Archive-Date: Mon, 01 Jan 2001 06:19:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 29 Dec 2000 09:26:50 -0500 From: Helene Cornelius Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Hudson Barn II To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000201c073fe$851c84a0$f5f86ed1-AT- helene> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_ny1BZwAZRQuO8r/FCD5KNw)" This is a multi-part message in MIME format. --Boundary_(ID_ny1BZwAZRQuO8r/FCD5KNw) Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT The Country Dance Society, Boston Centre has just published "Hudson Barn II", instructions and tunes for 17 dances composed by people associated with the Boston Centre. The dances include the ten originally published (1980) in "Hudson Barn", plus seven new ones. The CDSS carries this book! You may also order it with a U.S. check for $9.00 (including postage) made out to "CDS Boston Centre", mailed to: CDS, Boston Centre PMB 282 1770 Massachusetts Avenue Cambridge MA 02140 --Boundary_(ID_ny1BZwAZRQuO8r/FCD5KNw) Content-type: text/html; charset=iso-8859-1 Content-transfer-encoding: 7BIT
The Country Dance Society, Boston Centre has just published "Hudson Barn II", instructions and tunes for 17 dances composed by people associated with the Boston Centre.  The dances include the ten originally published (1980) in "Hudson Barn", plus seven new ones.  The CDSS carries this book!  You may also order it with a U.S. check for $9.00 (including postage) made out to "CDS Boston Centre", mailed to:
 
CDS, Boston Centre
PMB 282
1770 Massachusetts Avenue
Cambridge MA 02140
--Boundary_(ID_ny1BZwAZRQuO8r/FCD5KNw)-- ================================================================================ Archive-Date: Mon, 01 Jan 2001 11:43:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 01 Jan 2001 14:39:15 -0500 From: Allison M Thompson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Ding Dong Merrily On High To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20010101.143916.-1903467.1.AllisonThompson-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Help! What are the words to this carol? Thanks Allison ________________________________________________________________ GET INTERNET ACCESS FROM JUNO! Juno offers FREE or PREMIUM Internet access for less! Join Juno today! For your FREE software, visit: http://dl.www.juno.com/get/tagj. ================================================================================ Archive-Date: Mon, 01 Jan 2001 12:29:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 01 Jan 2001 12:31:11 -0800 From: Kimberly McKittrick Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Ding Dong Merrily On High To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3A50E90E.C4BD3F59-AT- concentric.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <20010101.143916.-1903467.1.AllisonThompson-AT- juno.com> I couldn't quite remember all of the lyrics, so went to google.com for a link to find the rest. There are quite a few carol sites around... Kimberly Ding dong merrily on high, In heav'n the bells are ringing: Ding dong verily the sky Is riv'n with angel singing. Gloria, Hosanna in excelsis! E'en so here below, below, Let steeple bells be swungen, And "Io, io, io!" By priest and people sungen. Refrain Pray you, dutifully prime Your matin chime, ye ringers. May you beautifully rime Your evetime song, ye singers. Refrain Allison M Thompson wrote: > > Help! What are the words to this carol? > > Thanks > > Allison ================================================================================ Archive-Date: Tue, 02 Jan 2001 12:52:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 02 Jan 2001 15:52:19 -0500 (EST) From: Jbrodie1750-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: a bit of good news for the new year.... To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <74.67ba755.27839983-AT- aol.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_esWepbhoMnoYSDm2fwvtUQ)" --Boundary_(ID_esWepbhoMnoYSDm2fwvtUQ) Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Dear ECD List, At the beginning of this school year I requested money from a local educational foundation to hire an ECD scholar/performer to help coach some of my Fourth Grade public school students through the intricacies of English Country Dance and music. One question on the grant application asked : In what way is this project innovative or creative?"...to which I answered: English Country Dance Music is a repertoire that is rarely taught to public school string students. Usually these students study a more "classical" rather than "folk" repertoire. Because of this "classical" emphasis, students rarely have the opportunity to do what folk musicians do frequently: play music for dancers From my own personal experience as a performing musician, I can vouch for the fact that playing music for dancers is one of the most fulfilling, challenging and enriching experiences that a musician can have. The Fourth Grade students who play this music for their fellow Fourth Grade dancing friends will experience much earlier in their lives than most string players what it means to be a dance musician. Students who participate in the dances, on the other hand, will have the experience of performing folk dance with "live" music. This experience, too, is rarely offered in the general music class simply because the resources for such an experience are not there. This proposed project makes this resource available." The bit of good news is that the educational foundation believed what I wrote above, and just informed me that they will fund the grant! I will keep you all informed .... Sincerely, Jonathan Brodie Whitefish Bay (WI) Public Schools --Boundary_(ID_esWepbhoMnoYSDm2fwvtUQ) Content-type: text/html; charset=US-ASCII Content-transfer-encoding: 7BIT Dear ECD List,

At the beginning of this school year I requested money from a local
educational foundation to hire an ECD scholar/performer to help coach some of
my Fourth Grade public school students through the intricacies of English
Country Dance and music.   One question on the grant application asked : In
what way is this project innovative or creative?"...to which I answered:

English Country Dance Music is a repertoire that is rarely taught to public
school string students.  Usually these students study a more "classical"
rather than "folk" repertoire.  Because of this "classical" emphasis,
students rarely have the opportunity to do what folk musicians do frequently:
play music for dancers   From my own personal experience as a performing
musician, I can vouch for the fact that playing music for dancers is one of
the most fulfilling, challenging and enriching experiences that a musician
can have.  The Fourth Grade students who play this music for their  fellow
Fourth Grade dancing friends will experience much earlier in their lives than
most string players what it means to be a dance musician.
    Students who participate in the dances, on the other hand, will have the
experience of performing folk dance with "live" music.  This experience, too,
is rarely offered in the general music class simply because the resources for
such an experience are not there.  This proposed project makes this resource
available."

The bit of good news is that the educational foundation believed what I wrote
above, and just informed me that they will fund the grant!

I will keep you all informed ....

