what is the 'rule' for holding	hands?
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Hello Lyrl and All:

In my dozen-plus years of duple dancing, the "rule" I've always followed is:

Women's palm down -- Men's palm up

when two people of the same gender hold hands (such as in a circle), 

The 1's take precedence over the 2's, who accommodate them

But I hadn't thought about the instance of two men gating before!  I'd be 
curious as to how men feel inclined to arrange their hands.


Reine Wonite
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Date: Thu, 06 Jan 2000 11:03:22 -0800 (PST)
From: Barbara Ruth <barbararuth-AT-
rocketmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Of academic interest only -- what is the 'rule' for holding hands?
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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--- Lyrl Ahern <lyrl-AT-
yahoo.com> wrote:
> --- Themmis Anno <ruthemmi-AT-
YesterDance.Toronto.ON.CA> wrote:
> 
> > In the absence of an authoritative ruling on this point
> > I propose the following:
> > 
> >      The rules, in priority sequence, are:
> > 
> >      In a circle,  Left palm up, Right palm down.
> I dislike having my hands in different directions in a circle. It
> makes me feel a little...out of balance, for lack of another way to
> put it. Lopsided. 

Like Lyrl I tend to dislike having my hands in opposite directions -
it feels unsymmetrical.  Of course there are times when it's going to
happen, such as when the people on either side of you are being
symmetrical in opposite directions, I don't like the idea of doing it
deliberately.  Also, as simple as it is, I guarantee that if I tried
to follow the suggested rule I'd be standing there going "Now was
that right palm up, left down, or right down, left up?" and missing
the cue to begin the circle.

I follow the standard convention re: ladies and gents, i.e. when
dancing as a gent I offer my hand palm-up to ladies and when dancing
as a lady I offer my hand palm-down to gents.  When interacting with
someone of the same dance-gender the personal convention that I try
to stick to is any time I am the one offering my hand, I do so
palm-up.  In other words, if I am the one sticking my hand out first,
I stick it out palm-up on the rationale that I am in a sense
"inviting" the other person to take hands and the natural-feeling
position for that is palm-up.  If the other person's hand gets there
first I try to respond appropriately to what they've offered. 
Sometimes both people's hands get there at the same time and there
ensues that flip-flopping as people try to adjust, which is
admittedly a trifle inelegant, but doesn't seem all that troublesome.
 And sometimes when I go back and forth between genders I lose track
of what I am at any particular moment in a dance and just stick my
hand out at random.  Usually someone is kind enough to take it.



=====
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Archive-Date: Thu, 06 Jan 2000 13:15:30 PST
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Date: Thu, 06 Jan 2000 13:25:12 -0800
From: Vicki Tracy <vtracy-AT-
animationartist.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: Of academic interest only -- what is the 'rule' for holding	hands?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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Hi all,

I was taught the rule of hand holding while turning in a circle or in a line
was (for both men and women) the left hand is palms up, right hand is palms
down.  That way when you are reaching for another's hand you are not all
juggling which way to hold hands, and it fits like a puzzle. :)

Vicki Tracy

================================================================================
Archive-Date: Thu, 06 Jan 2000 15:48:55 PST
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Date: Thu, 06 Jan 2000 18:42:15 -0500
From: "Linda M. Nelson" <lindan-AT-
capecod.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Of academic interest only -- what is the 'rule' for holding hands?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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[209.244.244.57]>
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>We can settle the matter either
>    a)    by both dancers applying an objective rule known
>to all, or
>    b)    by "fumbling" or "gropping" until the more
>determined dancer prevails.
>I suggest that (a) is the more practical choice.

Practical, yes.  However, in a real dance situation where everyone's out to
have fun, and very few know the "rules" (or the rule keepers have different
rules!), one learns to accomodate.  So i advocate
     c)  by learning to graciously take the offered hand without fumbling.
or
     d)  by having a good healthy laugh when hands don't mesh on the first try.

- Linda


__________________________________________________
"Oh, yes.  It's vital to remember who you really are.
It's very important.  It isn't a good idea to rely on other
people or things to do it for you, you see.  They always
get it wrong."        (Terry Pratchett - from "Sourcery")
__________________________________________________


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Date: Thu, 06 Jan 2000 19:14:46 -0800
From: Mary Luckhardt <mary-AT-
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Reply-To: ECD-AT-
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Subject: RE: Of academic interest only -- what is the 'rule' for holding	hands?
To: ECD List <ECD-AT-
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But wait, as a lady, my _partner_ is on my left in that circle!  My left 
hand should be palm up to him??  I guess that's why my personal habit is 
exactly opposite to "the rule" as below: My left hand is palm down to my 
partner (as always), and I'm supporting the gentleman on my right.  But 
I'm mostly with Barbara Ruth, especially about thinking about it!

This is actually the first time (in 15 years of dancing) that I've heard 
English dancers express a rule, though I've sometimes felt it's presence. 
 Do the Scots teach it more strongly?  I suppose it would be easier if we 
all followed it, but I'll never like giving my palm up to my partner.

Mary Luckhardt

On 1/6/00 1:25 PM Vicki Tracy wrote:

>Hi all,
>
>I was taught the rule of hand holding while turning in a circle or in a line
>was (for both men and women) the left hand is palms up, right hand is palms
>down.  That way when you are reaching for another's hand you are not all
>juggling which way to hold hands, and it fits like a puzzle. :)
>
>Vicki Tracy
>
>
================================================================================
Archive-Date: Thu, 06 Jan 2000 23:09:54 PST
Sender: owner-ecd-AT-
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Date: Fri, 07 Jan 2000 07:09:41 +0000 (GMT)
From: adpete-AT-
jps.net
Subject: Re: Of academic interest only -- what is the 'rule' for holding hands?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
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>>We can settle the matter either
>>    a)    by both dancers applying an objective rule known
>>to all, or
>>    b)    by "fumbling" or "gropping" until the more
>>determined dancer prevails.
>>I suggest that (a) is the more practical choice.
>
Linda Nelson wrote:
>Practical, yes.  However, in a real dance situation where 
>everyone's out to have fun, and very few know the "rules" (or
>the rule keepers have different rules!), one learns to 
>accomodate.  So i advocate:
>     c)  by learning to graciously take the offered hand 
>without fumbling.
>or
>     d)  by having a good healthy laugh when hands don't mesh 
>on the first try.
>

I'm with Linda on this one. I know that somewhere in the last 30+ years I've
heard that the man's hand is presented palm up to the lady, but it may not have
been in an ECD setting (more likely at a Vintage venue). Most people are dancing
for the fun of it and they probably would not even notice if you made a rule,
although English dancers tend to listen to the teacher more than Contra dancers
do. If you can't laugh about it as Linda suggests, you're far too serious.

Andy in Portland
================================================================================
Archive-Date: Fri, 07 Jan 2000 04:07:26 PST
Sender: owner-ecd-AT-
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Date: Fri, 07 Jan 2000 13:09:36 +0100
From: Philippe Callens <Philippe.Callens-AT-
uia.ua.ac.be>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Of academic interest only -- what is the 'rule' for holding hands?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <3875D780.44BB5ADA-AT-
uia.ua.ac.be>
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References: <20000105082312.22945.qmail-AT-
web2102.mail.yahoo.com> <000201bf5862$9b1754a0$02000003-AT-
interlog.com>

Themmis Anno wrote:

> : Lyrl Ahern <lyrl-AT-
yahoo.com> wrote:
> >
> > >      Man's palm up, Woman's palm down.
> > There are times when the reverse makes more sense: how can
> you gate
> > someone well without having the supporting (up) hand?
> >
> I agree with you; this is a situation " where an alternative
> hold is implied or specified."

I like to think of gates as an equal movement (very much like a hand
turn): one dancers moves backwards all the time, the other one forward.
So does it matter who holds hands up/down?

Philippe Callens

================================================================================
Archive-Date: Fri, 07 Jan 2000 04:24:56 PST
Sender: owner-ecd-AT-
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Date: Fri, 07 Jan 2000 07:24:12 -0500
From: Sharon A McKinley <smckinley-AT-
loc.gov>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: gate hands
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <s87594a8.047-AT-
loc.gov>
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philippe said:
 I like to think of gates as an equal movement (very much like a
hand
turn): one dancers moves backwards all the time, the other one
forward.
So does it matter who holds hands up/down?

   it is equal in motion, but there is a sense of the gater (backing
up) supporting or almost "leading" the gatee (going forward). say the
gater is on the left. from a physical point of view, the right arm is
truly moving forward as the person backs up "over" their left
shoulder. the gatee's left arm is actually going backwards as they
move forward around the middle pivot point. i would think the arm with
the forward momentum is stronger, so it makes sense for the gater to
have their hand underneath in the leading position. if you reverse
this, there's a sense of the gatee pulling the gater. this works no
matter which direction you're gating. on the other hand, we still have
loads of people who have no knowledge of hand "rules," so i'm always
prepared to either. and that hearty laugh as you keep switching hands
(extra fun when 2 women are together and can't remember who's who) is
a really good thing! i seem to recall we're supposed to be doing this
because it's fun.

enjoy!
  sharon
================================================================================
Archive-Date: Fri, 07 Jan 2000 05:13:35 PST
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Date: Fri, 07 Jan 2000 05:13:29 -0800 (PST)
From: Lyrl Ahern <lyrl-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: gate hands
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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web2102.mail.yahoo.com>
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--- Sharon A McKinley <smckinley-AT-
loc.gov> wrote:
> philippe said:
>  I like to think of gates as an equal movement (very much like a
> hand turn): one dancer moves backwards all the time, the other one
> forward. So does it matter who holds hands up/down?
> 
>    it is equal in motion, but there is a sense of the gater
> (backing up) supporting or almost "leading" the gatee (going
> forward)...

That's exactly what I meant when I said that I like, as gater, to
have the supporting hand under. It FEELS different when my hand is on
top and I'm trying to assist someone through the turn. As gatee, I am
disappointed when the gater pivots in one place rather than turning.
It lacks "swoop."

Lyrl
__________________________________________________
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Archive-Date: Fri, 07 Jan 2000 08:07:31 PST
Sender: owner-ecd-AT-
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Date: Fri, 07 Jan 2000 10:07:25 -0600 (CST)
From: j-sivier-AT-
ux1.cso.uiuc.edu
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Of academic interest only -- what is the 'rule' for holding hands?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <200001071607.KAA24812-AT-
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Vicki Tracy writes:
> 
> I was taught the rule of hand holding while turning in a circle or in a line
> was (for both men and women) the left hand is palms up, right hand is palms
> down.  That way when you are reaching for another's hand you are not all
> juggling which way to hold hands, and it fits like a puzzle. :)

   Several people have said that this was the rule that they followed.  It
seems to me it would make more sense if it was the other way around, right
hand palm up and left hand palm down.  Then the hand positions when in
a couple, with the man on the left and woman on the right, would be a specific
case of this general rule.  A further extension would be in same-sex couples,
the person on the left has palm up and the person on the right has their
palm down.

   Does this make sense to anyone else?

