RE: playford ball, 21 september, Los Angeles (California)

Archive-Date: Mon, 01 Apr 2002 00:42:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 01 Apr 2002 00:02:15 +0100 From: Barry McNamara Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Apologies To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000701c1d959$177bf180$c54386d9-AT- mjn> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_iWiAC4dG+HE7LaoPrg1Mjw)" This is a multi-part message in MIME format. --Boundary_(ID_iWiAC4dG+HE7LaoPrg1Mjw) Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT My apologies to the list for today's error. Barry --Boundary_(ID_iWiAC4dG+HE7LaoPrg1Mjw) Content-type: text/html; charset=iso-8859-1 Content-transfer-encoding: 7BIT

My apologies to the list for today's error.

Barry

--Boundary_(ID_iWiAC4dG+HE7LaoPrg1Mjw)-- ================================================================================ Archive-Date: Mon, 01 Apr 2002 06:53:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 01 Apr 2002 06:52:05 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: [fwd from Colin Hume] Contra/Square callers coming to Eng August 9-16? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01KG1GKU9VKQ9GT7WP-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT [SLAC is being uncooperative and blocking Colin's inbound mail to the list, so this was forwarded to me by a cooperative intermediary, and I'm forwarding it to the list at Colin's request. -- Alan] Maybe I should be posting this to rec.folk-dancing, but I don't subscribe to that. Does anyone know of any good contra/square callers from the US coming over to England 9-16th August 2002? These are the dates of Broadstairs Folk Week (bottom right-hand corner of England), which is starting to build up its reputation among dancers, and would like a real American to call some squares and contras. Colin Hume PLEASE NOTE: NEW email colin-AT- colinhume.com NEW web site http://www.colinhume.com ================================================================================ Archive-Date: Mon, 01 Apr 2002 15:11:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 01 Apr 2002 18:11:42 -0500 (EST) From: SallenNic-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re:Help! To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <10c.f8c3912.29da432e-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Many thanks to all who rushed in to put me right over Lou Vosteen - most helpful. Nicolas B., Lanark, Scotland. ================================================================================ Archive-Date: Mon, 01 Apr 2002 17:49:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 01 Apr 2002 17:49:14 -0800 (PST) From: "J. Beer" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Remembering Dick Kraus To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020402014914.66696.qmail-AT- web12308.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT We are sad to report that Dick Kraus died Thursday, March 28th. His passing was peaceful, surrounded by his family and beloved German shepherd. Dick devoted his long professional life to promoting recreational dance in the United States, especially square dancing, and we were fortunate that he often chose to dance with Germantown Country Dancers during his personal time. Our website has information about the memorial service on Saturday, April 20th, and a nice note from Liz Snowdon recalling Dick's contributions to the Philadelphia dance community: http://germantowncountrydancers.org/ The Philadelphia Inquirer obituary can be found at: http://www.philly.com/mld/inquirer/news/obituaries/2966042.htm We would welcome reminiscences and photos--either here on the ECD list or to add to our webpage. (Please email the latter to me at jbeer-AT- culture-at-work.com as I don't get mail at this yahoo address). Jenny Beer __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://http://taxes.yahoo.com/ ================================================================================ Archive-Date: Mon, 01 Apr 2002 19:29:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 01 Apr 2002 19:29:41 -0800 (PST) From: "J. Beer" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: shirley's message--virus alert! To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020402032941.85631.qmail-AT- web12308.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hi folks, It looks like Shirley's reply to the message I just posted about Dick Kraus is in fact a virus-at-work. Don't open the attachments! Jenny __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://http://taxes.yahoo.com/ ================================================================================ Archive-Date: Tue, 02 Apr 2002 04:44:46 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 01 Apr 2002 16:21:36 -0500 From: Allison M Thompson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Philippe Callens in Pittsburgh Pennsylvania Ohio USA To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20020402.073909.