Sincerely,

Jonathan Brodie
Whitefish Bay (WI) Public Schools --Boundary_(ID_esWepbhoMnoYSDm2fwvtUQ)-- ================================================================================ Archive-Date: Wed, 03 Jan 2001 17:17:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 03 Jan 2001 17:14:37 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Historical costume resources To: ecd-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JYH8DWVMYC9OFC57-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT ECDers -- There was a question late last year about where to get historical costume for English Country Dance. I made a few recommendations from personal experience; there were some other suggestions. I've just run across the most comprehensive listing of historical ready-to-wear I've ever seen. (I can't vouch for how good all these vendors are, but this is more vendors listed than I've seen in one place.) http://www.gbacg.org/rtw.htm is the page maintained by the Greater Bay Area Costumers' Guild of ready-to-wear historical costume for a wide range of periods including 1650-present. Hope this helps! -- Alan PS: GBACG is a CDSS affiliate organization and sponsors English country dancing through the Bay Area English Regency Society. No money has changed hands for this unsolicited testimonial. -- APW =============================================================================== 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 99, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Thu, 04 Jan 2001 01:13:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 04 Jan 2001 03:13:27 -0600 From: Paul Stamler Subject: Olde Christmas Grand Dance - St. Louis, 1/6/01 To: ecd list Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <00a001c0762e$99e3f300$044e4b0c-AT- paulstam> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Hi folks: One last reminder that the St. Louis English Country Dancers are having their Olde Christmas Grand Dance on Saturday, Jan. 6th, 2001, from 8-11pm at the Focal Point Traditional Arts Center, 2720 S. Sutton Blvd., in Maplewood, MO. The caller will be Peter Wollenberg, and the music will be provided by The Original Speckled Band. Cost is $10/person, $19/couple, $20/family. Fancy dress (your definition) is encouraged, and please bring some snacks to share, keeping in mind that there are no facilities for cooking or heating things up. For more information or directions, please call Paul at 314-664-9207, or e-mail me at this address. Peace, Paul ================================================================================ Archive-Date: Thu, 04 Jan 2001 11:35:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 04 Jan 2001 13:45:29 -0500 From: sol weber Reply-To: ECD-AT- playford.slac.stanford.edu Subject: An amazing offer for "English" devotees To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20010104.143220.-193963.2.solweber-AT- juno.com> MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="Boundary_(ID_JHZ0k7+FsW8LpU4b+pQoCQ)" This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. --Boundary_(ID_JHZ0k7+FsW8LpU4b+pQoCQ) Content-type: text/plain Content-transfer-encoding: 7BIT Yep, an amazing offer aimed at the English faction. Safe to open. Sol --Boundary_(ID_JHZ0k7+FsW8LpU4b+pQoCQ) Content-type: message/rfc822 Return-path: REYNOLP-AT- ONR.NAVY.MIL Received: from rly-za05.mx.aol.com (rly-za05.mail.aol.com [172.31.36.101]) by air-za02.mail.aol.com (v77.31) with ESMTP; Wed, 03 Jan 2001 14:42:18 -0500 Received: from exchange1.onr.navy.mil (exchange1.onr.navy.mil [131.250.16.87]) by rly-za05.mx.aol.com (v77.27) with ESMTP; Wed, 03 Jan 2001 14:41:34 -0500 Received: by exchange1.onr.navy.mil with Internet Mail Service (5.5.2650.21) id ; Wed, 03 Jan 2001 14:41:22 -0500 Date: Wed, 03 Jan 2001 14:41:29 -0500 From: "Reynolds, Peter" Subject: An amazing offer Message-id: MIME-version: 1.0 X-Mailer: Internet Mail Service (5.5.2650.21) Content-type: multipart/mixed; boundary="Boundary_(ID_Zeke51ILFDF2gulfuDKB3Q)" This message is in MIME format. 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wpgYG3Yqj2AGl8NdSdMhEDVJo6VoQig4g3CNXUKHzCcNjkQ+imJMxeZjBEaFRMeJ jSAfvMMsIhOREkkhvEMY83NRI3DhZRn5Q3YjgVoodOZBQzIkQ9kRknb0IeOUkiq5 kkKgkniER+s0TvXxkgMyk4Z1ky2ZkzoZkzU5IzM5kkIwU0EZlCSZLSNplECQlEpZ lDRCIz/UlBzJkSyUkZm2GlSZClcJFnERXFzZlcwSXMEQAQkAADs= --Boundary_(ID_Zeke51ILFDF2gulfuDKB3Q)-- --Boundary_(ID_JHZ0k7+FsW8LpU4b+pQoCQ)-- ================================================================================ Archive-Date: Thu, 04 Jan 2001 13:40:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 04 Jan 2001 21:40:26 +0000 From: Ron Hawkins Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: An amazing offer for "English" devotees To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <000a01c07696$f9852b40$b15658c2-AT- patriot> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <20010104.143220.-193963.2.solweber-AT- juno.com> I may be old-fashioned and suspicious, but there is no way in the world that I would contemplate opening anything attached to an email like this, even if it does come in from a reputable e-list. Sorry Ron H ----- Original Message ----- From: sol weber To: Sent: Thursday, January 04, 2001 6:45 PM Subject: An amazing offer for "English" devotees > > Yep, an amazing offer aimed at the English faction. Safe to open. > > Sol > ================================================================================ Archive-Date: Thu, 04 Jan 2001 19:57:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 04 Jan 2001 22:57:28 -0500 (EST) From: ACFerg-AT- cs.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Boston Playford Ball on March 3 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Dear Felow ECDers, Here is the announcement for this year's Boston Playford Ball. 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 Twenty First Annual BOSTON PLAYFORD BALL Saturday, March 3, 2001 * 8:00 PM to Midnight at Monument Hall, Concord, Massachusetts Helene Cornelius, Mistress of Ceremonies Music by Bare Necessities Afternoon Workshop: Leaders: Brad Foster Monument Hall Jacqueline Schwab 1:30-4:30 PM Musicians: Amy Cann Roberta Sutter PROGRAM All Saints' Day * Barham Down * Dick's Maggot * Fain I Would * The Haymakers * Heartsease * The Introduction * Leather Lake House * Love and a Bottle * The Merry, Merry Milkmaids * The Merry Salopians (aka The Old Mill) * Michael and All Angels * Mrs. Pomeroy's Pavane * O, Susato * The Punch Bowl * Rose of Sharon * Sellenger's Round * Slaughter House * Slof Galliard * Up With Aily * Winter Solstice COST PER PERSON $24.00 for registrations postmarked on or before January 14, 2001 $28.00 for registrations postmarked after January 14, 2001 MAKE A WEEKEND OF IT! Come to the First Friday English Dance for Experienced Dancers on Friday, March 2, 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 information on the Ball or the First Friday Dance please contact Mary Stafford Telephone: (617)782-7266 Email: mes-AT- world.std.com Gender balance will be taken into consideration with preference given to CDS, Boston Centre, members. ************************************************************************** REGISTRATION FORM Names(s) (for nametags) __________________________________________________ __________________________________________________ Address __________________________________________________________________ City __________________________ State ______ ZIP ______________________ Phone (day) ________________________ (evening) __________________________ ____ (number) -AT- $24.00/person or $28.00/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, 05 Jan 2001 01:51:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 05 Jan 2001 03:49:24 -0600 From: Charlene Charette Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: An amazing offer for "English" devotees To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3A5598A4.B4E62D4A-AT- flash.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <20010104.143220.-193963.2.solweber-AT- juno.com> sol weber wrote: > Yep, an amazing offer aimed at the English faction. Safe to open. *Groan* I like it. :-) --Charlene -- When spiders unite, they can tie down a lion. ===== Free Book Searches (out-of-print, hard-to-find, foreign, used, new) - mailto:findbook-AT- flash.net ===== For Sale: Earnshaw, Pat; Lace in Fashion: From the Sixteenth to the Twentieth Centuries ================================================================================ Archive-Date: Fri, 05 Jan 2001 04:37:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 05 Jan 2001 07:38:28 -0500 From: "Emily L. Ferguson" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: An amazing offer for "English" devotees To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <20010104.143220.-193963.2.solweber-AT- juno.com> It was a pretty good cartoon, and it was nice of Sol to tell us that it was trouble free. But generally attachments are frowned on for discussion lists and then there are the copyright violation problems. In the future just send the citation for the source - assuming this cartoon came off the web somewhere. 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.beetlecat.com/gifts.htm http://www.capecod.net/sqtg/nebcba/results/99champs.html landscape at: http://www.capecodlife.com/CCD/regions/upper_cape.html ================================================================================ Archive-Date: Fri, 05 Jan 2001 04:48:30 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 05 Jan 2001 12:48:22 +0000 From: Hugh Stewart Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: An amazing offer for "English" devotees To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3A55C296.EE9081C9-AT- ugsolutions.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <20010104.143220.-193963.2.solweber-AT- juno.com> "Emily L. Ferguson" wrote: > It was a pretty good cartoon, and it was nice of Sol to tell us that it was > trouble free. But generally attachments are frowned on for discussion > lists and then there are the copyright violation problems. > > In the future just send the citation for the source - assuming this cartoon > came off the web somewhere. See http://a828.g.akamai.net/7/828/1392/1dcf6501c8f9fa/images.ucomics.com/comics/bz/2000/bz001018.gif ================================================================================ Archive-Date: Fri, 05 Jan 2001 06:47:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 05 Jan 2001 09:47:18 -0400 From: gaff-AT- neu.edu (Terence Gaffney) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Boston Playford Ball on March 3 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Dear Arthur, Thanks for doing this; I'll bring the form tonight. By the way, I really like this year's program. Best, terry ================================================================================ Archive-Date: Fri, 05 Jan 2001 16:04:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 06 Jan 2001 00:04:01 +0000 From: Alan Corkett Reply-To: ECD-AT- playford.slac.stanford.edu Subject: 12th Night... To: EngCountryDance Message-ID: <001901c07774$2ed1ffc0$0a1b893e-AT- default> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_QCfTe9EurIWmdZTtDT/rfA)" This is a multi-part message in MIME format. --Boundary_(ID_QCfTe9EurIWmdZTtDT/rfA) Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT Hi Revellers! Don't forget my 12th Night Ceilidh on the 6th January 2001, if you are in the area of Halsway Manor permanent folk music centre, Crowcombe, Somerset, UK. ...with myself leading the "come all ye band of musicians"... Brian Heaton as chairman for the ceilidh including; dancing, singing, Dickensian reading, mummers, morris sword, cloggers and much more with mulled wine and mince pies... see you there only £3.50 or 3.50UKP. It is possible to come early for dinner just phone the manor 01984 618 274. oh.. and a Happy New Year (but don't forget to take down your Christmas decorations!) Alan Corkett --Boundary_(ID_QCfTe9EurIWmdZTtDT/rfA) Content-type: text/html; charset=iso-8859-1 Content-transfer-encoding: 7BIT
Hi Revellers!