Jonathan

================================================================================
Archive-Date: Sat, 08 Jan 2000 14:54:04 PST
Sender: owner-ecd-AT-
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Date: Sat, 08 Jan 2000 17:54:07 -0500 (EST)
From: Dawn Culbertson <dcculb-AT-
peabody.jhu.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Kettle Drum
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.GSO.3.96.1000108175106.21140A-100000-AT-
gigue.peabody.jhu.edu>
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I've recently become intrigued by the dance "Kettle Drum" in the 1650
edition of Playford, and decided to try and reconstruct it. But I've run
into a real snag, as the instructions aren't very clear. Has anyone out
there done the dance, or tried reconstructing it? Any comments/help/etc.
would be greatly appreciated.

Dawn Culbertson
dcculb-AT-
peabody.jhu.edu

================================================================================
Archive-Date: Sat, 08 Jan 2000 14:58:59 PST
Sender: owner-ecd-AT-
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Date: Sat, 08 Jan 2000 18:01:26 -0500
From: "Albert A. Blank" <fandango-AT-
sprintmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: ECD in New Zealand
To: ECD list <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <3877C1C6.764F543-AT-
sprintmail.com>
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Hello, everyone,
    Well be in New Zealand, South Island, for the first 3 weeks of
March.  Can anyone tell us about ECD events over there?
Ciao,
Albert Blank & Nancy DeVore
e-mail: fandango-AT-
sprintmail.com


================================================================================
Archive-Date: Sat, 08 Jan 2000 15:36:43 PST
Sender: owner-ecd-AT-
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Date: Sat, 08 Jan 2000 19:36:11 -0400
From: John Wood <johnwood-AT-
accesscable.net>
Subject: Re: Kettle Drum
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
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Hi, Dawn:

> I've recently become intrigued by the dance "Kettle Drum" in the 1650
> edition of Playford, and decided to try and reconstruct it. But I've run
> into a real snag, as the instructions aren't very clear. Has anyone out
> there done the dance, or tried reconstructing it? Any comments/help/etc.
> would be greatly appreciated.

Maybe the following may help.

Cheers, John, Bedford, NS

KETTLE DRUM - from The English Dancing Master
A Round for 8 dancers.

  PART I
A1-A2   1 -:-  8 Taking hands in a circle, lead in a double forward and
back, TWICE.
B1
   1 -:-  2
  3 -:-  4
  5 -:-  8
 All four women go in a double forward and take right hands across, then
wait.
All the men go in a double and take right hands across.
Letting go of hands, take partner’s right hand instead and go once around,
returning to original places
B2
   1 -:-  2
  3 -:-  4
  5 -:-  8 All four men go in a double forward and take left hands across,
then wait.
All the women go in a double and take left hands across.
Turn partners once around by the left hand, and return to original places.
  PART II
A1-A2   1 -:-  8 Siding by rights. Siding by lefts.
B1   1 -:-  2
  3 -:-  4
  5 -:-  6
  7 -:-  8 Both first couples [heads] lead in a double forward to meet each
other.
The first couples fall back a double WHILE the second couples [sides] lead
in forward. As the second couples meet, they take hands four and go one step
or so around to the left.
The second couples fall back a double with the men on the improper side of
the circle, each holding the contrary woman’s right hands in his left hand,
WHILE the first couples lead in, take hands, and go a little way around to
the left as the second couple did in B1 (3-4).
The first couples fall back a double, with the men on the improper side of
the circle, as in bars 5 and 6.
B2   1 -:-  2
  3 -:-  4
  5 -:-  8 All four couples [with each others’ partners] lead in a double
forward.
The men [still holding hands with the women] cast off, turning out to the
right away from the women and going out and around behinf the women, WHILE
the women follow the men by going to the right [to where the men had been]
and then out to their own places.
Letting go of hands, the men go halfway around the circle clockwise, to
their original places, WHILE the women turn to face in again and then wait
for their partners to come back.
  PART III
A1-A2   1 -:-  8 Right arming. Left arming.
B1   1 -:-  2
  3 -:-  4
  5 -:-  8
 Taking both hands with partner, swing your arms inward, letting go of the
inward pair of hands [woman’s right and man’s left], turning partner, and
then letting go of the other pair of hands and standing back to back.
Greet your contrary [the person next to you who is not your partner] with a
quick kiss on each cheek.
Taking both hands with your contrary, swing your arms outward, letting go
and turning back to back as in B1 (1-2); kiss your partner twice!
B2   1 -:-  8 Taking both hands with partner, go around until the music ends
[Walk swing].
 
 

================================================================================
Archive-Date: Sat, 08 Jan 2000 15:39:17 PST
Sender: owner-ecd-AT-
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Date: Sat, 08 Jan 2000 18:38:48 -0500 (EST)
From: Will Linden <wlinden-AT-
panix.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Kettle Drum
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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 I find the instructions for the Kettle Drum intelligible only by assuming
haplography.... i.e., that a marked assymetry in part of it appears
because Playford (or his informant) simply garbled his notes.


Will Linden  wlinden-AT-
panix.com
http://www.panix.com/~wlinden/
Magic Code: MAS/GD S++ W++ N+ PWM++ Ds/r+ A-> a++ C+ G- QO++ 666 Y

================================================================================
Archive-Date: Sun, 09 Jan 2000 14:50:17 PST
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Date: Sun, 09 Jan 2000 17:49:06 -0500
From: Gene Murrow <gmurrow-AT-
compuserve.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Your ideas for new Bare Necessities recordings
To: ECD_LIST <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <200001091749_MC2-93E9-EA1A-AT-
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Dear hard-core ECD-ers (especially teachers & leaders),

Bare Necessities are preparing to record the next 2 CD's in the Boston
Centre series for dancing.  They are Volume 3 "Simple Pleasures" and Volume
4 "Modern Treasures."  We invite your help.

Below are lists of dances/tunes being considered for each volume.  If
possible, please review these and:

1. Suggest any other dances you think should be on either list (some
obvious choices are excluded because they are already available on
recordings).
2. Alert us to any recordings that ALREADY EXIST of any dance on the list .
 These recordings should be currently available, decent sounding, and of
proper length and tempo.  [I'm counting on the U.K. readers in particular
to let us know about such recordings that could be sold here].  We do not
wish to duplicate previous good efforts.

Be aware that the band MGM has just finished a CD of Fried Herman's dances,
and will be doing one of Gary Roodman's dances in the near future.  All
these projects will complement one another.

Specific suggestions should be sent to me directly, off-list, at
gmurrow-AT-
compuserve.com   Please post these on or before midnight next
Sunday, January 16, 2000.  

General comments and suggestions could go to the list for useful
discussion.

Thanks!!!  

Gene Murrow, Producer

And here are the lists...

Simple Pleasures [easy ECD's for beginners and as openers]
---------------------------------------------------------------------------
----------------

Auretti's Dutch Skipper
Cumberland Square
Dover Pier
Draper's Gardens
Epping Forest
Faithless Nancy Dawson
Freeford Gardens
I Care Not For These Ladies
Leah's Waltz
Mulberry Garden
Never Love Thee More
Nottingham Swing
Rakes of Rochester
Scotch Cap
Waterfall Waltz



Modern Treasures [popular, contemporary ECD's]
---------------------------------------------------------
Astonished Archeologist, The
Christina
Corelli's Maggot
Dunant House Waltz
Early One Morning
Elizabeth
Enchanted Place, An
Enrichez Vous
Glendeven
Handel With Care
Helena
Homecoming
In the Bleak Midwinter
Mistwold
New Beginning, A
O Susato
Perpetual Motion
Randolph Farewell
Sleeping in the Attic
Unrequited Love
Winter Memories
Wooing Mairi
================================================================================
Archive-Date: Sun, 09 Jan 2000 17:01:06 PST
Sender: owner-ecd-AT-
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Date: Sun, 09 Jan 2000 17:00:55 -0800 (PST)
From: Davenport-Senuta <dancerhiker-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <20000110010055.11535.qmail-AT-
web1603.mail.yahoo.com>
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Nice job, 10 of your list are not recorded anywhere
well done!Helen

--- Gene Murrow <gmurrow-AT-
compuserve.com> wrote:
> Dear hard-core ECD-ers (especially teachers &
> leaders),
> 
> Bare Necessities are preparing to record the next 2
> CD's in the Boston
> Centre series for dancing.  They are Volume 3
> "Simple Pleasures" and Volume
> 4 "Modern Treasures."  We invite your help.
> 
> Below are lists of dances/tunes being considered for
> each volume.  If
> possible, please review these and:
> 
> 1. Suggest any other dances you think should be on
> either list (some
> obvious choices are excluded because they are
> already available on
> recordings).
> 2. Alert us to any recordings that ALREADY EXIST of
> any dance on the list .
>  These recordings should be currently available,
> decent sounding, and of
> proper length and tempo.  [I'm counting on the U.K.
> readers in particular
> to let us know about such recordings that could be
> sold here].  We do not
> wish to duplicate previous good efforts.
> 
> Be aware that the band MGM has just finished a CD of
> Fried Herman's dances,
> and will be doing one of Gary Roodman's dances in
> the near future.  All
> these projects will complement one another.
> 
> Specific suggestions should be sent to me directly,
> off-list, at
> gmurrow-AT-
compuserve.com   Please post these on or
> before midnight next
> Sunday, January 16, 2000.  
> 
> General comments and suggestions could go to the
> list for useful
> discussion.
> 
> Thanks!!!  
> 
> Gene Murrow, Producer
> 
> And here are the lists...
> 
> Simple Pleasures [easy ECD's for beginners and as
> openers]
>
---------------------------------------------------------------------------
> ----------------
> 
> Auretti's Dutch Skipper
> Cumberland Square
> Dover Pier
> Draper's Gardens
> Epping Forest
> Faithless Nancy Dawson
> Freeford Gardens
> I Care Not For These Ladies
> Leah's Waltz
> Mulberry Garden
> Never Love Thee More
> Nottingham Swing
> Rakes of Rochester
> Scotch Cap
> Waterfall Waltz
> 
> 
> 
> Modern Treasures [popular, contemporary ECD's]
>
---------------------------------------------------------
> Astonished Archeologist, The
> Christina
> Corelli's Maggot
> Dunant House Waltz
> Early One Morning
> Elizabeth
> Enchanted Place, An
> Enrichez Vous
> Glendeven
> Handel With Care
> Helena
> Homecoming
> In the Bleak Midwinter
> Mistwold
> New Beginning, A
> O Susato
> Perpetual Motion
> Randolph Farewell
> Sleeping in the Attic
> Unrequited Love
> Winter Memories
> Wooing Mairi
> 

__________________________________________________
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Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com
================================================================================
Archive-Date: Sun, 09 Jan 2000 17:20:33 PST
Sender: owner-ecd-AT-
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Date: Sun, 09 Jan 2000 17:24:53 -0800
From: Heyer <Heyer-AT-
concentric.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <01bf5b09$7f4c3fc0$8fe7adce-AT-
default>
MIME-Version: 1.0
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How about recording David Dean's tune for Wendy Crouch's "Winter Solstice"?
That would certainly solve a problem.