-1699253.13.AllisonThompson-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Please share this with others who might be interested, and announce at local dances as you think might be appropriate. An invitation to ... an evening of English Country Dance in Pittsburgh Pennsylvania leading by Philippe Callens from Antwerp, Belgium and music by Amarillis from Pittsburgh PA Wednesday April 10, 2002 7:30 - 10 PM $6 At the Swisshelm Park Community Center, just 3 minutes off the Parkway. For directions and more information, call (412) 422-7265 ________________________________________________________________ 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/web/. ================================================================================ Archive-Date: Tue, 02 Apr 2002 04:44:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 01 Apr 2002 16:39:35 -0500 From: Allison M Thompson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Musical Terminology To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20020402.073909.-1699253.14.AllisonThompson-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Because so often we have musical discussions on this list, I thought that it would be instructive and informative if we all had some ground rules re: technical musical terms. I mean, we shouldn't be sloppy and untechnical when more precise terms are available. If you study this list carefully, you will be able to address musical issues in a much better informed way. You'll thank me for it some day. Allison Musical Terminology a-b-a form: a musical convention long preferred by composers who can't "C." adagio fromaggio: to play in a slow and cheesy manner. a la regretto: tempo assigned to a performance by the conductor AFTER it is panned by the local music critics. al capone: performing while standing on a neutered rooster. al dente con tableau: in opera, chew the scenery. allegro con brillo: the fastest way to wash pots and pans. anDante: A musical composition that is Infernally slow. Angus Dei: a divine, beefy tone. antiphonal: referring to the prohibition of cell phones in the concert hall a patella: unaccompanied knee-slapping. appologgiatura: an ornament you regret after playing it. approximatura: a series of notes played by a performer and not intended by the composer, especially when disguised with an air of "I meant to do that." approximento: a musical entrance that is somewhat close to the correct pitch. baffoon: baboon with bassoon. barbie dolce: sweet but plastic. bar line: what musicians form after a concert. bass lure: a seductive refrain. basso continuo: the act of game fishing after the legal season has ended. basso profundo: an opera about deep sea fishing. basso refundo: the sad but predictable consequence of the ill-fated "Three Basses" concert tour. brake drum: The instrument most used to slow the tempo in an orchestra. bull horn: a brass instrument that plays notes you wouldn't believe. concerto con carne: a piece for single instrument played in a "chili" manner. concerto grosso: a really BAD performance. contrababoon: the simian assistant of a Latin American revolutionary organ grinder. Coral Symphony: (see: Beethoven -- Caribbean period). cornetti trombosis: disastrous entanglement of brass instruments that can occur when musicians are not careful exiting the stage. crashendo: the increasing sense of aggravation felt by band members as those trumpet players keep dropping their mutes on the hard stage floor. d.c. al capone: you betta go back to the beginning, capiche? dill piccolo: a wind instrument that plays only sour notes. diminderwindo: fading of daylight at dusk, as seen from indoors. diminuendo: the process of quieting a rumor in the orchestra pit. eardrum: a teeny, tiny tympani. etude brute: an early form of Roman music performed with a rapid, sharp, repetitive beat. fermantra: a note that is held over and over and over and... fermatahorn: an Alpine wind instrument used for playing long notes. fermoota: a rest of indefinite length and dubious value. fiddler crabs: grumpy string players. flute flies: gnat-like bugs that bother musicians playing out-of-doors. fog horn: a brass instrument that plays when the conductor's intentions are not clear. fortississippi: with mighty, flowing strength. frugalhorn: a sensible, inexpensive brass instrument. fruitti tutti: a chorus singing together in an exaggerated, overripe manner. Gaul blatter: a French horn player. good conductor: A person who can give an electrifying performance. grace note: the I.O.U. you deposit in the church collection plate when you're out of cash. gregorian champ: monk who can hold a note the longest. ground brass: when someone in the marching band drops a sousaphone. ground hog: someone who takes control of the repeated bass line and won't let others play it. Herbert von Carryon: a conductor who never rides in the cargo hold. hyperportamento: a tone that soars, bends, strains until it pierces into another dimension and leaves, ever after, a porthole to heaven. kvetchendo: gradually getting ANNOYINGLY louder. maestrousseau: at the pace of a wedding march. mallade: a romantic song that's pretty awful matterhorn: an intrument of cosmic influence designed to create something out of nothing. molto bolto: head straight for the ending, but don't