Don't forget my 12th Night Ceilidh on the 6th January 2001, if you are in the area of Halsway Manor permanent folk music centre, Crowcombe, Somerset, UK.
...with myself leading the "come all ye band of musicians"... Brian Heaton as chairman for the ceilidh including; dancing, singing, Dickensian reading, mummers, morris sword, cloggers and much more with mulled wine and mince pies... see you there only £3.50 or 3.50UKP. It is possible to come early for dinner just phone the manor 01984 618 274.
oh.. and a Happy New Year (but don't forget to take down your Christmas decorations!)
Alan Corkett
--Boundary_(ID_QCfTe9EurIWmdZTtDT/rfA)-- ================================================================================ Archive-Date: Thu, 11 Jan 2001 02:58:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 11 Jan 2001 04:56:14 -0600 From: Charlene Charette Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Miss Cowper Coles To: English Country Dance List Message-ID: <3A5D914E.930BDA87-AT- flash.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT I've got a copy of this book out from the library: Old English Country Dance Steps revived by Miss Cowper Coles; 1909 At the risk of sounding stupid; who was Miss Coles? Thanks, --Charlene -- The Constitution only gives people the right to pursue happiness. You have to catch it yourself. --Ben Franklin ===== Free Book Searches (out-of-print, hard-to-find, foreign, used, new) - mailto:findbook-AT- flash.net ===== For Sale: Earnshaw, Pat; Lace in Fashion: From the Sixteenth to the Twentieth Centuries ================================================================================ Archive-Date: Thu, 11 Jan 2001 10:02:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 11 Jan 2001 13:01:28 -0400 From: gaff-AT- neu.edu (Terence Gaffney) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Special dance, wed jan 17th To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Dear Friends, For those of you within driving distance of Boston: This coming Wednesday Jan. 17th., Robin Hayden will make her debut as a caller in our Wednesday series. Robin is the composer of "In the Bleak Mid-Winter", and as anybody lucky enough to have danced with her knows, is a paragon of grace and style. Each year we invite a regional caller to lead our Wedneday night dance; last year it was Susan Kevra. This year promises to be as much fun. Please join me in welcoming Robin to our Wednesday series. For those of you coming from out of town, the dance starts at 7:30 at the Park Avenue Congregational Church. You can find directions to the Church at http://www.cds-Boston.org/english.html. Best Regards, Terry ================================================================================ Archive-Date: Thu, 11 Jan 2001 13:22:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 11 Jan 2001 21:20:35 +0000 From: Ron Hawkins Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Miss Cowper Coles To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <000a01c07c14$81507de0$478ebbd4-AT- patriot> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <3A5D914E.930BDA87-AT- flash.net> Charlene Charette said: > at the risk of sounding stupid; who was Miss Coles? I hesitate to add my meagre contribution, but this is it, for what it's worth: Miss A M Cowper Coles devised a dance called "The Sailor's Hornpipe" in 1910. Helpfully Ron H ================================================================================ Archive-Date: Thu, 11 Jan 2001 20:28:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 11 Jan 2001 22:39:31 -0500 From: franch-AT- juno.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Miss Cowper Coles To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20010111.232559.-96973.0.franch-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT If he said anything like this at all (cited as a below-the-signature tag in a recent posting), Benj. Franklin would have said it about the Declaration of Independence ("life, liberty, and the pursuit of happiness"), not about the Constitution, although that held out "domestic tranquility," which isn't such a bad thing, either. And since such pursuit was an "inalienable right.," neither document gave it. Both documents are also silent about dance, a grave omission, although perhaps in the realm of rights not otherwise enumerated. > The Constitution only gives people the right to pursue happiness. You have to catch it yourself. --Ben Franklin ________________________________________________________________ GET INTERNET ACCESS FROM JUNO! Juno offers FREE or PREMIUM Internet access for less! Join Juno today! For your FREE software, visit: http://dl.www.juno.com/get/tagj. ================================================================================ Archive-Date: Thu, 11 Jan 2001 20:43:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 11 Jan 2001 23:42:46 -0400 From: Rich Galloway Subject: Re: happy pursuits To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3A5E44F6.11277.D60D93-AT- localhost> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT But surely that's what they meant. Certainly one can choose from many pursuits, but what other pursuit would you consider "the pursuit of happiness," but dance? We even have a dance called "The Pursuit." > Both documents are also silent about dance, a grave omission, although > perhaps in the realm of rights not otherwise enumerated. > > > The Constitution only gives people the right to pursue happiness. > You have to catch it yourself. --Ben Franklin > ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Sun, 14 Jan 2001 21:34:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 15 Jan 2001 00:34:38 -0500 (EST) From: Tideswell-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Glorious, uproarious To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <2d.6156f0d.2793e5ee-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT I have only just landed (and *boy* is that joke tired) from the Seattle Ball, which was, may I say, everything a ball should be. A lovely program with a great mix of dances (with a couple of no-brainers mercifully saved for the end when I had misplaced most of my braincells), a wonderful host community, splendid calling (and lively contoversy) by a variety of callers (meaning no one was entirely out of the dancing action) and the most delightful music imaginable. Things I wish especially to single out for praise include-but-are-not-limited-to The inclusion of The Nightcap in the program. My, my, my what a fun dance. Can anyone provide me with information, speculation, rumor, or innuendo concerning how it came to be written? The general ebullience and cheerfulness of the Seattle dance community. What a pleasure it is to dance in a community with such a non-dogmatic approach to the whole business! The music. Both Friday's and Saturday's bands were a treat to dance to, and I was particularly impressed with the fortitude of the Tricky Brits...to which their playing for both the afternoon and evening is tesimony...and charmed with the way they teased us with the increasing tempi of some of the dances. Excellent fun. As were Anita Anderson's ongoing piano sarcasms. Excellent fun all 'round, in fact. Bravo. still grinning broadly Nilos ================================================================================ Archive-Date: Mon, 15 Jan 2001 14:17:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 15 Jan 2001 17:05:41 -0500 From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Pinewoods English Week To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20010115.171458.-940063.2.gmurrow-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Here's a sneak preview for Alan's merrie band of the offerings of English Week 2001 (August 11-18). More info is due soon on the web site at www.cdss.org; the brochure goes out in Februrary. Our special guest from England this year is Andrew Shaw. According to a September, 2000, review in "Realfolk," Andrew "is one of England's finest callers of dances in the Playford style. His astonishingly detailed background knowledge of the dances, his clear and precise descriptions and his quiet insistence on the best possible performance styles have won him many admirers." Joining Andrew will be our own Helene Cornelius, Mary Devlin, Bruce Hamilton, and Gene Murrow. Music will be by the Bare Necessities 4-some (Earl, Jacqueline, Mary, Peter), PLUS Bill Peek (piano), Bill Tomczak (clarinet), Tom Kruskal (concertinas), Susie Lorand (violin and recorders) and Ellen Tepper (harp). Earl will be scheduling the evening music to exploit all manner of exciting combinations among these talents. Andrew Shaw will offer "Early Playford," covering dances from the 1st through 7th editions of John Playford's Dancing Master; "Dances of Nat'l Kynaston," for advanced dancers (we mean it) featuring works by the 18th century composer of what we now call The Old Mill, and "Dances by Modern English Composers." Gene will repeat his popular "Dancing the Best Well" session devoted to improving style and technique, and the "Choreographers Workshop." Helene will present more of her remarkably eclectic repertoire in an "English Country for All" session and an "English for Experts" (we mean it) class. Bruce (with Mary and Susie) will be offering his leadership training program for callers (special registration), and calling in the evenings. We'll also have an "open mic" session for callers and musicians, organized and coached by Mary Devlin and Peter Barnes. This will be a regular class open to anyone who'd like to join. In addition, we'll have Cotswold Morris, Northwest Morris, garland, long sword, rapper sword and clog classes, taught by Yonina Gordon, Meg Ryan, and Kari Smith. We'll repeat the popular "introduction" level classes for hard core country dancers who'd like to try one of these traditional forms for the first time. Also this year, we're going to make some special efforts to welcome newcomers and enhance the social aspects of our evening parties, so if you haven't tried Pinewoods before, this is the time! English Week fills early. Last year several ECD-list'ers were disappointed, so make sure you register before the cut-off date. Hope to see you there! Best wishes, Gene Murrow ------------------------------------------------------------------------- -- Permanent address: - for your Address book ISP of the moment: - "Reply" button destination ================================================================================ Archive-Date: Mon, 15 Jan 2001 17:20:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 15 Jan 2001 20:20:55 -0500 From: "Albert A. Blank" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Glorious, uproarious To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3A63A1F7.8B9FFE2D-AT- sprintmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <2d.6156f0d.2793e5ee-AT- aol.com> Dear Nilos, The Nightcap is in Maggot Pie (1932). The authors, Heffer & Porter of this collection felt that there weren't enough historical dances in the Playford tradition and kindly tried to remedy that deficiency. Some, at the time, felt that tampering with the historical tradition was scandalous. Nowadays the "deficiency" is well on its way to becoming a surfeit. Ciao, Albert -- Albert Blank ================================================================================ Archive-Date: Mon, 15 Jan 2001 17:35:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 15 Jan 2001 15:44:44 -0500 From: "Roger W. Broseus" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Washington Spring Ball To: ECD Listserv - Posts Message-ID: <4.3.2.20010115154105.00ac71c0-AT- 127.0.0.1> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_/SMYwNHk+PjyiYBjS9AiZQ)" --Boundary_(ID_/SMYwNHk+PjyiYBjS9AiZQ) Content-type: text/plain; format=flowed; charset=us-ascii Content-transfer-encoding: 7BIT Washington Spring Ball Saturday, May 5, 2001 Musicians: Liz Donaldson, piano Andrea Hoag, fiddle Marty Taylor, flute and concertina Afternoon practice session Details to follow as they become available Contact: Roger W. Broseus Roger-AT- just.net --Boundary_(ID_/SMYwNHk+PjyiYBjS9AiZQ) Content-type: text/html; charset=us-ascii Content-transfer-encoding: 7BIT
Washington Spring Ball

Saturday, May 5, 2001

Musicians:
Liz Donaldson, piano
Andrea Hoag, fiddle
Marty Taylor, flute and concertina

Afternoon practice session

Details to follow as they become available

Contact:
Roger W. Broseus
Roger-AT- just.net --Boundary_(ID_/SMYwNHk+PjyiYBjS9AiZQ)-- ================================================================================ Archive-Date: Mon, 15 Jan 2001 18:26:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 15 Jan 2001 21:27:23 -0500 From: "Emily L. Ferguson" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Glorious, uproarious To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <2d.6156f0d.2793e5ee-AT- aol.com> >Dear Nilos, >The Nightcap is in Maggot Pie (1932). The authors, Heffer & Porter, of this >collection felt that there weren't enough historical dances in the Playford >tradition and kindly tried to remedy that deficiency. Some, at the time, felt >that tampering with the historical tradition was scandalous. Nowadays the >"deficiency" is well on its way to becoming a surfeit. Nowadays the Nightcap is still one of the cream of that crop!! 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.beetlecat.com/gifts.htm http://www.capecod.net/sqtg/nebcba/results/99champs.html landscape at: http://www.capecodlife.com/CCD/regions/upper_cape.html ================================================================================ Archive-Date: Mon, 15 Jan 2001 18:29:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 15 Jan 2001 21:30:18 -0500 From: "Emily L. Ferguson" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Attn: Conn. River Valley dancers To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Anybody know whether there's going to be another Valentine's Day dance in Brattleboro? 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.beetlecat.com/gifts.htm http://www.capecod.net/sqtg/nebcba/results/99champs.html landscape at: http://www.capecodlife.com/CCD/regions/upper_cape.html ================================================================================ Archive-Date: Tue, 16 Jan 2001 16:42:46 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 16 Jan 2001 16:42:35 -0800 (PST) From: Carl Andersen Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Ease & Elegance To: ECD List Message-ID: <20010117004235.21829.qmail-AT- web5203.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Ease & Elegance, Fried deMetz Herman's annual English Country dance workshop and party is scheduled for Saturday, 27 January 2001. The Saturday dance workshop is from 1:30pm to 5:00pm; the evening party begins at 7:30pm and ends at 10:30pm. Presented by Country Dancers of Westchester, it will be held at the Church in the Highlands, White Plains, NY. Musicians are Leah Barkan, John Austin, and, for the evening party, Gene Murrow. If you'd like to attend, you need to apply in advance to register. Complete the form below. Mail it with a check payable to 'Country Dancers of Westchester' for $18.00 per person to . . . Carl Andersen, Registrar P. O. Box 15353 Stamford, CT 06901-0353 Also, add to your experience by attending CDW's "Jack Frost in January" dance party the night before from 8pm to 11pm. This event features Brad Foster calling and the annual visit to the Church in the Highlands by the unique and outstanding 'E.T. & The Aliens' - the musicians Ellen Tepper (harp); Cynthia Shaw Simonoff (piano); Jessica Murrow (oboe); and Gene Murrow (recorders and divers instruments). We will have our customary delectable refreshments at the breaks for both events. Guests are welcome to contribute to the food array by bringing along a plate of their favorite tasty edibles. Admission for the Friday party, payable at the door, is $12.00. Members of CDW pay $10.00. Hospitality is available for those attending both events. Inquire - by e-mail if you can - of the Registrar at at cdw_ecd-AT- yahoo.com. For more information, contact Leah Barkan at (914)693-5577; to Fried herself at (914)693-5577; or by e-mail to the Registrar. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Ease & Elegance -- and ECD Dance Workshop & Party NAME(S) ____________________________________________________ ADDRESS _____________________________________________________ _____________________________________________________ E-MAIL: ______________________________________________________ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _________________________________________________ > Do You Yahoo!? > Get email at your own domain with Yahoo! Mail. > http://personal.mail.yahoo.com/ __________________________________________________ Do You Yahoo!? Get email at your own domain with Yahoo! Mail. http://personal.mail.yahoo.com/ ================================================================================ Archive-Date: Tue, 16 Jan 2001 19:03:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 16 Jan 2001 18:52:56 -0800 From: Marie Disiewicz Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Berea Christmas School To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3A650908.36367301-AT- telus.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hello All Stan & I are back home and want to let those who do not know about the Christmas Country Dance School at the Berea College Kentucky U.S.A. You owe it to yourself to go at least once. You will want to go back as we do I am sure.What a great experience it was for us to enjoy such a well organized dance school. We traveled from B.C. Canada to Kentucky U.S.A. The people were ever so friendly and helpful. The talent was superb. We were so pleased to see so many young people involved in the dancing.. They were very good dancers and we all danced together like there were no age barriers. Now! The musicians were to die for. Oh! They were great! Sound men were terrific. The whole experience was so magical, special and we will be back. Parlor in the mornings had us singing and laughing everyday! What great talent in the spirit of fun and friendship! Good on you Berea College and keep up the good work. Cheers Marie & Stan Disiewicz ================================================================================ Archive-Date: Tue, 16 Jan 2001 19:09:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 16 Jan 2001 18:59:03 -0800 From: Marie Disiewicz Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ECD Mini Workshop To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3A650A76.EC4C88E6-AT- telus.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hello from Surrey [Vancouver] B.C. Canada I am hosting a mini ECD workshop February 18th Sunday 11:00 am to 3:00pm. Bruce Hamilton will be the instructor and we will have live music. If you are in the area and want to attend please email me. If you know of someone in our area, let them know. Cheers Marie Disiewicz ================================================================================ Archive-Date: Wed, 17 Jan 2001 10:37:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 17 Jan 2001 10:36:10 -0800 (PST) From: metis-AT- seki.mcs.csuhayward.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Levi Jacksons at Yale and KY To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200101171836.KAA11382-AT- seki.mcs.csuhayward.