Marian Phillips




================================================================================
Archive-Date: Sun, 09 Jan 2000 22:29:05 PST
Sender: owner-ecd-AT-
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Date: Sun, 09 Jan 2000 20:08:25 -0600
From: Dianna Shipman <diannashipman-AT-
worldnet.att.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <000b01bf5b34$39bedd20$e7e6490c-AT-
pavilion>
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Yes, please - it would be great to have correct music for Winter Solstice.
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: Heyer <Heyer-AT-
concentric.net>
To: <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Sent: Sunday, January 09, 2000 7:24 PM
Subject: Re: Your ideas for new Bare Necessities recordings


> How about recording David Dean's tune for Wendy Crouch's "Winter
Solstice"?
> That would certainly solve a problem.
>
> Marian Phillips
>
>
>
>
>

================================================================================
Archive-Date: Mon, 10 Jan 2000 04:52:13 PST
Sender: owner-ecd-AT-
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Date: Mon, 10 Jan 2000 06:51:57 -0600
From: Mike Mudrey <mgmudrey-AT-
madison.tds.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Winter Solstice
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <4.2.2.20000110064955.00a5b4c0-AT-
popmail.tds.net>
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default>

Here in Madison Wisconsin we use  Early One Morning, track 15 on Dutch 
Crossing by Wild Thyme.  A trifle brisk but we either slow it down on our 
JVC 301 variable speed CD player, or just dance a little faster!

One has to watch recording of Early One Morning...most of ABB, this one is 
AABB.

mm


Mike Mudrey
106 Ravine Road
Mount Horeb, WI53572-1930
608-437-3701

mgmudrey-AT-
madison.tds.net

================================================================================
Archive-Date: Mon, 10 Jan 2000 05:13:44 PST
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Date: Mon, 10 Jan 2000 13:13:28 +0000
From: Hugh Stewart <hugh-AT-
ugsolutions.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Who wrote Simple Gifts?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <3879DAF8.35F6F176-AT-
ugsolutions.com>
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Someone said to me:-

>>  Simple Gifts is credited ?Pat Shaw? in your database.
>>  This is definitely wrong. The Not Quite Shaw recording attributed it
>>  wrongly.
>>  I believe it was written by a 16-year old American girl whose surname is
>>  MacLain.
>>  Why not publish a question on the ECD mailing list to nail this once and for
>>  all?

Why not indeed?

(Simple Gifts is a longways dance to the obvious Shaker tune,  I think in
England it is generally credited as "Pat Shaw imported this dance which
was written by some young American")
================================================================================
Archive-Date: Mon, 10 Jan 2000 05:20:38 PST
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Date: Mon, 10 Jan 2000 08:21:58 -0500
From: "Emily L. Ferguson" <elf-AT-
cape.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Who wrote Simple Gifts?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <l03130300b49f8ceb6ecb-AT-
[140.186.55.200]>
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I always understood it to have been written by one of Dudley Laufman's
daughters.  I believe, but my memory is not clear from so long ago, that I
first danced it at its debut, introduced by Dudley at the Scout House in
the mid-70s.

Dudley's at laufman-AT-
totalnetnh.net.

Let's ask him!

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, 10 Jan 2000 06:00:43 PST
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Date: Mon, 10 Jan 2000 09:00:13 -0500
From: Gene Murrow <gmurrow-AT-
compuserve.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: "INTERNET:ECD-AT-
SSRL04.SLAC.Stanford.EDU" <ECD-AT-
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Message text written by Marian Phillips 
>How about recording David Dean's tune for Wendy Crouch's "Winter
Solstice"?<

Good idea.  Anyone else interested in Winter Solstice with its original
tune by David Dean as published in Wendy Crouch's "Further Flights of
Fancy?"

Gene


================================================================================
Archive-Date: Mon, 10 Jan 2000 07:08:26 PST
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Date: Mon, 10 Jan 2000 07:08:19 -0800 (PST)
From: Barbara Ruth <barbararuth-AT-
rocketmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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web2901.mail.yahoo.com>
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I think I suggested this previously, but I'd still like to see
Patrick's Waltz included, even if the dance is not that well-known in
the U.S.(yet). Maybe having it on a recording would encourage more
people to do this lovely dance.

Barbara

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Archive-Date: Mon, 10 Jan 2000 07:13:44 PST
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Date: Mon, 10 Jan 2000 10:13:35 -0500 (EST)
From: Eric Arnold <eba-AT-
umich.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: "INTERNET:ECD-AT-
SSRL04.SLAC.Stanford.EDU" <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <Pine.SOL.4.10.10001100952040.29436-100000-AT-
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On Mon, 10 Jan 2000, Gene Murrow wrote:

> Message text written by Marian Phillips 
> >How about recording David Dean's tune for Wendy Crouch's "Winter
> Solstice"?<
> 
> Good idea.  Anyone else interested in Winter Solstice with its original
> tune by David Dean as published in Wendy Crouch's "Further Flights of
> Fancy?"
> 
> Gene
  
Yes -- I would have put in a vote for that tune right away if I hadn't
seen it already supported by Marian and Dianna.  While I have access to
the music and have bands which now have it in their repertoire, it is my
understanding that these recordings are being made partly in response to
the need of groups which don't always have bands available.  The dance
certainly seems to be popular and I believe deservedly so; with the recent
discussion of the difficulty of finding Dean's tune fresh in memory, I
think this would be a very appropriate inclusion.

Since "Early One Morning" is on the list, and since it is the tune to
which many of us in the US first learned the dance "Winter Solstice," Mike
Mudrey's comments about the recording on Wild Thyme's "Dutch Crossing"
album are relevant, too.  He observes that it is played AABB there,
while Scott Higg's dance to that tune requires ABB.  The Wild Thyme
recording is intended to go with Ernst van Brakel's dance by that name,
which is also a delightful (double-progression) dance with interesting
figures and good flow, and which in my opinion gets entirely too little
exposure in the US.

Eric Arnold
 Ann Arbor



================================================================================
Archive-Date: Mon, 10 Jan 2000 07:57:20 PST
Sender: owner-ecd-AT-
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Date: Mon, 10 Jan 2000 10:57:10 -0500 (EST)
From: "Susan R. Lorand" <srl-AT-
phoenix.Princeton.EDU>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: "INTERNET:ECD-AT-
SSRL04.SLAC.Stanford.EDU" <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <Pine.SOL.4.10.10001101054210.6642-100000-AT-
yuma.Princeton.EDU>
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On Mon, 10 Jan 2000, Gene Murrow wrote:

> Message text written by Marian Phillips 
> >How about recording David Dean's tune for Wendy Crouch's "Winter
> Solstice"?<
> 
> Good idea.  Anyone else interested in Winter Solstice with its original
> tune by David Dean as published in Wendy Crouch's "Further Flights of
> Fancy?"

yes!

--susie lorand

================================================================================
Archive-Date: Mon, 10 Jan 2000 08:10:12 PST
Sender: owner-ecd-AT-
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Date: Mon, 10 Jan 2000 17:08:41 +0100
From: Philippe Callens <Philippe.Callens-AT-
uia.ua.ac.be>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <387A0409.77C4CB2D-AT-
uia.ua.ac.be>
MIME-Version: 1.0
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References: <Pine.SOL.4.10.10001100952040.29436-100000-AT-
qbert.gpcc.itd.umich.edu>



Eric Arnold wrote:

> On Mon, 10 Jan 2000, Gene Murrow wrote:
>
> > Message text written by Marian Phillips
> > >How about recording David Dean's tune for Wendy Crouch's "Winter
> > Solstice"?<
> >
> > Good idea.  Anyone else interested in Winter Solstice with its original
> > tune by David Dean as published in Wendy Crouch's "Further Flights of
> > Fancy?"
> >
> > Gene
>
> Yes -- I would have put in a vote for that tune right away if I hadn't
> seen it already supported by Marian and Dianna.  While I have access to
> the music and have bands which now have it in their repertoire, it is my
> understanding that these recordings are being made partly in response to
> the need of groups which don't always have bands available.  The dance
> certainly seems to be popular and I believe deservedly so; with the recent
> discussion of the difficulty of finding Dean's tune fresh in memory, I
> think this would be a very appropriate inclusion.
>
> Since "Early One Morning" is on the list, and since it is the tune to
> which many of us in the US first learned the dance "Winter Solstice," Mike
> Mudrey's comments about the recording on Wild Thyme's "Dutch Crossing"
> album are relevant, too.  He observes that it is played AABB there,
> while Scott Higg's dance to that tune requires ABB.  The Wild Thyme
> recording is intended to go with Ernst van Brakel's dance by that name,
> which is also a delightful (double-progression) dance with interesting
> figures and good flow, and which in my opinion gets entirely too little
> exposure in the US.

I am glad Eric pointed out the double use of the tune Early one morning.
Ernst's dance is fairly well known on this side of the Atlantic, including the
UK. I like it a lot! On the other hand Scott Higgs's dance is nice, too.

When I taught in the States, I deliberately didn't programme Ernst's dance
because I wanted to respect local traditions.

I'd suggest not to record this dance at all, especially because the Bare
Necessities CD's are getting a lot of exposure outside the USA.

Philippe Callens


================================================================================
Archive-Date: Mon, 10 Jan 2000 11:24:30 PST
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Date: Mon, 10 Jan 2000 11:24:21 -0800 (PST)
From: Lyrl Ahern <lyrl-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <20000110192421.28821.qmail-AT-
web2105.mail.yahoo.com>
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Gene--

Have you seen Orly's new dance, Boston Un-Common?

--Lyrl

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Archive-Date: Mon, 10 Jan 2000 11:34:48 PST
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Date: Mon, 10 Jan 2000 11:34:42 -0800 (PST)
From: Lyrl Ahern <lyrl-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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--- Lyrl Ahern <lyrl-AT-
yahoo.com> wrote:
> Gene--
> 
> Have you seen Orly's new dance, Boston Un-Common?
> 
> --Lyrl


OOOPS!--Meant to go to Gene directly. 
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Archive-Date: Mon, 10 Jan 2000 14:43:40 PST
Sender: owner-ecd-AT-
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Date: Mon, 10 Jan 2000 14:42:39 -0800
From: South Bay English Country Dance <sbecd-AT-
geocities.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: 'successful campaign'
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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Good day to all.
the band and I have been asked to play/teach a dance called 'successful
campaing' (it could be 'a successful..' or 'the successful ...', we do not
know for sure). The gig will be in late february, so we have some time to
spare, but not a lot. This dance is not in my collection, and none of us has
ever heard of it.
does anyone have the instructions/score for it, or suggestions as to where
to find them? 
the ECD database gives it written by 'K & Sweet' and published in 'american
country dances of the revolutionary era' and in 'ACD'.
Both publications do not seem available from CDSS (cannot find in the
on-line catalog).
Any tip/hint/suggestion will be appreciated.
Giovanni De Amici

================================================================================
Archive-Date: Mon, 10 Jan 2000 15:17:28 PST
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Date: Mon, 10 Jan 2000 15:21:53 -0800
From: Heyer <Heyer-AT-
concentric.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: 'successful campaign'
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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The last time my parents were in Williamsburg they picked up a copy of
_Social Dances from the American Revolution_ by Charles Cyril Hendrickson
and Kate Van Winkle Keller, which contains it.  A recording of the tune can
be found on the tape "Sweet Richard" by the Playford Consort (this is
available from CDSS).  The instructions are:

A:  1s chasse down the outside two couples (4 beats), come into the center
(4 beats); lead up to the top (4 beats, and cast off (4 beats).