make it seemed rushed. mucho caffinato: play loudly enough to wake up those sleeping in the audience. oraToro: a lawn mower may be substituted for the original instrumentation at this point. opera buffa: musical stage production at a nudists' camp. phollyphonic: badly arranged harmonizations. pianorama: instrument capable of broad, sweeping musical performances. pizzacato: the act of removing anchovies from an Italian dish with short,quick motions and tossing them to a nearby awaiting feline friend. pollyphonic: orchestra made up of lots of parrots presto chango: quickly going from a very fast to a very slow tempo rooti tooti: use of a potato as a trumpet mute. schmaltzando: a sudden burst of music from the Guy Lombardo band. Sosaphone: a cylindrical wooden instrument used to play smash hits. spinet: politician's order . spritzicato: plucking of a stringed instrument to produce a bright, bubbly sound, usually accompanied by sparkling water with lemon (wine optional). status cymbal: an instrument to be played at inaugurations and socialite balls. tempo tantrum: what a young orchestra is having when it's not keeping time with the conductor. timpani alley: a row of kettledrums. Term originated in New York City area. tincanabulation: the annoying or irritating sounds made by an unmusical person using extremely cheap bells. From Poe's "The Bells" and "tin cans". toiletto: the effect on the human voice of reverberation in small rooms with ceramic tiles. trouble clef: any clef one can't read, e.g., the alto clef for pianists. vesuvioso: a gradual buildup to a fiery conclusion. woodwind: a noise in the game of golf, made by a club missing the ball on a tee shot. ________________________________________________________________ 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/web/. ================================================================================ Archive-Date: Tue, 02 Apr 2002 06:12:25 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 02 Apr 2002 09:12:13 -0500 (EST) From: Dfhart24-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Musical Terminology To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <2f.250451ae.29db163d-AT- aol.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_P8EQt0rTch4c1aVHcgOrFQ)" --Boundary_(ID_P8EQt0rTch4c1aVHcgOrFQ) Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT In a message dated 4/2/2002 7:45:57 AM Eastern Standard Time, allisonthompson-AT- juno.com writes: > Because so often we have musical discussions on this list, I thought that > it would be instructive and informative if we all had some ground rules > re: technical musical terms. I mean, we shouldn't be sloppy and > untechnical when more precise terms are available. If you study this list > carefully, you will be able to address musical issues in a much better > informed way. You'll thank me for it some day. > > Allison I am really, really curious as to just how *long* it has taken you to pluck all these from what is obviously a very twisted mind. Or has in been an assemblage-flagrante-in-progress? Thanks for the chuckles, Deborah, who is now wondering whether these were intended for yesterday. . . --Boundary_(ID_P8EQt0rTch4c1aVHcgOrFQ) Content-type: text/html; charset=US-ASCII Content-transfer-encoding: 7BIT In a message dated 4/2/2002 7:45:57 AM Eastern Standard Time, allisonthompson-AT- juno.com writes:

Because so often we have musical discussions on this list, I thought that
it would be instructive and informative if we all had some ground rules
re: technical musical terms. I mean, we shouldn't be sloppy and
untechnical when more precise terms are available. If you study this list
carefully, you will be able to address musical issues in a much better
informed way. You'll thank me for it some day.

Allison

I am really, really curious as to just how *long* it has taken you to pluck all these from what is obviously a very twisted mind. Or has in been an assemblage-flagrante-in-progress?

Thanks for the chuckles,

Deborah, who is now wondering whether these were intended for yesterday. . . --Boundary_(ID_P8EQt0rTch4c1aVHcgOrFQ)-- ================================================================================ Archive-Date: Tue, 02 Apr 2002 06:19:47 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 02 Apr 2002 08:19:39 -0600 From: Roger Diggle Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Musical Terminology To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020402141938.KOOE16094.lowblow-AT- [66.222.32.73]> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Allison M Thompson wrote: >Because so often we have musical discussions on this list, I thought that >it would be instructive and informative if we all had some ground rules >re: technical musical terms. I mean, we shouldn't be sloppy and >untechnical when more precise terms are available. If you study this list >carefully, you will be able to address musical issues in a much better >informed way. You'll thank me for it some day. > >Allison Why wait when we can thank you today? Roger ================================================================================ Archive-Date: Tue, 02 Apr 2002 10:08:47 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 02 Apr 2002 13:00:17 -0500 From: Allison M Thompson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Musical Terminology To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20020402.130241.