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT The following exchange took place on the East European Folklife Center list, where it was off-topic. I think it's on-topic for this list, however... ------- Start of forwarded message ------- From: larry.morandi-AT- grassvalleygroup.com To: Wally.Washington-AT- genband.com Cc: eefc-AT- eefc.org, mk-AT- mailbag.com Subject: RE: Levi Jackson - off topic trivia Date: Tue, 16 Jan 2001 18:40:35 -0800 > -----Original Message----- > From: Michael Kuharski [mailto:mk-AT- mailbag.com] > Sent: Friday, January 12, 2001 2:56 PM > To: Wally Washington > Cc: eefc-AT- eefc.org > Subject: Re: Levi Jackson - off topic trivia > > > Wally reports: > > Levi Jackson, a star running back whose selection as Yale's first black football > > captain in November 1948 drew national attention as a symbol of racial progress > > in American life, died on Dec. 7 at his home in Detroit. He was 74. > > > > So I assume that the park in Kentucky or wherever was named after him, > > and the dance name - Levi Jackson Rag - comes from the park. > According to the "Folklore Village Saturday Night Book" of tunes & dance descriptions > [Folklore Village 608-924-4000/Rural Route 3/Dodgeville WI 53533 > staff-AT- folklorevillage.org], Pat Shaw was commissioned by Berea College's > Mountain Folk Festival (Adult section) to create Levi Jackson Rag, named for > the Levi Jackson State Park near London, Kentucky at which that annual > Festival was (is?) held. I have no information on how the park was named, > but the Festival began in 1952, so the chronology would be consistent. > Regards, > Michael Kuharski > > A very quick web search yields the following site: http://www.state.ky.us/agencies/parks/levijack.htm which opens with "Levi Jackson Wilderness Road State Park honors both the first judge in Laurel County, and the road that has been termed by some to be the most significant trail in the westward flow of English colonization." Nothing in the biography at http://courant.ctnow.com/projects/bhistory/jackson.htm of Levi Jackson, a Yale football player who later worked for Ford Motor Company, indicates he was ever in Kentucky or a judge in Laurel County. And that "first judge in Laurel County" was probably appointed at least 200 years ago, so we can rule out this 20th century Levi Jackson as being the namesake of the dance. Larry Morandi ------- End of forwarded message ------- ================================================================================ Archive-Date: Thu, 18 Jan 2001 18:42:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 18 Jan 2001 18:42:43 -0800 (PST) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: News item: Melissa virus is Back To: =?UNKNOWN?Q?ECD=A0list?= Message-ID: <20010119024243.15353.qmail-AT- web3302.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT For any of you using MS Outlook to handle mail and Office 97 or 2000, you might be interested in this item from Netscape News: __________________________________________________ Do You Yahoo!? Get email at your own domain with Yahoo! Mail. http://personal.mail.yahoo.com/ ================================================================================ Archive-Date: Tue, 23 Jan 2001 11:26:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jan 2001 13:26:03 -0600 (CST) From: j-sivier-AT- ux1.cso.uiuc.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: cotilion questions To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200101231926.f0NJQ3E15761-AT- staff1.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT I'm going to be trying to lead a cotilion at our dance next month. This will be my first attempt and I have a few questions for the more learned members of this list. I'll be using a very abbreviated list of changes, to make the dance easier for me to teach and lead and to allow time for other dances during our session ;-) One question I have is how to coordinate the music and the dance. I see that if you have a 32 bar dance and a 48 bar tune you put the changes in the first 16 bars of the tune (and have the band play an additional A part at the end for the final Grand Round). However what if you have a 32 bar dance and a 32 bar tune? Should I have the band play the tune AAAABB (or ABAABB) to accomadate the changes? How about if I have a 32 bar tune and a 48 bar dance figure? I'm guessing I should have the band play the tune twice through for each change/figure pair with the change coming on the A part of the first time through the tune. I'm considering two possible figures for the dance. One is La Pantalon (spelled Le Pantalon in the sources on the Lib. of Congress dance instruction manual web site, but the source I have spells it La Pantalon). I guess it is officially a quadrille, but it seems like a nice 32 bar figure and I'm thinking of using it for a cotilion. Is this a major faux pas? Does anyone know what tune was traditionally used for it. I haven't been able to find a tune named Le Pantalon and none of the sources I've checked have mentioned a tune for it. I haven't done an exhaustive search, but I thought I would ask and see if anyone happens to know of the tune for it or a good place to look. The other figure I'm considering is called The Frolic. I haven't found any sources for this dance or tune (outside of the manuscript I'm working from) at all. Once again my search has not been exhaustive, but I thought I would see if anyone has ever heard of this dance or tune. It's a 48 bar dance figure and a 32 bar tune. Any other advice on teaching and leading a cotilion would be appreciated. Thanks. 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. | ------------------------------------------------------------------------- | Home page URL: http://www.uiuc.edu/ph/www/j-sivier | ------------------------------------------------------------------------- ================================================================================ Archive-Date: Tue, 23 Jan 2001 12:52:25 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jan 2001 12:26:54 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: cotilion questions To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JZ8WXEXWCI9OSFTB-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT Jonathan wrote: > I'm going to be trying to lead a cotilion at our dance next month. This > will be my first attempt and I have a few questions for the more learned > members of this list. I'll be using a very abbreviated list of changes, to > make the dance easier for me to teach and lead and to allow time for other > dances during our session ;-) Five changes seems to be about the limits of the patience of country dancers out here; four changes the limits of the endurance of historical costume enthusiasts. I generally do All Round, Women's Star, Men's Star, All Round, although there's something to be said for Allemande/Allemande Reverse or Grand Right and Left. It also depends on the chorus; Mr. Turner's Academy Cotillion is something like 96 bars for change+chorus; the one time I set up a demo of it, both the dancers and fiddlers were clear that two changes was plenty. > One question I have is how to coordinate the music and the dance. I > see that if you have a 32 bar dance and a 48 bar tune you put the changes > in the first 16 bars of the tune (and have the band play an additional A > part at the end for the final Grand Round). However what if you have > a 32 bar dance and a 32 bar tune? Should I have the band play the tune > AAAABB (or ABAABB) to accomadate the changes? I'd say that the answer is "don't do that." Use a cotillion that has a tune that matches its format. There are a number in both the Morrison and the Keller & Sweet Early American dance books (available from CDSS, as I expect you know). There are also a bunch in Millar, but when I tried using a couple five years or so ago I couldn't make them line up with the music, so I won't recommend that source even if it was my fault. (I think the dancers, especially if unfamiliar with the cotillion form, will need all the help they can get, and a strain for each part of the dance is helpful. Playing AB for the changes gives a false cue; playing AAAABB doesn't give them a cue to go into the chorus.) >How about if I have a 32 bar > tune and a 48 bar dance figure? I'm guessing I should have the band play > the tune twice through for each change/figure pair with the change coming > on the A part of the first time through the tune. That sounds plausible. If you want to do a cotillion to do a cotillion, I'd recommend Marlbrouk. Easy, fun, with a clear structure and a chorus not too long for modern tastes. If you want to do a cotillion in order to use something from one of the New Harmony manuscripts, that's a different story, but I'd still hope you could locate a tune that lines up with it. > I'm considering two possible figures for the dance. One is La Pantalon > (spelled Le Pantalon in the sources on the Lib. of Congress dance instruction > manual web site, but the source I have spells it La Pantalon). I guess it > is officially a quadrille, but it seems like a nice 32 bar figure and I'm > thinking of using it for a cotilion. Is this a major faux pas? Does > anyone know what tune was traditionally used for it. I haven't been able > to find a tune named Le Pantalon and none of the sources I've checked have > mentioned a tune for it. I haven't done an exhaustive search, but I thought > I would ask and see if anyone happens to know of the tune for it or a good > place to look. The pantalon figure is a figure in (I believe) the first set of quadrilles. Various people composed suites for the quadrille sets, so that's what you'd want to find. The pantalon would be identified within that suite. (James Langdell can probably suggest a source here.) As to whether using a quadrille figure is a major faux pas: a lot of quadrille figures have antecedents as cotillion choruses, so it's not necessarily out of the question. On the other hand, the music you find for a quadrille figure will not be written to accommodate the changes, so you may have to invent or apply other music to your back-formed cotillion. If you can find good music for it, it could well be delightful. > The other figure I'm considering is called The Frolic. I haven't found > any sources for this dance or tune (outside of the manuscript I'm working > from) at all. Once again my search has not been exhaustive, but I thought > I would see if anyone has ever heard of this dance or tune. It's a 48 bar > dance figure and a 32 bar tune. > Any other advice on teaching and leading a cotilion would be appreciated. As with Early American dances in general, you need to figure out how much new stuff people can absorb, and how much authenticity you're after. Are you going to teach the rigadoon? People who haven't done that before may be so focused on getting that step that they don't have much spare brain for complex choreography. If you use the allemande figure, you have to teach that unusual meaning of allemande, and so on. My inclination, tempered by experience, is not to have more than two cotillions in a whole evening, and have the first one be very accessible. Marlbrouk, as I say above, works well for this. That gives people both an idea of the changes and an idea of how hippety-hoppety it all is; the ones who get up for the next cotillion will know what they're getting into and you can do a somewhat more complicated one, like "The Convention." I think cotillions are lots of fun. Good luck! -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA 94025 =============================================================================== ================================================================================ Archive-Date: Tue, 23 Jan 2001 12:58:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: rmkeller-AT- ex-pressnet.com Date: Tue, 23 Jan 2001 16:00:07 -0500 From: Robert M Keller Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: cotilion questions To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3A6DF0D7.FC553E2E-AT- ex-pressnet.