2s do the same.

B:  First man and second lady two-hand turn halfway (4 beats), first lady
and second man the same (4 beats); circle 4 hands around to the left halfway
(4 beats), 1s cast off one place (4 beats).

Ones and twos right and left.

Note:  Directions are for a triple minor set.  If danced as a duple minor
the ones go down the outside one couple in A1  The twos do the same.

Hope this helps --

Marian Phillips


-----Original Message-----
From: South Bay English Country Dance <sbecd-AT-
geocities.com>
To: ECD-AT-
SSRL04.SLAC.Stanford.EDU <ECD-AT-
SSRL04.SLAC.Stanford.EDU>
Date: Monday, January 10, 2000 2:44 PM
Subject: 'successful campaign'


Good day to all.
the band and I have been asked to play/teach a dance called 'successful
campaing' (it could be 'a successful..' or 'the successful ...', we do not
know for sure). The gig will be in late february, so we have some time to
spare, but not a lot. This dance is not in my collection, and none of us has
ever heard of it.
does anyone have the instructions/score for it, or suggestions as to where
to find them?
the ECD database gives it written by 'K & Sweet' and published in 'american
country dances of the revolutionary era' and in 'ACD'.
Both publications do not seem available from CDSS (cannot find in the
on-line catalog).
Any tip/hint/suggestion will be appreciated.
Giovanni De Amici



================================================================================
Archive-Date: Mon, 10 Jan 2000 15:21:25 PST
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Date: Mon, 10 Jan 2000 15:24:30 -0800
From: Heyer <Heyer-AT-
concentric.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: 'successful campaign' and unsuccessful emailing
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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Oops -- Sorry, everyone, didn't mean to send that to the whole list.

Marian



================================================================================
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Date: Mon, 10 Jan 2000 15:52:09 -0800
From: Heyer <Heyer-AT-
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Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: and the only tune that he could play
To: ECD-AT-
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Can anyone tell me if "Over the Hills and Far Away" is really a tune?

(I claim ECD content on the grounds that  a) if it exists it might also be a
dance, and b) it's mentioned in Beatrix Potter's novel _The Fairy Caravan_,
which is chockful of ECD references.)

Marian Phillips

================================================================================
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Date: Mon, 10 Jan 2000 18:55:30 -0500
From: Benjamin Stein <dancers-AT-
globalnetisp.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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Gene Murrow wrote:

> Dear hard-core ECD-ers (especially teachers & leaders),
>
> Bare Necessities are preparing to record the next 2 CD's in the Boston
> Centre series for dancing.  They are Volume 3 "Simple Pleasures" and Volume
> 4 "Modern Treasures."  We invite your help.
>
> Below are lists of dances/tunes being considered for each volume.  If
> possible, please review these and:
>
> 1. Suggest any other dances you think should be on either list (some
> obvious choices are excluded because they are already available on
> recordings).
> 2. Alert us to any recordings that ALREADY EXIST of any dance on the list .
>  These recordings should be currently available, decent sounding, and of
> proper length and tempo.  [I'm counting on the U.K. readers in particular
> to let us know about such recordings that could be sold here].  We do not
> wish to duplicate previous good efforts.
>
> Be aware that the band MGM has just finished a CD of Fried Herman's dances,
> and will be doing one of Gary Roodman's dances in the near future.  All
> these projects will complement one another.
>
> Specific suggestions should be sent to me directly, off-list, at
> gmurrow-AT-
compuserve.com   Please post these on or before midnight next
> Sunday, January 16, 2000.
>
> General comments and suggestions could go to the list for useful
> discussion.
>
> Thanks!!!
>
> Gene Murrow, Producer
>
> And here are the lists...
>
> Simple Pleasures [easy ECD's for beginners and as openers]
> ---------------------------------------------------------------------------
> ----------------
> Comments and anotations by Ben Stein
> Auretti's Dutch Skipper
> Cumberland Square
> Dover Pier
> Draper's Gardens
> Epping Forest            On Broadside Band
> Faithless Nancy Dawson
> Freeford Gardens
> I Care Not For These Ladies On Hunter's Moon and Playford from the
> New         World
> Leah's Waltz
> Mulberry Garden
> Never Love Thee More
> Nottingham Swing
> Rakes of Rochester
> Scotch Cap
> Waterfall Waltz
>
> Modern Treasures [popular, contemporary ECD's]
> ---------------------------------------------------------
> Astonished Archeologist, The
> Christina
> Corelli's Maggot
> Dunant House Waltz
> Early One Morning  On Playford from the New World
> Elizabeth
> Enchanted Place, An
> Enrichez Vous
> Glendeven
> Handel With Care On Playford from the New World
> Helena
> Homecoming
> In the Bleak Midwinter
> Mistwold
> New Beginning, A
> O Susato
> Perpetual Motion
> Randolph Farewell
> Sleeping in the Attic
> Unrequited Love
> Winter Memories
> Wooing Mairi    On Hold the Mustard

Agree with Barbara Ruth on Patrick's Waltz. Would also like to see Gary's
Marching to Pretorius on the easy dance CD

Ben Stein
dancers-AT-
globalnetisp.net


================================================================================
Archive-Date: Mon, 10 Jan 2000 16:18:54 PST
Sender: owner-ecd-AT-
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Date: Mon, 10 Jan 2000 16:18:45 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: and the only tune that he could play
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01JKJNIT0FXK8Y4X3U-AT-
SSRL.SLAC.STANFORD.EDU>
MIME-Version: 1.0
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Marian asked:

  Can anyone tell me if "Over the Hills and Far Away" is really a tune?

  (I claim ECD content on the grounds that  a) if it exists it might also be a
  dance, and b) it's mentioned in Beatrix Potter's novel _The Fairy Caravan_,
  which is chockful of ECD references.)

Yes, it is.  The tune appears in various sources.  The only dance 
instructions I have for it are in Keller & Sweet.  (I don't have the tune
notation to hand, but I have a note that says it's a reel.)  

The dance looks like a pretty generic late 1700s dance.    Glossary figures,
finishes with 4 changes R&L, etc.

I've never heard of _The Fairy Caravan_.  Can you give us more of the ECD
references therein?

-- 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
===============================================================================

================================================================================
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Date: Mon, 10 Jan 2000 17:56:36 -0800
From: Heyer <Heyer-AT-
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Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: and the only tune that he could play
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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>>I've never heard of _The Fairy Caravan_.  Can you give us more of the ECD
references therein?

-- Alan<<

The Fairy Caravan was Beatrix Potter's only novel-length book.  She wrote it
in 1929 under pressure from her American fans.  At one point I thought the
ECD references were based on her memories from her youth, but when I read a
biography of her it was clear that in her youth she was extremely isolated,
with practically no social contacts whatever.  Her ECD experience came
during the Revival, and as I understand it, she didn't do much dancing
herself -- her husband was the one who danced.  However, Potter published
some essays about folk dancers and folk dance festivals in her area.

The Fairy Caravan is about an abused guinea pig named Tuppenny who runs away
from home and is taken into a travelling circus run by Pony Billy and Sandy
the West Highland terrier.  One of the characters in the circus is Xarifa
the dormouse, and here are as many references as I have patience to type:

*****************

She told him stories to keep herself awake; and she answered his many
questions.  "Who plays the fiddle, Xarifa?"  "Paddy Pig; Sandy plays the
bagpipes; and each of them does step dancing.  Paddy Pig dances jigs, and
Sandy dances reels; and all of us do country dances.   No, no, I am not too
old and fat!" said Xarifa, laughing.  "I can dance 'Hunsdon House,' and I
can dance a minuet with Belinda Woodmouse.  Perhaps we may be dancing this
evening . . . .

and

The smithy was all aglow with a roaring fire on the hearth.  Sparks were
flying.  Hot firelight flickered on the rafters overhead.  It shone upon a
crowd of dogs and horses, and upon the gypsies' donkey, Cuddy Simpson, who
was dozing in a corner [. . . .] Dogs barked; horses stamped; there was even
the merry feedle tweedle of a fiddle, to which the collies, Meg, and Fly,
and Glen warbled a treble chorus.  And through all the din sounded the tap,
tap, tap! of Mettle's little hammer on the anvil, and the creaking of the
bellows that another dog was blowing . . . .Creak, creak! went the bellows,
keeping time to the tune of Black Nag. . . .

[The smithy sequence includes a rather lengthy story about shoes dancing by
themselves in the woods, which I don't have the patience to type.  It does
include the phrase "galloping, galloping, Black Nag come galloping," which
exactly fits the opening bars of the tune, but I'm not sure if the tune
really has words or if Potter just made up a first line.]

and

In the meantime, Jenny Ferret had made preparations for a mouse party; cake,
tea, bread and butter, and jam and raisins for a tea party; and comfits, and
currants, lemonade, biscuits, and toasted cheese for a dance supper party to
follow [ . . . .] And a merry night it was!  One of the mice had brought a
little fiddle with him, and another had a penny whistle, and all of them
were singers and dancers [ . . . .] "First we will have songs and tea, and
then a dance and a supper, and then more singing and dancing, and you won't
go home till morning!"

and

Paddy Pig fiddled furiously, "I'll play them 'Scotch Cap'!  I'll pop the
weasel at them!  Never again will I cross plank bridges into that abominable
wood!"

and

Xarifa introduced her to Tuppenny, Pippin, Cobweb, Dusty, and Smut -- "Rufty
Tufty I am unable to introduce, because she has stayed at home to rock the
cradle.  But here are enough of us to dance a set tonight on the
short-cropped turf by the hawthorn bush."

***********

Marian

PS -- thanks for the info on "Over the Hills."  I love it when I can
actually find and play tunes that I've read about in books.

================================================================================
Archive-Date: Mon, 10 Jan 2000 19:47:50 PST
Sender: owner-ecd-AT-
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Date: Mon, 10 Jan 2000 22:43:48 -0500
From: pam-AT-
tedcrane.com (Pamela Goddard)
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: and the only tune that he could play
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <00011022434874-AT-
tedcrane.com>
Content-Transfer-Encoding: 7BIT

I may be mistaken, but I have a tune running through my head
for "Over the Hills and Far Away" which is a Scottish (or Scottish style)
ballad in a march tempo.  Now if I could only remember
where I heard it, and who may have recorded it...
It might also be what Miss Potter was referring to.

-Pamela Goddard
================================================================================
Archive-Date: Mon, 10 Jan 2000 20:56:20 PST
Sender: owner-ecd-AT-
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Date: Tue, 11 Jan 2000 00:05:32 -0500
From: Michael S Franch <franch-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Over the hills and far away
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <20000111.000537.6446.1.franch-AT-
juno.com>
Content-Transfer-Encoding: 7BIT
References: <01bf5bc5$b56763c0$93eeadce-AT-
default>

Two nice versions of this tune on CD are:

The Baltimore Consort, On the Banks of Helicon: Early Music of Scotland
(Dorian 90139)

David and Ginger Hildebrand, Over the Hills and Far Away: Bing a
Collection of Music from 18th-Century Annapolis.  Available from the
Hildebrand's at P.O. Box 190, Arnold, Md. 21012.