-1699253.19.AllisonThompson-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Thank you, but I cannot claim anything in regard to this posting, said she simpering modestly, save forwarding it on to you all and pressing the send button. My favorite is appologiattura--I make these a lot when playing! Allison On Tue, 02 Apr 2002 09:12:13 -0500 (EST) Dfhart24-AT- aol.com writes: > In a message dated 4/2/2002 7:45:57 AM Eastern Standard Time, > allisonthompson-AT- juno.com writes: > > > > Because so often we have musical discussions on this list, I > thought that > > it would be instructive and informative if we all had some ground > rules > > re: technical musical terms. I mean, we shouldn't be sloppy and > > untechnical when more precise terms are available. If you study > this list > > carefully, you will be able to address musical issues in a much > better > > informed way. You'll thank me for it some day. > > > > Allison > > I am really, really curious as to just how *long* it has taken you > to pluck > all these from what is obviously a very twisted mind. Or has in > been an > assemblage-flagrante-in-progress? > > Thanks for the chuckles, > > Deborah, who is now wondering whether these were intended for > yesterday. . . ________________________________________________________________ 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/web/. ================================================================================ Archive-Date: Tue, 02 Apr 2002 10:20:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 02 Apr 2002 10:20:12 -0800 (PST) From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: CDNY relocated? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020402182012.9819.qmail-AT- web13602.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT In the CDNY newsletter which arrived in yesterday's mail, an article on a recent questionnaire on practices regarding the Playford Ball reported approximately 50% of respondents favoring registration processes being used to equalize the sex ratio at the ball. This was described as an "overwhelming majority of dancers" in favor of gender balancing. I thought that roughly half the vote constituted an "overwhelming majority" only in Florida. Barbara ===== "There is no inverse relationship between freedom and security. Less of one does not lead to more of the other. People with no rights are not safe from terrorist attack." Molly Ivins __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://http://taxes.yahoo.com/ ================================================================================ Archive-Date: Tue, 02 Apr 2002 10:37:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 02 Apr 2002 13:37:09 -0500 From: C Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: CDNY relocated? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Let's not even go there . . . ;) -----Original Message----- From: owner-ecd-AT- PLAYFORD.SLAC.STANFORD.EDU [mailto:owner-ecd-AT- PLAYFORD.SLAC.STANFORD.EDU] On Behalf Of Barbara Ruth Sent: Tuesday, April 02, 2002 1:20 PM To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Subject: CDNY relocated? In the CDNY newsletter which arrived in yesterday's mail, an article on a recent questionnaire on practices regarding the Playford Ball reported approximately 50% of respondents favoring registration processes being used to equalize the sex ratio at the ball. This was described as an "overwhelming majority of dancers" in favor of gender balancing. I thought that roughly half the vote constituted an "overwhelming majority" only in Florida. Barbara ===== "There is no inverse relationship between freedom and security. Less of one does not lead to more of the other. People with no rights are not safe from terrorist attack." Molly Ivins __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://http://taxes.yahoo.com/ ================================================================================ Archive-Date: Wed, 03 Apr 2002 10:58:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 03 Apr 2002 11:05:16 -0800 From: Paul / Victoria Bestock Reply-To: ECD-AT- playford.slac.stanford.edu Subject: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <5.1.0.14.1.20020403110220.00a132c0-AT- mail.oz.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7BIT Hi, In my dance description for Scotch Morris it says the second corners cross first. It does not state whether this is original second corner people who are in first corner position at this point in the dance, or whether this means the second corner position, or origianl first corners. What do the rest of you prefer here? Victoria in Seattle ================================================================================ Archive-Date: Wed, 03 Apr 2002 14:06:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 03 Apr 2002 16:59:52 -0500 From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20020403.165956.