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <200101231926.f0NJQ3E15761-AT- staff1.cso.uiuc.edu> Chip Hendrickson has done a lot of reconstruction work on cotillions. He might be able to help. Send a message to him at dance18thc-AT- aol.com. I also found Le Pantalon as a Quadrille with music in Jacqueline Schwab's unpublished index on early English country dances. It is listed also in the National Tune Index (Keller and Rabson) as a Country dance with music in Thompson CD-5, 1788, and in the Beach MS, 1801. If you really need the tune that goes with the cotillion figure, I could probably give you a detailed citation, with call number. I have a copy of the Thompson CD-5, which shows the Pantaloon as a 8/8 bar tune, in 2/4, used as a country dance. I could scan it for you if you wish, but don't want to send it out on the listserv, for obvious reasons. I could send it to you off-list if you wish. FYI, I am in the process of setting up a Dance Resources Index on the web, along the lines of the Dancing Master Compendium, which would be able to answer questions like this. The quadrille listed above is at the British Library, in Paine & Hopkin's New & Fashionable Dancews, Waltzes & Quadrilles... 1829. Her index shows it as the second dance on page 1, 2/4 time. The BL call number is a.9.c.(8). Bob Keller j-sivier-AT- ux1.cso.uiuc.edu wrote: > I'm going to be trying to lead a cotilion at our dance next month. This > will be my first attempt and I have a few questions for the more learned > members of this list. I'll be using a very abbreviated list of changes, to > make the dance easier for me to teach and lead and to allow time for other > dances during our session ;-) > > One question I have is how to coordinate the music and the dance. I > see that if you have a 32 bar dance and a 48 bar tune you put the changes > in the first 16 bars of the tune (and have the band play an additional A > part at the end for the final Grand Round). However what if you have > a 32 bar dance and a 32 bar tune? Should I have the band play the tune > AAAABB (or ABAABB) to accomadate the changes? How about if I have a 32 bar > tune and a 48 bar dance figure? I'm guessing I should have the band play > the tune twice through for each change/figure pair with the change coming > on the A part of the first time through the tune. > > I'm considering two possible figures for the dance. One is La Pantalon > (spelled Le Pantalon in the sources on the Lib. of Congress dance instruction > manual web site, but the source I have spells it La Pantalon). I guess it > is officially a quadrille, but it seems like a nice 32 bar figure and I'm > thinking of using it for a cotilion. Is this a major faux pas? Does > anyone know what tune was traditionally used for it. I haven't been able > to find a tune named Le Pantalon and none of the sources I've checked have > mentioned a tune for it. I haven't done an exhaustive search, but I thought > I would ask and see if anyone happens to know of the tune for it or a good > place to look. > > The other figure I'm considering is called The Frolic. I haven't found > any sources for this dance or tune (outside of the manuscript I'm working > from) at all. Once again my search has not been exhaustive, but I thought > I would see if anyone has ever heard of this dance or tune. It's a 48 bar > dance figure and a 32 bar tune. > > Any other advice on teaching and leading a cotilion would be appreciated. > > Thanks. > > 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. | > ------------------------------------------------------------------------- > | Home page URL: http://www.uiuc.edu/ph/www/j-sivier | > ------------------------------------------------------------------------- ================================================================================ Archive-Date: Tue, 23 Jan 2001 13:03:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: rmkeller-AT- ex-pressnet.com Date: Tue, 23 Jan 2001 16:05:17 -0500 From: Robert M Keller Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: cotilion questions To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3A6DF20D.86CAD475-AT- ex-pressnet.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <200101231926.f0NJQ3E15761-AT- staff1.cso.uiuc.edu> There also are a number of good cotillions with music and dance in Kitty Keller's and Chip Hendrickson's book "George Washington: A Biography in Social Dance." You can get it at my web site: http://www.virtualdancing.com. Bob Keller j-sivier-AT- ux1.cso.uiuc.edu wrote: > I'm going to be trying to lead a cotilion at our dance next month. This > will be my first attempt and I have a few questions for the more learned > members of this list. I'll be using a very abbreviated list of changes, to > make the dance easier for me to teach and lead and to allow time for other > dances during our session ;-) > > One question I have is how to coordinate the music and the dance. I > see that if you have a 32 bar dance and a 48 bar tune you put the changes > in the first 16 bars of the tune (and have the band play an additional A > part at the end for the final Grand Round). However what if you have > a 32 bar dance and a 32 bar tune? Should I have the band play the tune > AAAABB (or ABAABB) to accomadate the changes? How about if I have a 32 bar > tune and a 48 bar dance figure? I'm guessing I should have the band play > the tune twice through for each change/figure pair with the change coming > on the A part of the first time through the tune. > > I'm considering two possible figures for the dance. One is La Pantalon > (spelled Le Pantalon in the sources on the Lib. of Congress dance instruction > manual web site, but the source I have spells it La Pantalon). I guess it > is officially a quadrille, but it seems like a nice 32 bar figure and I'm > thinking of using it for a cotilion. Is this a major faux pas? Does > anyone know what tune was traditionally used for it. I haven't been able > to find a tune named Le Pantalon and none of the sources I've checked have > mentioned a tune for it. I haven't done an exhaustive search, but I thought > I would ask and see if anyone happens to know of the tune for it or a good > place to look. > > The other figure I'm considering is called The Frolic. I haven't found > any sources for this dance or tune (outside of the manuscript I'm working > from) at all. Once again my search has not been exhaustive, but I thought > I would see if anyone has ever heard of this dance or tune. It's a 48 bar > dance figure and a 32 bar tune. > > Any other advice on teaching and leading a cotilion would be appreciated. > > Thanks. > > 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. | > ------------------------------------------------------------------------- > | Home page URL: http://www.uiuc.edu/ph/www/j-sivier | > ------------------------------------------------------------------------- ================================================================================ Archive-Date: Tue, 23 Jan 2001 15:06:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jan 2001 17:06:38 -0600 (CST) From: j-sivier-AT- ux1.cso.uiuc.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: cotilion questions To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200101232306.f0NN6cD06590-AT- staff1.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Alan, Thanks for the info and advice. I am hoping to do one of the cotilions from New Harmony. A couple of them are very clear and seem fairly straight- forward. I'll check out your other suggestions as well. Jonathan ================================================================================ Archive-Date: Tue, 23 Jan 2001 15:12:46 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jan 2001 17:12:33 -0600 (CST) From: j-sivier-AT- ux1.cso.uiuc.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: cotilion questions To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200101232312.f0NNCXY08352-AT- staff1.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Robert M Keller writes: > > CD-5, 1788, and in the Beach MS, 1801. If you really need the tune that goes with > the cotillion figure, I could probably give you a detailed citation, with call > number. I have a copy of the Thompson CD-5, which shows the Pantaloon as a 8/8 > bar tune, in 2/4, used as a country dance. I could scan it for you if you wish, > but don't want to send it out on the listserv, for obvious reasons. I could send > it to you off-list if you wish. Thanks for the info. If you can send me the tune for the Pantalon I would appreciate it. The version of the dance that I have would make a nice little dance on it's own I think. > FYI, I am in the process of setting up a Dance Resources Index on the web, along > the lines of the Dancing Master Compendium, which would be able to answer > questions like this. That sounds like it will be very useful. Thanks. 