Mike Franch
Balto. Md.

________________________________________________________________
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================================================================================
Archive-Date: Mon, 10 Jan 2000 20:57:36 PST
Sender: owner-ecd-AT-
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Date: Tue, 11 Jan 2000 00:00:07 -0500
From: Michael S Franch <franch-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: 'successful campaign'
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <20000111.000537.6446.0.franch-AT-
juno.com>
Content-Transfer-Encoding: 7BIT
References: <2.2.32.20000110224239.009191ac-AT-
pop.mail.yahoo.com>

There is a very nice version of Successful Campaign on a CD called
Stepping into the 18th Century, from Gadsby's Tavern Museum, Alexandria,
Va.  At 4:35, it's of dance length.

Also on the CD are Irish Lamentation, The Bishop, Female Saylor, Sun
Assembly, The Adlerman's Hat, Scotch Morris, Stony Point, Red House,
L'Amour Du Village, The Gued Man of Ballingigh, Flowers of Edinburg,
Wakefield Hunt, Mr. Isaac's Maggot, Well Hall, Indian Queen, and Child
Grove.

Mike Franch
Balto. Md

________________________________________________________________
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Archive-Date: Mon, 10 Jan 2000 21:17:25 PST
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Date: Tue, 11 Jan 2000 00:24:35 -0500
From: Michael S Franch <franch-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Over the Hills--was "and the only tune that he could play"
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <20000111.002647.6446.4.franch-AT-
juno.com>
Content-Transfer-Encoding: 7BIT
References: <00011022434874-AT-
tedcrane.com>

Perhaps an addendum to the disc citations for Over the Hills and Far Away
is in order.  From the scholarly liner notes of the Hildebrand's Over the
Hills and Far Away CD:

"The 'Over the Hills and Far Away" melody was used in George Farquhar's
play The Recruiting Officer, which opened in London in 1706.  It also
appears in [Henry Beck, 1786, unpub copybook, Library of Congress] and
[Thomas D'Urfey, Wit and Mirth, or Pills to Purge Melancholy, London,
1719, as 'The Elfin Knight'].    . . . The continued popularity of 'Over
the Hills . . .' is proven by its frequent use in later 18th-century
English ballad operas and broadsides, as well as by its use as late as
1853 as a cotillion published in New York."

________________________________________________________________
YOU'RE PAYING TOO MUCH FOR THE INTERNET!
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================================================================================
Archive-Date: Mon, 10 Jan 2000 21:45:30 PST
Sender: owner-ecd-AT-
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Date: Tue, 11 Jan 2000 00:46:09 -7000
From: Rich Galloway <rich-AT-
kreative.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: and the only tune that he could play
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <200001110545.AAA17770-AT-
ns.kreative.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
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> Can anyone tell me if "Over the Hills and Far Away" is really a tune?
> 
> (I claim ECD content on the grounds that  a) if it exists it might also 
be a dance,

It is indeed a dance.  You can find it in _Retreads 2_ by Charles 
Bolton under the title 'Twas O'er the Hills."

The dance was first published in volume 2 of Playford (1713) as 
'Twas O'er the Hills" and later in Walsh (1719) as "Over the Hills and 
Far Away."  The dance in Playford/Walsh goes:

The 1st Man and and his Partner cross over the 2d Cu. and turn _._  
Then cross over the 3d Cu. and turn _:_  Then lead up the Top, and 
cast off, and then right Hand and left quite round _._  Then lead thro' 
the 3d Cu. and cast up and turn you Partner _:_.

Bolton does a bit more with it than you might get from the above 
description.  

The dance and tune in Keller and Sweet is different, although you'd 
probably classify the tune as a member of the same tune family.

There is a popular ballad to yet another variant of the tune.  The 
chorus goes something like:

	'Twas o'er the hills and far away,
	Queen Anne commands and we obey,
	Over the hills and far away.

As I recall, the ballad has much more appeal than the dance.  

====================================================
Rich Galloway         Silver Spring, MD
====================================================
================================================================================
Archive-Date: Mon, 10 Jan 2000 22:40:10 PST
Sender: owner-ecd-AT-
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Date: Mon, 10 Jan 2000 22:27:52 -0800 (PST)
From: "Paul J. Stamler" <pstamler-AT-
crl.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Over the hills and far away
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.SUN.3.91.1000110222452.10009B-100000-AT-
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On Tue, 11 Jan 2000, Michael S Franch wrote:

> Two nice versions of this tune on CD are:
> 
> The Baltimore Consort, On the Banks of Helicon: Early Music of Scotland
> (Dorian 90139)
> 
> David and Ginger Hildebrand, Over the Hills and Far Away: Bing a
> Collection of Music from 18th-Century Annapolis.  Available from the
> Hildebrand's at P.O. Box 190, Arnold, Md. 21012.

Shirley and Dolly Collins recorded a lovely voice-and-portative-organ
version of this on a long-ago LP, "The Power of the True Love Knot", 
reissued on Hannibal but I think out of print again. Essentially the same 
version as is found in the Beggar's Opera.

Inevitably I think of the exchange:

"Can you play 'Over the Hills and Far Away'?"

"Yes."

"Please do, as soon as possible."


Peace.
Paul

================================================================================
Archive-Date: Mon, 10 Jan 2000 22:40:13 PST
Sender: owner-ecd-AT-
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Date: Mon, 10 Jan 2000 22:31:42 -0800 (PST)
From: "Paul J. Stamler" <pstamler-AT-
crl.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: and the only tune that he could play
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.SUN.3.91.1000110222910.10009C-AT-
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On Tue, 11 Jan 2000, Rich Galloway wrote:

> There is a popular ballad to yet another variant of the tune.  The 
> chorus goes something like:
> 
> 	'Twas o'er the hills and far away,
> 	Queen Anne commands and we obey,
> 	Over the hills and far away.

O'er the hills and o'er the main
To Flanders, Portugal and Spain
Queen Anne commands and we obey
Over the hills and far away.

There's a good recording of the ballad on Martin Carthy's album 
"Landfall"; same tune as the Shirley/Dolly Collins version referred to 
earlier, which is the same as in Beggar's Opera...

Peace.
Paul
================================================================================
Archive-Date: Mon, 10 Jan 2000 23:05:05 PST
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Date: Mon, 10 Jan 2000 23:09:33 -0800
From: Heyer <Heyer-AT-
concentric.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: and the only tune that he could play
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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default>
MIME-Version: 1.0
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This is fabulous.  Thank you, everyone!

Marian



================================================================================
Archive-Date: Tue, 11 Jan 2000 05:51:15 PST
Sender: owner-ecd-AT-
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Date: Tue, 11 Jan 2000 13:50:56 +0000
From: Hugh Stewart <hugh-AT-
ugsolutions.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Who wrote Simple Gifts?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <387B3540.692171B4-AT-
ugsolutions.com>
MIME-Version: 1.0
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References: <200001091749_MC2-93E9-EA1A-AT-
compuserve.com> <l03130300b49f8ceb6ecb-AT-
[140.186.55.200]>

Emily Ferguson is correct,  the answer is a 16 year old Heidi Laufman.

I received the following (slightly edited) from Dudley Laufman

>     Yup.  My daughter Heidi Stridde wrote the dance Simple
> Gifts when she was a teenager.  She is now 41 years old and
> living in Northampton, MA.  When she first wrote the dance,
> she wanted it to have all her favorite steps from her
> favorite dances...Petronella, Chorus Jig, Money Musk and
> Hull's Victory.  She couldn't come up with a tune, even a 48
> bar one, even with my help, that suited her, so she decided
> to go with half a Petronella figure and use her favorite
> song and one that was regional to her home here in
> Canterbury right by the Shaker Village.
> 
> When I called the dance first time in public for urban
> dancers, instead of siding, I called all forward and back
> twice.  I was not nuts about intergrating English figures
> into yankee dances.
> 
> So, Heidi Laufman, now Stridde, made the dance when she was
> about 16.
================================================================================
Archive-Date: Tue, 11 Jan 2000 06:16:27 PST
Sender: owner-ecd-AT-
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Date: Tue, 11 Jan 2000 14:16:12 +0000 (GMT)
From: Dr Paul Davis <paul.davis-AT-
computing-services.oxford.ac.uk>
Subject: Andrew's Choice
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <SIMEON.10001111412.B-AT-
sixup.oucs.ox.ac.uk>
MIME-Version: 1.0
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Does anyone have a clue to the correct progresion for 
Andrew's Choice by Peggy Hazell?  According to the notation 
I have it is longways, 4 cples, 1&3 improper.  However once 
through the dance puts 2& 4 improper.  The only change I 
can easily  see would be to cross-trail through the bottom 
couple (who then change sides) instead of a straight lead 
down and cast back.
All ideas welcomed

Paul


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

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


================================================================================
Archive-Date: Tue, 11 Jan 2000 07:53:12 PST
Sender: owner-ecd-AT-
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Date: Tue, 11 Jan 2000 09:53:03 -0600 (CST)
From: j-sivier-AT-
ux1.cso.uiuc.edu
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: 'successful campaign' and unsuccessful emailing
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <200001111553.JAA16660-AT-
staff1.cso.uiuc.edu>
MIME-Version: 1.0
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Heyer writes:
> 
> Oops -- Sorry, everyone, didn't mean to send that to the whole list.

   That's OK.  I'm looking for dances to do at our George Washington's
Birthday Dance and Tea Party next month and this gives me one possibility
to put on the list.  Seeing other people's interpretation of dance instructions
is always helpful.

Jonathan

-------------------------------------------------------------------------
|  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.             |
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|  Home page URL: http://www.uiuc.edu/ph/www/j-sivier                   |
-------------------------------------------------------------------------
================================================================================
Archive-Date: Tue, 11 Jan 2000 12:40:31 PST
Sender: owner-ecd-AT-
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Date: Tue, 11 Jan 2000 15:29:57 -0500
From: dwoolf-AT-
emory.edu
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Who wrote Simple Gifts?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <200001112039.PAA25010-AT-
graf.cc.emory.edu>
MIME-Version: 1.0
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> Emily Ferguson is correct,  the answer is a 16 year old Heidi Laufman.
> 
Could someone on this list please give the directions to this 
dance?  Thank you.

-D

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
David Woolf <dwoolf-AT-
emory.edu>          Emory Eye Center
W - 404/778-4121                        Emory University
H - 404/634-0607                        Atlanta, GA  30322

              . . . What's another word for thesaurus?
================================================================================
Archive-Date: Tue, 11 Jan 2000 13:20:44 PST
Sender: owner-ecd-AT-
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Date: Tue, 11 Jan 2000 13:24:04 -0800
From: paul/victoria bestock <bestockp-AT-
oz.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Over the Hills And Far Away
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <3.0.6.32.20000111132404.007f38c0-AT-
oz.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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At 12:46 AM 1/11/2000 -7000, Rich Galloway wrote:
 
>There is a popular ballad to yet another variant of the tune.  The 
>chorus goes something like:
>
>	'Twas o'er the hills and far away,
>	Queen Anne commands and we obey,
>	Over the hills and far away.
>
>As I recall, the ballad has much more appeal than the dance.  
 