-804103.14.gmurrow-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hello Victoria, Presumably, you're looking at Tom Cook's reconstruction... I had the same question myself. Earlier in the dance, he writes "1 wo and 2nd man (2 corners)" so that's one possible clue that he defines "corners" by people, at least on this page. Since the corner crossing follows a cast and lead (into progressed place) and precedes a circle, both symmetric figures, there's no compelling reason for one corner or the other to cross first. So I call it as 2nd corner _people_ (in first corner position). That keeps the "tradition" of the first corner position crossing first, and agrees with the tenuous definition prior. Hope that helps, Gene On Wed, 03 Apr 2002 11:05:16 -0800 Paul / Victoria Bestock writes: > Hi, > > In my dance description for Scotch Morris it says the second corners > cross > first. It does not state whether this is original second corner > people who > are in first corner position at this point in the dance, or whether > this > means the second corner position, or origianl first corners. > > What do the rest of you prefer here? > > Victoria in Seattle > > ------------------------------------------------------------------------- -- Permanent address: - for your Address book ISP of the moment: - "Reply" button destination ================================================================================ Archive-Date: Wed, 03 Apr 2002 14:29:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 03 Apr 2002 17:29:30 -0500 From: Campbell_Kaynor-AT- biogen.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Victoria, Without offering an opinion on that specific dance, I'll pass along an item of terminology that has served me well. Besides defining the 1st and 2nd corners to the dancers, I also introduce the terms "1st diagonal" and "2nd diagonal" as referring to the direction/track and not the individual people who dance that track. It seems to minimize confusion at times that the use of the term "corners" seems ambiguous. Cammy ================================================================================ Archive-Date: Wed, 03 Apr 2002 14:38:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 03 Apr 2002 17:38:32 -0500 From: Albert Blank and Nancy DeVore Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3CAB8468.85F915A6-AT- sprintmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: My version is "right corners", "left corners". I think that's helpful for the inumerate. Albert Campbell_Kaynor-AT- biogen.com wrote: > Victoria, > Without offering an opinion on that specific dance, I'll pass along an > item of terminology that has served me well. Besides defining the 1st and > 2nd corners to the dancers, I also introduce the terms "1st diagonal" and > "2nd diagonal" as referring to the direction/track and not the individual > people who dance that track. It seems to minimize confusion at times that > the use of the term "corners" seems ambiguous. > Cammy -- Albert Blank & Nancy DeVore 102 Loring Avenue Pelham, NY 10803-2014 tel. 914 738-7678 email: fandango-AT- sprintmail.com ================================================================================ Archive-Date: Wed, 03 Apr 2002 16:00:31 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 03 Apr 2002 19:00:04 -0500 (EST) From: SallenNic-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ESS - Pinewoods To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <13e.c22759f.29dcf184-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Aidan(Violin) and I (Accordion) have been invited to come and play at ESS this year, about which we are getting excited. We shall be arriving in Boston airport on Tuesday, July 2nd (6.15pm), and flying out again on Monday, July 15th (9.15pm). As ESS runs July 8 - 12, we shall have a certain amount of spare time before and after ESS. If anyone would like to hire us, we are ready, willing and able! We could be used as two musicians, or I could be used for teaching/calling with Aidan playing with one or more other musicians; I am even available to teach /call without Aidan to play! We plan to be up in New England only this time, regretfully not calling on our many friends in the south, as the schedule is too tight to travel south. However, we shall be staying on cape cod when not needed to travel around, relaxing beside Peter's Pond! Feel free to proposition us by e-mail! Nicolas. Nicolas B., Lanark, Scotland. ================================================================================ Archive-Date: Wed, 03 Apr 2002 20:52:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 04 Apr 2002 14:51:59 +1000 From: Earthly Delights music/dance Subject: Dance Invitations from Canberra, Australia To: ECD Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <021701c1db94$754b5ac0$75ecfea9-AT- webone.com.au> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT This newsletter includes an invitation to you, your friends and family to some great upcoming workshops and events - starting THIS VERY SUNDAY afternoon and going through till June. Please have a good read and consider coming along. * Sunday