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. | ------------------------------------------------------------------------- | Home page URL: http://www.uiuc.edu/ph/www/j-sivier | ------------------------------------------------------------------------- ================================================================================ Archive-Date: Tue, 23 Jan 2001 18:27:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jan 2001 18:18:00 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: "Gigue for Genny" To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JZ98MAON049OFHMK-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT ECDers -- I'm trying to understand the instructions given in Fried de Metz Herman's "Ease and Elegance" for the dance "Gigue for Genny." A2 9-16 is given as "First couple directly turns contrary corners and end ready for a hey on proper sides, man down and lady up." [1] It's apparent that "directly" means something, or it wouldn't be in the instructions. I presume that this is a clue that we aren't going through a contra-corners sequence where the 1s turn partners, then corners, then partners, then corners, but it's not clear to me what actually is meant. Do the partners get turned at all? Are these one-hand turns or two-hand turns? (I'd think turning the right diagonal right hand and the left diagonal left hand would put the 1s in the best place to start the hey, but that's unconventional enough that you'd expect it to be mentioned; you could get the same effect from a convention partner-right corner-left contra corners, but then what does "directly" mean?) The sad thing is that I've actually done this dance (in Portland, I think) but can't remember how it was done. Do any of you out there know how this dance is generally done? Thanks, -- Alan [1] I contend that this quotation of a small portion of the description is fair use, and not an infringement on anybody's rights. Quoting the whole thing would have been problematical. -- APW =============================================================================== Alan Winston --- WINSTON-AT- SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA 94025 =============================================================================== ================================================================================ Archive-Date: Tue, 23 Jan 2001 18:42:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jan 2001 21:42:19 -0500 (EST) From: CF1125-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: "Gigue for Genny" To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <5d.641bc4a.279f9b0b-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT In a message dated 1/23/01 9:28:09 PM, winston-AT- SLAC.Stanford.EDU writes: << A2 9-16 is given as "First couple directly turns contrary corners and end ready for a hey on proper sides, man down and lady up." [1] It's apparent that "directly" means something, or it wouldn't be in the instructions. I presume that this is a clue that we aren't going through a contra-corners sequence where the 1s turn partners, then corners, then partners, then corners, but it's not clear to me what actually is meant. Do the partners get turned at all? Are these one-hand turns or two-hand turns? (I'd think turning the right diagonal right hand and the left diagonal left hand would put the 1s in the best place to start the hey, but that's unconventional enough that you'd expect it to be mentioned; you could get the same effect from a convention partner-right corner-left contra corners, but then what does "directly" mean?)>> My understanding of how the dance goes is that in A2 (there are only 8 measures in A, so it should be "A2 1-8," or "A 9-16") the 1s, who are in middle place proper at this point, pull by with the right hand, turn first corners (M1 down, W1 up) by left hand, then partner right hand, then second corners left hand, all with a skip (or skip change) step. At the end of A2, the 1s go directly (that is, without touching partner after turning 2nd corners) into left shoulder heys on their proper side. Perhaps that is where the word "directly" belongs. Carl Friedman ================================================================================ Archive-Date: Tue, 23 Jan 2001 23:29:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Jan 2001 23:29:14 -0800 (PST) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: "Gigue for Genny" To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20010124072914.10755.qmail-AT- web3301.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Alan Winston - SSRL Central Computing wrote: > I'm trying to understand the instructions given in Fried de > Metz Herman's "Ease and Elegance" for the dance "Gigue for > Genny." > > A2 9-16 is given as "First couple directly turns contrary > corners and end ready for a hey on proper sides, man down and > lady up." [1] > Alan, I'm not sure if it helps, but the instructions printed in Country Dance and Song #8 in 1977 read: "9-12 First couple goes directly into country corners and end ready for a hey on proper sides, man down and lady up." I'm not sure why it has the break at measure twelve instead of sixteen, but that's really the way it's printed there. The other source listed by Peter Rogers is the Pinewoods Fund Dance Collection, Pg. 12. Anybody have that source to check? Andy __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices. http://auctions.yahoo.com/ ================================================================================ Archive-Date: Wed, 24 Jan 2001 08:15:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Jan 2001 10:15:03 -0600 (CST) From: j-sivier-AT- ux1.cso.uiuc.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: yet another cotilion question (YACQ) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200101241615.f0OGF3121244-AT- staff1.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT Here's a cotilion that I'm thinking of doing. The Frolic to the tune of the same name? (none of the tunes are titled, but it's next to the dance so I assume it has the same name, if I can locate a tune named The Frolic I can compare them) 1-2 gents dance to their partner, balance and turn them 3-4 pass on to the next lady, balance and turn her 5-8 do the same for the 3rd and 4th lady 9-12 rights and lefts all round repeat for the women I'm assuming that if 4 changes of rights and lefts takes 16 beats then 8 changes of rights and lefts takes 32 beats, even though these days we do a grand right and left in only 16 beats. I figure I'll have them do a step-swing balance and then a two hand turn. I'm not sure what to have them do with their partners. Perhaps balance twice to take up the extra 4 beats. Do you think it would be appropriate to have a change in between the men's go-round and the women's. That is rather than have 96 bars of figure between each change have it go like this change men go change women go ...etc. The same is true for figures where the heads do the figure and then the sides. It seems to me to be logical to have the heads go, then have a change, then the sides go, alternating who's turn it is between each change. This would be especially true for figures that are like visiting couple squares, where the 1st couple does the figure, then the 2nd, then the 3rd and then the 4th. Maybe back in the 18th and 19th century they were willing to do 4 repeats of a 32 (or even 48) bar dance between each change, but I think if we tried anything like that today the dancers and band would rebel. If they did 10 changes that would be something like 45 times through the tune. That seems like a marathon dance even for the Good Old Days (TM). Thanks for any insights anyone may have. 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. | ------------------------------------------------------------------------- | Home page URL: http://www.uiuc.edu/ph/www/j-sivier | ------------------------------------------------------------------------- ================================================================================ Archive-Date: Wed, 24 Jan 2001 08:20:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Jan 2001 11:20:44 -0500 From: Christopher Walker Subject: Re: "Gigue for Genny" To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3A6F00DC.A62D37AF-AT- worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <01JZ98MAON049OFHMK-AT- SSRL.SLAC.STANFORD.EDU> Alan Winston - SSRL Central Computing wrote: > ECDers -- > > I'm trying to understand the instructions given in Fried de Metz Herman's > "Ease and Elegance" for the dance "Gigue for Genny." > > A2 9-16 is given as "First couple directly turns contrary corners and end > ready for a hey on proper sides, man down and lady up." [1] > Alan: Carl Friedman's response - 1's pull by (R hand) and turn 1st corners by L hand, then 1's meet and pull by again (R hand) and turn 2nd corners by L hand, into heys, etc - is the way I've always seen it done. It's a great dance. Chris Walker ================================================================================ Archive-Date: Wed, 24 Jan 2001 08:33:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Jan 2001 11:37:33 -0500 From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: "Gigue for Genny" To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <4.1.20010124113139.00bf4c10-AT- popserver.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <01JZ98MAON049OFHMK-AT- SSRL.SLAC.STANFORD.EDU> At 11:20 AM 1/24/01 -0500, Christopher Walker wrote: > Carl Friedman's response - 1's pull by (R hand) and turn 1st corners by L >hand, then >1's meet and pull by again (R hand) and turn 2nd corners by L hand, into >heys, etc >- is the way I've always seen it done. It's a great dance. Well, that's the way I taught it in a ball review session at True Brit a couple of years back--and then was totally confounded when, on the ball evening, Gene had the actives pass by R-sh & go directly to 1st corner for the turn. But, hey, I wasn't around when Dan Herr wrote the dance. Mr. Murrow, any comments? Hugs, Sharon P.S. Chris is absolutely right--it's a great dance, either way you do the contra corners. ================================================================================ Archive-Date: Wed, 24 Jan 2001 08:59:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Jan 2001 11:59:39 -0500 (EST) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: "Gigue for Genny" To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Tue, 23 Jan 2001, Alan Winston - SSRL Central Computing wrote: > It's apparent that "directly" means something, or it wouldn't be in the > instructions. I think "directly" here means that you don't waste any time after the preceeding cast before heading into it. The version I'm most familiar with has partners passing R shoulder to start, not taking hands. Eric Ann Arbor ================================================================================ Archive-Date: Wed, 24 Jan 2001 13:00:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Jan 2001 16:00:56 -0500 From: Patricia Ruggiero Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: "Gigue for Genny" To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000b01c08648$becac160$47991c3f-AT- MITRE.