Some version of Over the Hills and Far Away was the themesong of the
Sharpe's Rifles series on TV.  Its a haunting melody-- I really loved it.
Victoria


Check out our WEB site, at   http://www.oz.net/~bestockp/
Read about our trip to the Rockies.....
================================================================================
Archive-Date: Tue, 11 Jan 2000 13:28:21 PST
Sender: owner-ecd-AT-
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Date: Tue, 11 Jan 2000 16:27:38 -0500
From: Gene Murrow <gmurrow-AT-
compuserve.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: "INTERNET:ECD-AT-
SSRL04.SLAC.Stanford.EDU" <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <200001111627_MC2-9440-D49B-AT-
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Hi Ben!

Happy New Year/Century/Millennium!!

Thanks for your helpful thoughts.  I'm a fan of Marching to Praetorius
myself, so I'll lobby for it...

Best wishes,

Gene
================================================================================
Archive-Date: Tue, 11 Jan 2000 15:33:14 PST
Sender: owner-ecd-AT-
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Date: Tue, 11 Jan 2000 18:30:53 -0500
From: Susan Murrow <75272.730-AT-
compuserve.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Fried Herman CD
To: ECD List <ecd-AT-
SSRL04.SLAC.STANFORD.EDU>
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Dear all,

In response to several inquiries, we're posting
the list of Fried's dance tunes recently recorded
by the MGM band.

Fifty-Fifty
Fleur de Lis
Hale-Bopp Circle
Impertinence
Laurelhurst
Mavis Sweetly Sings, The
Measured Obsession
Mylecharane
Peace Be With You
Rose of Sharon
Seven Stars in the Sky
Severn Bore
Songs of the Harpist
Ten Commandments

The MGM band is Mary Lea on violin & viola, Gene Murrow on recorders and
concertina, Margaret Ann Martin on piano.  The disc is sponsored in part by
Country Dancers of Westchester, Fried's "home base"  All tunes are dance
length and tempo.  The title is "Measured Obsession" -- a fitting
description of our favorite genre of dance....

We hope to have the disc/CD available for sale by the time
of the "Fried-for-All" at the end of April (if not sooner!)

Susan Murrow
================================================================================
Archive-Date: Tue, 11 Jan 2000 21:39:12 PST
Sender: owner-ecd-AT-
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Date: Tue, 11 Jan 2000 23:44:22 -0600
From: Gloria Krusemeyer <gloria-AT-
microassist.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Filmed Examples of ECD?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <002301bf5cc0$142f8cc0$1a22a3d1-AT-
gloria>
MIME-Version: 1.0
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Sorry for the repeat, but I didn't save the info when it was
recently discussed.

What [hopefully reasonable] films  show a reasonable snippet
of some English Country Dance?  I was talking with some club
square dancers who didn't have a clue what I was talking
about, but would be willing to rent and watch a video some
evening.

Thank you,

Gloria Krusemeyer
Northfield, MN



================================================================================
Archive-Date: Wed, 12 Jan 2000 03:15:06 PST
Sender: owner-ecd-AT-
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Return-Path: jkonvalinka-AT-
email.msn.com
Date: Wed, 12 Jan 2000 06:14:17 -0500
From: jkonvalinka <jkonvalinka-AT-
email.msn.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Filmed Examples of ECD?
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU, ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <003e01bf5cee$2bca18e0$4ea7153f-AT-
gwruywzj>
Content-Transfer-Encoding: 7BIT
References: <002301bf5cc0$142f8cc0$1a22a3d1-AT-
gloria>

The Pride and Prejudice Miniseries has some great examples.  That was what
got us hooked on ECD.

It's a six vol set, but the early vols (1-3) have just about all of the
dancing.  I can be more specific if you want.

John Konvalinka

=============================
Please visit the Konvalinka Home Page:
         http://www.konvalinka.com
=============================

----- Original Message -----
From: Gloria Krusemeyer <gloria-AT-
microassist.com>
> What [hopefully reasonable] films  show a reasonable snippet
> of some English Country Dance?  I was talking with some club
> square dancers who didn't have a clue what I was talking
> about, but would be willing to rent and watch a video some
> evening.




================================================================================
Archive-Date: Wed, 12 Jan 2000 03:15:08 PST
Sender: owner-ecd-AT-
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Date: Wed, 12 Jan 2000 06:14:17 -0500
From: jkonvalinka <jkonvalinka-AT-
email.msn.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Filmed Examples of ECD?
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU, ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <003e01bf5cee$2bca18e0$4ea7153f-AT-
gwruywzj>
Content-Transfer-Encoding: 7BIT
References: <002301bf5cc0$142f8cc0$1a22a3d1-AT-
gloria>

The Pride and Prejudice Miniseries has some great examples.  That was what
got us hooked on ECD.

It's a six vol set, but the early vols (1-3) have just about all of the
dancing.  I can be more specific if you want.

John Konvalinka

=============================
Please visit the Konvalinka Home Page:
         http://www.konvalinka.com
=============================

----- Original Message -----
From: Gloria Krusemeyer <gloria-AT-
microassist.com>
> What [hopefully reasonable] films  show a reasonable snippet
> of some English Country Dance?  I was talking with some club
> square dancers who didn't have a clue what I was talking
> about, but would be willing to rent and watch a video some
> evening.




================================================================================
Archive-Date: Wed, 12 Jan 2000 03:46:30 PST
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Date: Wed, 12 Jan 2000 06:49:22 -0500
From: Benjamin Stein <dancers-AT-
globalnetisp.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <387C6A41.9EBB5F88-AT-
globalnetisp.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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References: <200001111627_MC2-9440-D49B-AT-
compuserve.com>



Gene Murrow wrote:

> Hi Ben!
>
> Happy New Year/Century/Millennium!!
>
> Thanks for your helpful thoughts.  I'm a fan of Marching to Praetorius
> myself, so I'll lobby for it...
>
> Best wishes,
>
> Gene

Thanks Gene. Off to visit a son in the Sierra on Thursday so am going to
"unsubscribe" later in the day. Will get critical messages from Priscilla
when I get back. Have a nice day-eh!

Ben


================================================================================
Archive-Date: Wed, 12 Jan 2000 07:24:57 PST
Sender: owner-ecd-AT-
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Date: Wed, 12 Jan 2000 15:20:29 +0000 ("GMT)
From: Anthony Stone <ajs1-AT-
cam.ac.uk>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Filmed Examples of ECD
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <14460.39869.853663.132773-AT-
fandango.ch.cam.ac.uk>
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Gloria Krusemeyer <gloria-AT-
microassist.com> said:

 > What [hopefully reasonable] films  show a reasonable snippet
 > of some English Country Dance?  I was talking with some club
 > square dancers who didn't have a clue what I was talking
 > about, but would be willing to rent and watch a video some
 > evening.

The recent BBC production of Mrs Gaskell's `Wives and Daughters'
included some familiar dances, including a flirtatious Hole in the
Wall. Presumably it will make it across the water eventually.

-- 
Anthony Stone				http://fandango.ch.cam.ac.uk/
University Chemical Laboratory,         Email:   ajs1-AT-
cam.ac.uk
Lensfield Road,                         Phone:  +44 1223 336375
Cambridge CB2 1EW                       Fax:    +44 1223 336362
================================================================================
Archive-Date: Wed, 12 Jan 2000 11:48:05 PST
Sender: owner-ecd-AT-
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Date: Wed, 12 Jan 2000 14:47:31 -0500 (EST)
From: SFORDNYC-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE:  CD*NY -- Playford Ball -- April 8th
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <3a.236476.25ae3453-AT-
aol.com>
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COME ONE, COME ALL!   OR AS MANY AS WILL!

Country Dance * New York
17th Annual Playford Ball

Saturday, April 8, 2000
8 p.m. to Midnight

Congregation Beth Elohim, Brooklyn

MC's:   Fried de Metz Herman & Paul Ross

Music:  MGM -- Mary Lea, violin; Margaret Ann Martin, piano; Gene Murrow, 
concertina & recorders

Walk through: Saturday from 3-5 p.m. with music by Leah Barkan

Registration Forms will be mailed shortly -- apologies for the delay.  
However, you may download the form from our website <A 
HREF="http://www.cdny.org">http://www.cdny.org</A>.  The direct link is <A 
HREF="http://www.cdny.org/english/playford.htm">http://www.cdny.org/english/pl
ayford.htm</A>.  For further information, contact our Registrars, Ellie 
Hansen and Bob Erenburg at stepstately-AT-
juno.com.

We look forward to seeing you in April!

Suzanne Ford, Chair
sfordnyc-AT-
aol.com

Country Dance New York, Inc.
================================================================================
Archive-Date: Wed, 12 Jan 2000 16:09:29 PST
Sender: owner-ecd-AT-
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Date: Wed, 12 Jan 2000 16:09:50 -0800
From: "Hamilton, Bruce" <hamilton-AT-
exch.hpl.hp.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Charles Bolton contact?
To: "Ecd Digest (E-mail)" <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <34E36C05935CD311AE5000A0C9B6B0BFBEB226-AT-
hplex3.hpl.hp.com>
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Does anyone have contact info for Charles Bolton? Please reply to me, not to
the whole list.  Thanks.
---------------------------------------------------------------------------
Bruce Hamilton			Agilent Laboratories  MS-4AD
Phone 650-857-2818		PO Box 10151
Fax   650-852-8092		Palo Alto, CA  94303-0889
bruce_hamilton-AT-
agilent.com
================================================================================
Archive-Date: Thu, 13 Jan 2000 06:47:42 PST
Sender: owner-ecd-AT-
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Date: Thu, 13 Jan 2000 09:45:48 -0500
From: Howard Markham <hmarkham-AT-
earthlink.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: holding hands
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <000101bf5dd4$e161dbc0$d4981c3f-AT-
g9tfz.MITRE.org>
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I would add to Jonathan's reasons for favoring left hand down, right hand up
in a circle (the opposite of the rule known to some) as more sensible the
following:  In a circle left, which is the more common direction, left hand
down, right hand up corresponds to the rule for leading.  You are being led
by the person ahead of you and you are leading the person behind you.  But I
agree most with those who hold that, after the basic rule of man palms up,
woman palms down, there is little likelihood of meeting somebody who knows
the same rules you do and remembers them in the same way at some moment of
decision.