afternoon tea dances 7 & 14 April, 87 Schlich St, Yarralumla * Discount Dance Tickets available until 20th April * New English Country Dance course starting Wednesday 10 April * ENGLISH COUNTRY DANCE, Saturday 20 April, 8pm * Sunday afternoon tea dances 28 April & 5 May, Yarralumla * MASKED BALL, Sunday 12 May, ALBERT HALL, 7:30pm * New Vintage Ballroom dance course starting 26 May * Waltzes, Polkas & Mazurka Dance, Sat 15 June (MFMS) * New Billeting arrangements for Interstate guests There are 2 good-value dance courses starting soon at our home dance studio: 'English Country Dancing' -on Wednesday evenings, 7:30-9:30, start 10 April and running for 5 weeks until 8 May - an ideal preparation for the balls coming up on 20 April and 12 May. The cost is just $35 direct to John or Aylwen. Our first term English Country Dancing course has been a lot of fun, so do consider joining some of those continuing participants for this course. 'Vintage Ballroom' on Sunday afternoons, 2:00 to 4:00pm, starting 26 May and running for 6 weeks till 30 June - a rare opportunity to learn more about the couples dances (waltz, mazurka, polka, schottische) that scandalised 19th century Europe. The cost is just $60 to Lyn Lyons of the Brain Gym Woden on 62974955 or braingymwoden-AT- ozemail.com.au or $45 if coming directly to us. PS. Participants will be able to put their new knowledge to use at a 'Waltzes, Polkas and Mazurka' night Earthly Delights is presenting for the Monaro Folk Music Society on 15 June at St John's Church Hall, Reid. There are 2 public dances with the band Earthly Delights. We will be providing free tea, coffee and refreshments at both events, and ask all who come to be kind enough to bring a plate for a free supper table. An English Country Dance Night from 8pm on Saturday April 20th at St John's Church Hall - enjoying lots of flowing dances in this wonderful tradition - from 17th century Playford classics, through Jane Austen period pieces, to more contemporary treats. Guest costumed renaissance dance displayers. Tickets will be just $12 at the door. Part of ACT Heritage Week. (We are also celebrating Aylwen's 30th Birthday at this dance, for which she has selected some of her favourite Jane Austen period dances. Come and see the gorgeous shirt she gave John to wear!) A big public Masquerade Ball from 7:30 on May 12 at the glorious Albert Hall. Building on the strongest points of previous balls we will be mixing simple set dances and free couples dances with dances with a game like dimension - from Renaissance to Victorian period and beyond and feature, for the first time at the Albert Hall, John's own big Chess Dance (Earthly Delights was amazed to get this to work for a big public crowd at Floriade two years ago... so think how wonderful we can make it look in the Albert Hall). Various guests- including French music band 'Wayward' from Sydney, and possibly also 'Lotsi and friends' with some fiery Hungarian music. Tickets will be $25 either at the door or by contacting us directly (no extra charge for using credit card or having tickets posted as we are going to do the ticketing ourselves). Children under 5 free, 5-12 $5. Good-value masks for use on May 12 will be available in limited numbers for purchase either at the door or at the 20 April dance. Part of Australian Dance Week. A combined ticket for both the April 20 and May 12 will be just $30! By buying this ticket before April 20 you will not only save $7 but also help us immensely with meeting all our (not inconsiderable) pre-ball costs. Immediately after Easter we are looking forward to hosting at our home dance studio some Sunday afternoon tea dance get-togethers 2pm - 4:30pm. We'll have get-togethers on Sunday 7 & 14 April leading up to the 20 April dance and then on 28 April & 5 May leading up to the May 12 dance. For people coming to the dances, the cost is nothing more than a contribution towards afternoon tea (an amazingly successful feature of these afternoons!). For people not coming to the dances, the cost for an afternoon is $10. INTERSTATE GUESTS are always especially welcome at Earthly Delights' dance evenings and balls. If you need a place to stay in Canberra just let us know and we can arrange a billet for you. For a start there's often room at our place. Please let us know early - and if there are a few people coming from interstate, we may even add a social get-together/ dance-preview for you on the afternoon before the dance - to make for an even more rewarding weekend. Please do plan on joining us Warmest regards for now, Aylwen Garden Earthly Delights - Music and Dance 87 Schlich Street Yarralumla ACT 2600 AUSTRALIA Ph +61 +2 +62811098 http://www.earthlydelights.com.au ================================================================================ Archive-Date: Thu, 04 Apr 2002 00:36:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 04 Apr 2002 09:37:58 +0100 From: Trevor Monson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <001a01c1dbb4$26553880$f54779d5-AT- trevormo> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <3CAB8468.85F915A6-AT- sprintmail.com> Albert, For right corners do you