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Eric wrote: "I think "directly" here means that you don't waste any time after the preceding cast before heading into it. The version I'm most familiar with has partners passing R shoulder to start, not taking hands." [Your choice of words is entertaining: Waste time? Doing what? Where would there otherwise be time to waste?] Responses so far seem to agree that the 1s pass by the R shoulder on their way to their 1st corners and turn their corners by L hands. It's the giving of hands that's in dispute. Not having danced this one, I wonder whether it makes any difference in the timing of the figure if the 1s give R hands in passing or merely pass by R shoulders. Certainly the mood would be different, less rushed, more social, I'd say. If the object is to get to the corners as quickly as possible, I wonder if a Left Shoulder pass wouldn't be faster. Then with which hand would the corner turns start? Turning corners by L hands sends the 1s into a R-hand turn in the center, a shorter turn than a L-hand turn in the center, to face 2d corner. Country corners is normally executed corner-partner-corner-partner, with either a R-L-R-L handing or a two-hand turn, over 16 bars. It is unfortunate that Mr. Herr did not specify what, if anything, he wanted done differently. He seems to have followed Playford's, Walsh's, etc., example all too well! Since no one has yet weighed in with Mr. Herr's actual intentions, there is still time for other interpretations. Why not the "Trip to Tunbridge" figure, in bars B1-8? 1s pass R-sh, turn 1st Corner by the R; 1s pass R-sh, turn 2nd Corner by the R; 1s pass R-sh to end facing out on own side. This certainly satisfies the direction to "directly turn" the corners and has the advantage of requiring only 8 bars of the dance-walk step. Mr. Herr specifies a "simple skip" for the hey, but not so for the corner turns; whereas it would seem that skipping is required in the interpretations offered so far. Pat ================================================================================ Archive-Date: Wed, 24 Jan 2001 13:41:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Jan 2001 13:04:25 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: yet another cotilion question (YACQ) To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JZACXSKBCA9ORO6E-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT Jonathan Sivier wrote: > Here's a cotilion that I'm thinking of doing. > The Frolic > to the tune of the same name? (none of the tunes are titled, but it's next > to the dance so I assume it has the same name, if I can locate a tune named > The Frolic I can compare them) > 1-2 gents dance to their partner, balance and turn them > 3-4 pass on to the next lady, balance and turn her > 5-8 do the same for the 3rd and 4th lady > 9-12 rights and lefts all round > repeat for the women (Is this a 4/4 tune? I can't seem to make sense of the bar count as given.) > I'm assuming that if 4 changes of rights and lefts takes 16 beats then > 8 changes of rights and lefts takes 32 beats, even though these days we > do a grand right and left in only 16 beats. I figure I'll have them do > a step-swing balance and then a two hand turn. I'm not sure what to have > them do with their partners. Perhaps balance twice to take up the extra > 4 beats. When grand right and left is a cotillion change, you rigadoon to your partner both times you meet, thus killing four beats of music each time. If you don't want to mess with rigadooning, two balances should do it. It takes two 8-bar As to get through. > Do you think it would be appropriate to have a change in between the > men's go-round and the women's. That is rather than have 96 bars of figure > between each change have it go like this > change > men go > change > women go > ...etc. Well, Mr. Turner's Academy Cotillion has 64 bars of chorus, so it's not unprecedented (but that dance was arguably for performance even then, to show off the skill of the students at Turner's dancing academy). From my small knowledge of the field, I wouldn't think it was historically accurate to alternate the men leading the chorus and the women leading the chorus, but it may well be appropriate in the sense of making the dance acceptable to a modern audience. > The same is true for figures where the heads do the figure and then the > sides. It seems to me to be logical to have the heads go, then have a change, > then the sides go, alternating who's turn it is between each change. This > would be especially true for figures that are like visiting couple squares, > where the 1st couple does the figure, then the 2nd, then the 3rd and then > the 4th. Maybe back in the 18th and 19th century they were willing to > do 4 repeats of a 32 (or even 48) bar dance between each change, but I > think if we tried anything like that today the dancers and band would rebel. > If they did 10 changes that would be something like 45 times through the > tune. That seems like a marathon dance even for the Good Old Days (TM). > Thanks for any insights anyone may have. Hmm. "The changes" are the standardized figures - a list of ten or fifteen figures (as familiar as up-a-double, siding, and arming) from which you'd choose a few when doing the calling. Morrison says "using all ten changes makes quite a long and strenous dance; it apparently was acceptable to selectively eliminate changes in the 18th Century, and dancers should feel free to do so today." So don't think about doing ten changes. In those pesky sets of quadrilles they didn't do the changes. So you'd have a set of quadrilles where you did something led by the first lady and then the second lady and then the third lady and then the fourth lady, and then you'd do something else. And there might be a good deal of standing around, possibly chatting with partners when inactive. And they paid the musicians a living wage, which made them less rebellious. -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA 94025 =============================================================================== ================================================================================ Archive-Date: Wed, 24 Jan 2001 14:13:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Jan 2001 16:12:47 -0600 (CST) From: j-sivier-AT- ux1.cso.uiuc.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: yet another cotilion question (YACQ) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200101242212.f0OMCl407897-AT- staff1.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Alan Winston - SSRL Central Computing writes: > > Jonathan Sivier wrote: > > > Here's a cotilion that I'm thinking of doing. > > > The Frolic > > to the tune of the same name? (none of the tunes are titled, but it's next > > to the dance so I assume it has the same name, if I can locate a tune named > > The Frolic I can compare them) > > > 1-2 gents dance to their partner, balance and turn them > > 3-4 pass on to the next lady, balance and turn her > > 5-8 do the same for the 3rd and 4th lady > > 9-12 rights and lefts all round > > repeat for the women > > (Is this a 4/4 tune? I can't seem to make sense of the bar count as given.) I'm sorry I was just jotting down the parts, not trying to show the bar counts. I should have thought of that. Once again I'm going from memory, but I think the tune is 6/8. At any rate I'm pretty sure there are 2 steps per bar. Using the bar counts it would look like this: 1-8 gents dance to their partner, balance and turn them 9-16 pass on to the next lady, balance and turn her 17-32 do the same for the 3rd and 4th lady 33-48 rights and lefts all round 49-96 repeat for the women So if the change was in AA then the men's part would be in BBAABB. > > I'm assuming that if 4 changes of rights and lefts takes 16 beats then > > 8 changes of rights and lefts takes 32 beats, even though these days we > > do a grand right and left in only 16 beats. I figure I'll have them do > > a step-swing balance and then a two hand turn. I'm not sure what to have > > them do with their partners. Perhaps balance twice to take up the extra > > 4 beats. > > When grand right and left is a cotillion change, you rigadoon to your partner > both times you meet, thus killing four beats of music each time. If you don't > want to mess with rigadooning, two balances should do it. It takes two 8-bar > As to get through. This isn't a change, but part of the chorus, but I see what you mean. Thanks. Jonathan ================================================================================ Archive-Date: Wed, 24 Jan 2001 14:23:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Jan 2001 17:23:04 -0500 (EST) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: "Gigue for Genny" To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Wed, 24 Jan 2001, Patricia Ruggiero wrote: > Eric wrote: > "I think "directly" here means that you don't waste any time after the > preceding cast before heading into it. The version I'm most familiar with > has partners passing R shoulder to start, not taking hands." > > [Your choice of words is entertaining: > Waste time? Doing what? > Where would there otherwise be time to waste?] From the viewpoint of the caller/teacher, it would be wonderful if the dancers universally saw it this way. You may appreciate that dancers may not automatically connect the start of the second figure with the end of the first, particularly if it's not a dance they're familiar with -- e.g. "so we've cast off -- now what? Does the 2nd couple do the same thing? Do we all do something? Or do we continue to be the active couple & do something new? If so, what is it? We'll wait 'till you tell us..." Caller: "...and you go _directly_ into contra corners, passing Partner right shoulder to start..." The implication, best understood after a turn or two through the dance, is that you'd better keep moving if you want to get through the next figure in the music available... At least, that's how it seems to me. > Responses so far seem to agre