Jonathan Sivier wrote:

> Vicki Tracy writes:
> >
> > I was taught the rule of hand holding while turning in a circle
> or in a line
> > was (for both men and women) the left hand is palms up, right
> hand is palms
> > down.  That way when you are reaching for another's hand you are not all
> > juggling which way to hold hands, and it fits like a puzzle. :)
>
>    Several people have said that this was the rule that they followed.  It
> seems to me it would make more sense if it was the other way around, right
> hand palm up and left hand palm down.  Then the hand positions when in
> a couple, with the man on the left and woman on the right, would
> be a specific
> case of this general rule.  A further extension would be in
> same-sex couples,
> the person on the left has palm up and the person on the right has their
> palm down.
>
>    Does this make sense to anyone else?
>
> Jonathan
>
> ------------------------------
>
> End of ECD Digest V1 #655
> ******************************
>

================================================================================
Archive-Date: Thu, 13 Jan 2000 07:11:41 PST
Sender: owner-ecd-AT-
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Date: Thu, 13 Jan 2000 10:11:32 -0500 (EST)
From: Eric Arnold <eba-AT-
umich.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: holding hands
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.SOL.4.10.10001131000470.11076-100000-AT-
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On Thu, 13 Jan 2000, Howard Markham wrote:

> I would add to Jonathan's reasons for favoring left hand down, right hand up
> in a circle (the opposite of the rule known to some) as more sensible the
> following:  In a circle left, which is the more common direction, left hand
> down, right hand up corresponds to the rule for leading.  You are being led
> by the person ahead of you and you are leading the person behind you.  But I
> agree most with those who hold that, after the basic rule of man palms up,
> woman palms down, there is little likelihood of meeting somebody who knows
> the same rules you do and remembers them in the same way at some moment of
> decision.

Two observations that I haven't seen yet in this discussion:

1) In a circle of three, or of any odd number, no rule which has both
hands either up or down for each individual will work;

2) In the forming of circles, one often-offered principle is for each
person to take responsibility for connecting with the person ahead of him
or her -- that way, each person has only to look in one direction, and it
is the natural direction, i.e. that of the direction of movement.  So in a
circle left facing inwards, each person trails a right hand and with
his/her left seeks out and takes the right hand of the person ahead.  In
that sense each person is active in the left hand and passive in the
right, suggesting the left-hand-palm-up and right-hand-palm-down approach.

I find it feels awkward for me to trail a hand palm up, and it also seems
more natural to me to reach for the extended hand ahead of me palm up.  I
don't know how this feels to others.

Eric Arnold
 Ann Arbor

> 
> 
> Jonathan Sivier wrote:
> 
> > Vicki Tracy writes:
> > >
> > > I was taught the rule of hand holding while turning in a circle
> > or in a line
> > > was (for both men and women) the left hand is palms up, right
> > hand is palms
> > > down.  That way when you are reaching for another's hand you are not all
> > > juggling which way to hold hands, and it fits like a puzzle. :)
> >
> >    Several people have said that this was the rule that they followed.  It
> > seems to me it would make more sense if it was the other way around, right
> > hand palm up and left hand palm down.  Then the hand positions when in
> > a couple, with the man on the left and woman on the right, would
> > be a specific
> > case of this general rule.  A further extension would be in
> > same-sex couples,
> > the person on the left has palm up and the person on the right has their
> > palm down.
> >
> >    Does this make sense to anyone else?
> >
> > Jonathan
> >
> > ------------------------------
> >
> > End of ECD Digest V1 #655
> > ******************************
> >
> 

================================================================================
Archive-Date: Thu, 13 Jan 2000 09:10:42 PST
Sender: owner-ecd-AT-
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Date: Thu, 13 Jan 2000 17:10:30 +0000
From: Hugh Stewart <hugh-AT-
ugsolutions.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: holding hands -- summary of replies so far
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <387E0706.5B17C8AA-AT-
ugsolutions.com>
MIME-Version: 1.0
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Nobody has actually answered my original question which was how to resolve 
the ambiguity of Cecil Sharp and Keller & Shimer.  I was hoping someone
would say "May Gadd always said the rule was xxxx", but maybe she didn't.


I think the replies are best summarised as "we don't have a rule".

There were three comments (which I rather agree with) that a standing
person offers palm up to an arriving one (typically for gates) despite
any other rules.
There was one request for a rule that leads to having both hands the
same way up, and an observation that this is impossible for everyone in
a circle of three.


One vote for most assertive wins

Two for take whatever comes and laugh about it

Three votes for left palm up / right down

Four for right palm up / left down
   (one with the added rider that a 1st right is palm up to a 2nd right)

Two votes for ones support twos
   (one with the added rider that in a line of three the middle supports 
    the ends)

Two votes for forward palm up/rear down when in a circle
   (but neither explained how turn round in a circle left and right)


Apologies if I have lost your answer, or simplified your
rule unreasonably.

In general the one hand up / other down rules were unclear as to whether
the rule applied to everyone or just between same-sex people.

For what it is worth the western square dance world has the rule that a
man gives palm up to a woman and for same-sex holds you give right palm
up / left down.
================================================================================
Archive-Date: Thu, 13 Jan 2000 11:04:20 PST
Sender: owner-ecd-AT-
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Date: Thu, 13 Jan 2000 15:03:05 -0400
From: John Wood <johnwood-AT-
accesscable.net>
Subject: Re: holding hands -- summary of replies so far
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <387E2169.DFF51EAF-AT-
accesscable.net>
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References: <Pine.SOL.4.10.10001131000470.11076-100000-AT-
pacman.gpcc.itd.umich.edu> <387E0706.5B17C8AA-AT-
ugsolutions.com>


--Boundary_(ID_gPPgArHdg1idoME63wLMUQ)
Content-type: text/plain; charset=x-user-defined
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Hi, Hugh:

You wrote:

> Nobody has actually answered my original question which was how to resolve
> the ambiguity of Cecil Sharp and Keller & Shimer.  I was hoping someone
> would say "May Gadd always said the rule was xxxx", but maybe she didn't.

Then in the next sentence remarked:

> There were three comments (which I rather agree with) that a standing
> person offers palm up to an arriving one (typically for gates) despite
> any other rules.

Thereby lays my query. I have been doing English Folk dancing and Scottish
country dancing for many, many years -- and teaching both.

But of late there has been a lot of references to "gating."

Blithely, I thought that "gating" simply meant the man leading
his partner through a couple below (or above) and casting
up (or down) round them.

I have never been shown "gating" [the expression was never
mentioned at Cecil Sharp House when I danced there many
years ago] and now wonder "What movements does 'gating'
involve?"

Perhaps someone could enlighten me.

Cheers, John
Bedford, Nova Scotia

--Boundary_(ID_gPPgArHdg1idoME63wLMUQ)
Content-type: text/html; charset=x-user-defined
Content-transfer-encoding: 7BIT

<HTML>
Hi, Hugh:

<P>You wrote:
<BLOCKQUOTE TYPE=CITE>Nobody has actually answered my original question
which was how to resolve
<BR>the ambiguity of Cecil Sharp and Keller &amp; Shimer.&nbsp; I was hoping
someone
<BR>would say "May Gadd always said the rule was xxxx", but maybe she didn't.</BLOCKQUOTE>
Then in the next sentence remarked:
<BLOCKQUOTE TYPE=CITE>There were three comments (which I rather agree with)
that a standing
<BR>person offers palm up to an arriving one <B><I>(typically for gates)</I></B>
despite
<BR>any other rules.</BLOCKQUOTE>
Thereby lays my query. I have been doing English Folk dancing and Scottish
<BR>country dancing for many, many years -- and teaching both.

<P>But of late there has been a lot of references to "gating."

<P>Blithely, I thought that "gating" simply meant the man leading
<BR>his partner through a couple below (or above) and casting
<BR>up (or down) round them.

<P>I have never been shown "gating" [the expression was never
<BR>mentioned at Cecil Sharp House when I danced there many
<BR>years ago] and now wonder "What movements does 'gating'
<BR>involve?"

<P>Perhaps someone could enlighten me.

<P>Cheers, John
<BR>Bedford, Nova Scotia</HTML>

--Boundary_(ID_gPPgArHdg1idoME63wLMUQ)--
================================================================================
Archive-Date: Thu, 13 Jan 2000 11:54:40 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 13 Jan 2000 14:56:02 -0500
From: "Emily L. Ferguson" <elf-AT-
cape.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: holding hands -- summary of replies so far
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <l03130300b4a3dcd14167-AT-
[140.186.55.132]>
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References: <Pine.SOL.4.10.10001131000470.11076-100000-AT-
pacman.gpcc.itd.umich.edu> <387E0706.5B17C8AA-AT-
ugsolutions.com>

Gates are what happens in the Bishop, where the outside people, in that
dance the first time it's the 2s, link hands with the 1s in a manner being
discussed here at some length, and, draw them up through and down outside
the longways set.

Basically, somewhere along the line someone dubbed the figure in the second
half of the Bish as "gates and gypsy" and everyone seems to have adopted
that immediately.

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


================================================================================
Archive-Date: Thu, 13 Jan 2000 13:30:53 PST
Sender: owner-ecd-AT-
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Date: Thu, 13 Jan 2000 16:16:44 -0500
From: Ridge Kennedy <srkennedy-AT-
email.msn.com>
Subject: Re: and the only tune that he could play
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <009b01bf5e0c$95e9a8c0$85f9accf-AT-
default>
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References: <00011022434874-AT-
tedcrane.com>

It's on the Baltimore Consort recording of Scottish music.  Was also the
theme music used in the BBC production of the Sharpe series (18th century
military drama).  I'd describe it as a barracks ballad.

R.

Ridge Kennedy
Washington, NJ (No Exit)
When you stumble, make it part of the dance.

================================================================================
Archive-Date: Thu, 13 Jan 2000 22:05:01 PST
Sender: owner-ecd-AT-
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Date: Fri, 14 Jan 2000 01:07:26 -0500
From: "Mary K. Friday" <marykfriday-AT-
erols.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: ECD Digest V1 #656
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <387EBD1E.D58B4518-AT-
erols.com>
MIME-Version: 1.0
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References: <009E3EC0.C8BCBA1D.1-AT-
playford.slac.stanford.edu>

Hi, Gene --

I'm sure you'll get tons of suggestions, and I realize there's no way you'll be able
to record them all, but I'd like to weigh in with nominations for two -- make that
three -- of my favorites that aren't here (I'm afraid I'm not well informed about
recordings, being in the enviable position of always getting to dance to and work
with usually-superb live music, so if these are already available, you'll of course
just ignore them):

Mrs. Pomeroy's Pavane
Dr. Vincent's Delight
Mrs. Pike's Maggot

(all named for people -- and women at that!)

And, yes, I'd like to see David Dean's tune for "Winter Solstice" included.

Thanks for all your work on this wonderful and useful project--
mkf

>
> Bare Necessities are preparing to record the next 2 CD's in the Boston
> Centre series for dancing.  They are Volume 3 "Simple Pleasures" and Volume
> 4 "Modern Treasures."  We invite your help.