mean the people on the right end of each couple are involved or the people at the end of the right diagonal, and is this when they are facing across the set? If you are facing up/down the set are right corners then left corners, as they are at the other end of the line, or the diagonal has changed - even though these are still the same positions in the room? Trev ----- Original Message ----- From: Albert Blank and Nancy DeVore To: Sent: Wednesday, April 03, 2002 11:38 PM Subject: Re: people vs places > My version is "right corners", "left corners". I think that's helpful for the > inumerate. > Albert > > Campbell_Kaynor-AT- biogen.com wrote: > > > Victoria, > > Without offering an opinion on that specific dance, I'll pass along an > > item of terminology that has served me well. Besides defining the 1st and > > 2nd corners to the dancers, I also introduce the terms "1st diagonal" and > > "2nd diagonal" as referring to the direction/track and not the individual > > people who dance that track. It seems to minimize confusion at times that > > the use of the term "corners" seems ambiguous. > > Cammy > > -- > Albert Blank & Nancy DeVore > 102 Loring Avenue > Pelham, NY 10803-2014 > > tel. 914 738-7678 > email: fandango-AT- sprintmail.com > _________________________________________________________ Do You Yahoo!? Get your free -AT- yahoo.com address at http://mail.yahoo.com ================================================================================ Archive-Date: Thu, 04 Apr 2002 17:03:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 04 Apr 2002 20:04:03 -0500 From: Albert Blank and Nancy DeVore Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3CACF803.CFB1194D-AT- sprintmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <3CAB8468.85F915A6-AT- sprintmail.com> <001a01c1dbb4$26553880$f54779d5-AT- trevormo> Trevor, I mean the corners diagonally to the right (only relative positions, regardless of sex, number, or previous condion of servitude) That would be explained on the occasion when calling. I'm assuming duple minor proper, all facing into the set. The terminology could be used for any two-facing-two configuration, regardless of orientation (political or other), if the dance calls for corner crossings within the foursome, I just haven't used it that general way. Albert Trevor Monson wrote: > Albert, > > For right corners do you mean the people on the right end of each couple > are involved or the people at the end of the right diagonal, and is this > when they are facing across the set? If you are facing up/down the set > are right corners then left corners, as they are at the other end of the > line, or the diagonal has changed - even though these are still the same > positions in the room? > > Trev > > ----- Original Message ----- > From: Albert Blank and Nancy DeVore > To: > Sent: Wednesday, April 03, 2002 11:38 PM > Subject: Re: people vs places > > > My version is "right corners", "left corners". I think that's helpful > for the > > inumerate. > > Albert > > > > Campbell_Kaynor-AT- biogen.com wrote: > > > > > Victoria, > > > Without offering an opinion on that specific dance, I'll pass along > an > > > item of terminology that has served me well. Besides defining the > 1st and > > > 2nd corners to the dancers, I also introduce the terms "1st > diagonal" and > > > "2nd diagonal" as referring to the direction/track and not the > individual > > > people who dance that track. It seems to minimize confusion at times > that > > > the use of the term "corners" seems ambiguous. > > > Cammy ================================================================================ Archive-Date: Fri, 05 Apr 2002 10:20:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 05 Apr 2002 13:12:46 -0500 From: sol weber Reply-To: ECD-AT- playford.slac.stanford.edu Subject: More musical terminology To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20020405.131721.-123549.6.solweber-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Re Musical Terminology, rounds composer Gil DeBenedetti said to me.... You may want to tell Allison that adagio "fromaggio" should be spelled "formaggio". While in French the word is spelled "fromage", in Italian the r and the o are reversed. And to add to the list..... Glossary of musical terms ACCIDENTALS: Wrong notes AGNUS DEI: A famous female church composer. ALLEGRO: Leg fertilizer. ATONALITY: Disease that many modern composers suffer from. The most prominent symptom is the patient's lacking ability to make decisions. AUGMENTED FIFTH: A 36-ounce bottle BROKEN CONSORT: When somebody in the ensemble has to leave and go to the restroom. CADENCE: When everybody hopes you're going to stop, but you don't. CADENZA: The heroine in Monteverdi's opera "Frottola". CANTUS FIRMUS: The part you get when you can only play four notes. CHANSONS DE GESTE: Dirty songs. CLAUSULA: Mrs. Santa. CONDUCTUS: The process of getting Vire into the cloister. CROTCHET: (1) A tritone with a bent prong, (2) it's like knitting, but it's faster, (3) An unpleasant illness that occurs after the Lai, if prolation is not used. CUT TIME: When you're going twice as fast as everybody else in the