================================================================================
Archive-Date: Fri, 14 Jan 2000 01:39:59 PST
Sender: owner-ecd-AT-
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Date: Fri, 14 Jan 2000 09:39:48 +0000
From: Hugh Stewart <hugh-AT-
ugsolutions.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Who wrote Simple Gifts?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
CC: laufman-AT-
totalnetnh.net
Message-ID: <387EEEE4.9CEE7141-AT-
ugsolutions.com>
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References: <200001112039.PAA25010-AT-
graf.cc.emory.edu>

dwoolf-AT-
emory.edu wrote:
> 
> Could someone on this list please give the directions to this
> dance?  Thank you.
> 
With permission of the author:-

Anyroad it went like this: Duple proper.  All
siding twice/Active couple down the center, turn and come
back to cast off improper/Ladies chain (over & back)/Quarter
turn to right and balance, quarter turn to right and balance
in place.(Only the actives balanced and there was no
handclapping.)

(When I danced it the caller described the lead down, turn as
a couple back and cast as: lead down 4 steps, half turn, gates up.
We had Shaw Siding:  in to line right shoulders, and then left.)

Totally separate issue:  some asked what some move (gates in this
case) was.  The standard answer is see 
http://www.cam.ac.uk/CambUniv/Societies/round/dances/elements.htm
which describes (nearly) every move known to the universe.
================================================================================
Archive-Date: Fri, 14 Jan 2000 04:28:38 PST
Sender: owner-ecd-AT-
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Date: Fri, 14 Jan 2000 13:30:24 +0100
From: Philippe Callens <Philippe.Callens-AT-
uia.ua.ac.be>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: 'successful campaign'
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <387F16E0.50BDDF7-AT-
uia.ua.ac.be>
MIME-Version: 1.0
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References: <2.2.32.20000110224239.009191ac-AT-
pop.mail.yahoo.com> <20000111.000537.6446.0.franch-AT-
juno.com>

Michael S Franch wrote:

> There is a very nice version of Successful Campaign on a CD called
> Stepping into the 18th Century, from Gadsby's Tavern Museum, Alexandria,
> Va.  At 4:35, it's of dance length.
>
> Also on the CD are Irish Lamentation, The Bishop, Female Saylor, Sun
> Assembly, The Adlerman's Hat, Scotch Morris, Stony Point, Red House,
> L'Amour Du Village, The Gued Man of Ballingigh, Flowers of Edinburg,
> Wakefield Hunt, Mr. Isaac's Maggot, Well Hall, Indian Queen, and Child
> Grove.

Could you give us some more information on this CD? Who are the musicians?
Are all the numbers intended for dancing? Availability, price ...?

Thanks!

Philippe Callens

================================================================================
Archive-Date: Fri, 14 Jan 2000 09:07:04 PST
Sender: owner-ecd-AT-
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Date: Fri, 14 Jan 2000 11:58:19 -0500 (EST)
From: ACFerg-AT-
cs.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Boston Playford Ball, March 4
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <cb.e3b149.25b0afab-AT-
cs.com>
MIME-Version: 1.0
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     Here is the announcement for this year's Boston Playford Ball.  I 
apologize for being so late in posting it to the list, but it just slipped 
my mind.  At the bottom is a form that can be printed out and used for 
registration.  I hope we will see many of you there.

Best regards,
Arthur Ferguson
Framingham, MA
--------------------------------------------------------------------------
              Country Dance Society, Boston Centre, Presents
                           The Twentieth Annual
                           BOSTON PLAYFORD BALL
               Saturday, March 4, 2000 * 8:00 PM to Midnight
                                    at
                   Monument Hall, Concord, Massachusetts
                 Helene Cornelius, Mistress of Ceremonies
                         Music by Bare Necessities

            Afternoon Workshop:         Leaders: Barbara Finney
            Monument Hall                        Jacqueline Schwab
            1:30-4:30 PM                Musicians: Ted Ehrhard
                                                   Roberta Sutter

                                  PROGRAM
  Apley House * Bartlett House * Easter Thursday * Farewell to Pymouth *
            Hey Boys * The Homecoming * Hudson Barn * Jamaica *
Maiden Lane * Miss De Jersey's Memorial * A New Beginning * The Night Cap *
    Old Noll's Jig * Orleans Baffled * Sally From Poland * Scotch Cap * 
   Sellenger's Round * Smithy Hill * Trip to Green * The Wives' Victory

                              COST PER PERSON
     $23.00 for registrations postmarked on or before January 15, 2000
        $27.00 for registrations postmarked after January 15, 2000

                           MAKE A WEEKEND OF IT!
      Come to the First Friday English Dance for Experienced Dancers 
     on Friday, March 3, 8:15-11:00 PM, at the Church of Our Saviour, 
               Carlton and Monmouth Streets in Brookline, MA
             Brad Foster, Leader; Jacqueline Schwab, Musician

   For more information on the Ball or First Friday Dance please contact
           Terry Gaffney, gaff-AT-
neu.edu, Telephone: 617-524-8869
                                    or
            Lyrl Ahern, lyrl-AT-
yahoo.com, Telephone: 978-263-4778

**************************************************************************
                             REGISTRATION FORM

Names(s) (for nametags) __________________________________________________

                        __________________________________________________

Address __________________________________________________________________

City __________________________  State ______  ZIP  ______________________

Phone (day) ________________________  (evening) __________________________

____ (number) -AT-
 $23.00/person or $27.00/person = __________ Total Enclosed

Please make checks payable to Country Dance Society, Boston Centre and mail 
 with your registration to Lyrl Ahern, 298 Central Street, Acton, MA 01720 

================================================================================
Archive-Date: Fri, 14 Jan 2000 12:28:50 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Fri, 14 Jan 2000 12:28:36 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: Boston Playford Ball, March 4
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01JKP0LHGA7I8Y4X3U-AT-
SSRL.SLAC.STANFORD.EDU>
MIME-Version: 1.0
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The Boston Ball looks wonderful.

Looking at the program, I note 

  (a) that there are 20 dances listed, and the ball runs 8:00 - 12:00.
  
  How many breaks do you have? Are dances walked-through, read-through,
  or just announced? 

  (b) That there's two dances I don't place at all, "The Homecoming" and
  "Farewell to Plymouth."

Can anyone fill me in on these dances?  (New?  Reconstructions?  Authors?)

Thanks,

-- Alan


===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
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Archive-Date: Fri, 14 Jan 2000 12:40:16 PST
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Date: Fri, 14 Jan 2000 15:40:05 -0500 (EST)
From: Eric Arnold <eba-AT-
umich.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Boston Playford Ball, March 4
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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On Fri, 14 Jan 2000, Alan Winston - SSRL Central Computing wrote:

> The Boston Ball looks wonderful.
> 
> Looking at the program, I note 

[snip]

>   (b) That there's two dances I don't place at all, "The Homecoming" and
>   "Farewell to Plymouth."
> 
> Can anyone fill me in on these dances?  (New?  Reconstructions?  Authors?)

"The Homecoming" is a recent Gary Roodman creation.  The other I don't
know.

Eric

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Archive-Date: Fri, 14 Jan 2000 13:32:49 PST
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Date: Fri, 14 Jan 2000 16:32:18 -0500
From: gaff-AT-
neu.edu (Terence Gaffney)
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Boston Playford Ball, March 4
To: ECD-AT-
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>The Boston Ball looks wonderful.
>
>Looking at the program, I note
>
>  (a) that there are 20 dances listed, and the ball runs 8:00 - 12:00.
>
>  How many breaks do you have? Are dances walked-through, read-through,
>  or just announced?
A few dances are for those who know; those are just read. The rest are
talked through. We have rehearsal in the afternoon, and we enourage those
who register to learn the dances in advance. For me, working on the ball
program at our regular Wednesday dances for the 6 weeks or so before the
ball is a fun way to stretch out the event .

>
>  (b) That there's two dances I don't place at all, "The Homecoming" and
>  "Farewell to Plymouth."


" Farewell to Plymouth" was written by Earl Gaddis. It's a three couple
longways. It's in "Hudson Barn" which is currently out of stock. However,
the Boston Centre plans to publish a new edition shortly.

Some of the figures in this dance always remind me of breaking waves.

Best,
 Terry


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Date: Fri, 14 Jan 2000 20:07:24 -0500 (EST)
From: ACFerg-AT-
cs.com
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playford.slac.stanford.edu
Subject: Re: Boston Playford Ball, March 4
To: ECD-AT-
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    If Alan wonders how we do 20 dances in a 4-hour Ball, let him consider 
this.  There are actually 21 dances on the program.  When I was transcribing 
the printed flyer with my brain thoroughly befogged by a cold, I left out one 
dance: Fandango.

    The dances are given only a brief talk-through at the Ball itself but are 
walked through during the afternoon workshop.  They are grouped into 4 groups 
of about 5 each, with short breaks between groups 1 & 2 and 3 & 4 and a 
longer break with refreshments between groups 2 & 3.

Best regards,
Arthur Ferguson
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Archive-Date: Sun, 16 Jan 2000 16:32:46 PST
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Date: Sun, 16 Jan 2000 19:32:30 -0500 (EST)
From: MartinezPC-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Boston Playford Ball, March 4
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In a message dated 1/14/00 3:30:27 PM Central Daylight Time, 
winston-AT-
SLAC.Stanford.EDU writes:

<< 
   (b) That there's two dances I don't place at all, "The Homecoming" and
   "Farewell to Plymouth."
 
 Can anyone fill me in on these dances?  (New?  Reconstructions?  Authors?)
  >>

The Homecoming is published in Gary Roodman's most recent book, Multiple 
Calculated Figures, and is set to a lively slip-jig by Jonathan Jensen.  It's 
become deservedly popular in the Northeast where our proximity to Gary 
sometimes gives us the opportunity of an earlier acquaintance with his 
wonderful dances.

Carol Martinez
White Plains, NY
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Archive-Date: Sun, 16 Jan 2000 18:28:23 PST
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Date: Sun, 16 Jan 2000 21:27:01 -0500
From: "Linda M. Nelson" <lindan-AT-
capecod.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Your ideas for new Bare Necessities recordings
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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[209.244.250.35]>
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I'd really like to have music for Leather Lake House, a favorite, very
enjoyable dance.  I like the music for it, and would like to hear it
recorded including Bare Necessities usual change tune Pease Strae.

Cheers - Linda


__________________________________________________
"Oh, yes.  It's vital to remember who you really are.
It's very important.  It isn't a good idea to rely on other
people or things to do it for you, you see.  They always
get it wrong."        (Terry Pratchett - from "Sourcery")
__________________________________________________


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Archive-Date: Sun, 16 Jan 2000 23:34:33 PST
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Date: Mon, 17 Jan 2000 01:36:27 -0600
From: Dianna Shipman <diannashipman-AT-
worldnet.att.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Boston Playford Ball, March 4
To: ECD-AT-
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References: <cb.e3b149.25b0afab-AT-
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Is there a web page for Boston?
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: <ACFerg-AT-
cs.com>
To: <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Sent: Friday, January 14, 2000 10:58 AM
Subject: Boston Playford Ball, March 4


>      Here is the announcement for this year's Boston Playford Ball.  I
> apologize for being so late in posting it to the list, but it just slipped
> my mind.  At the bottom is a form that can be printed out and used for
> registration.  I hope we will see many of you there.
>
> Best regards,
> Arthur Ferguson
> Framingham, MA
> --------------------------------------------------------------------------
>               Country Dance Society, Boston Cen