ensemble DA CAPO AL FINE: I like your hat! DI LASSO: Popular with Italian cowboys. DRONE: The sound of a single monk during an attack of Crotchet. DUCTIA: (1) A lot of mallards, (2) Vire's organum. EMBOUCHURE: The way you look when you've been playing the Krummhorn. ENGLISH HORN: A woodwind that got its name because it's neither English nor a horn. Not to be confused with French horn, which is German. ESTAMPIE: What they put on letters in Quebec FERMENTED FIFTH: What the percussion players keep behind the tympani, which resolves to a 'distilled fifth', which is what the conductor uses backstage. FINE: That was great! GARGLEFINKLEIN: A tiny recorder played by neums. GREGORIAN CHANT: A way of singing in unison, invented by monks to hide snoring. HOCKET: The thing that fits into a crochet to produce a rackett. HURDY-GURDY: A truss for medieval percussionists who get Organistrum. INTERVAL: How long it takes you to find the right note. There are three kinds: (a) Major Interval: a long time; (b) Minor Interval: a few bars; (c) Inverted Interval: when you have to back one bar and try again. INTONATION: Singing through one's nose. Considered highly desirable in the Middle Ages. ISORHYTHM: The individual process of relief when Vire is out of town. ISORHYTHMIC MOTET: When half of the ensemble got a different photocopy than the other half. LAI: What monks give up when they take their vows. LASSO: The 6th and 5th steps of a descending scale. LAUDA: The difference between shawms and krummhorns LONGA: The time between visits with Vire. MESSIAH: An oratorio by Handel performed every Christmas by choirs that believe they are good enough, in cooperation with musicians who need the money. METRONOME: A dwarf who lives in the city. MINIM: The time you spend with Vire when there is a long line. BREVE: The time you spend when the line is short. MINNESINGER: A boy soprano or Mickey's girlfriend in the opera. MOTET: Where you meet Vire if the cloister is guarded. MUSICA FICTA: When you lose your place and have to bluff till you find it again. (Also known as 'faking'.) NEUMS: Renaissance midgets NEUMATIC MELISMA: A bronchial disorder caused by hockets. OPUS: A penguin in Kansas. ORCHESTRAL SUITES: Naughty women who follow touring orchestras. ORDO: The hero in Tolkien's "Lord of the Rings". ORGANISTRUM: A job-related hazard for careless medieval percussionists, caused by getting one's tapper caught in the clapper. ORGANUM: You may not participate in the Lai without one. PARALELL ORGANUM: Everybody standing in a double line, waiting for Vire. PAUSE: A short period in an individual voice in which there should be relative quiet. Useful when turning to the next page in the score, breathing, emptying the horn of saliva, coughing, etc. Is rarely heard in baroque music. Today, the minimum requirements for pauses in individual pieces are those of the Musicians' Union (usually one per bar, or 15 minutes per hour). PERFORMANCE PRACTISE: Sex education. PROLATION: Precautions taken before the Lai. QUAVER: Beginning viol class. RACKETT: Capped reeds class. RECITATIVE: A disease that Monteverdi had. RHYTHMIC DRONE: The sound of many monks suffering with Crotchet. RITORNELLO: An opera by Verdi. ROTA: An early Italian method of teaching music without score or parts. RUBATO: Expression used to describe irregular behaviour in a performer with sensations of angst in the mating period. Especially common amongst tenors. SANCTA: Clausula's husband. SCORE: A pile of all the individual orchestral voices, transposed to C so that nobody else can understand anything. This is what conductors follow when they conduct, and it's assumed that they have studied it carefully. Very few conductors can read a score. SINE PROPRIETATE: Cussing in church. SOLESME: The state of mind after a rough case of Crotchet. STOPS: Something Bach did not have on his organ. SUPERTONIC: Schweppes. TEMPUS IMPERFECTUM: Vire had to leave early. TEMPUS PERFECTUM: A good time was had by all. TRANSPOSITION: An advanced recorder technique where you change from alto to soprano fingering (or vice-versa) in the middle of a piece. TROPE: A malevolent Neum. TROTTO: An early Italian form of Montezuma's Revenge. TUTTI: A lot of sackbuts. VIRELAI: A local woman known for her expertise in the Lai. *************** 90 composers (I think) Subject: A Composer Makes Himself Perfectly Gliere You can Telemann by where he likes to live. I just Toch a trip Orff into one of the Wilder areas Faure Wieck, and to be Verdi Franck, it nearly drove Menotti. I know opinion Varese, but even Vivaldi urban noises, the Bizet traffic, De Falla engines, as well as knowing there are Mennin the streets Callas enoughto knock your Bloch off, I couldn't resist the urge to Galuppi home early Satie, and I Haieff to say I Still prefer the Mitropoulos. The Boyce were Sor that I had Gibbons up and succumbed to the Riegger of the Field so easily, but I don't give a Schuetz. I was practically Krein from my Severacs and Pains brought on by that brief time in the countryside! Even the sounds got my Dandrieu up; let me Liszt some of them: the Rorem of the wind, a constant Birtwhistle, the Menuhin of the Katz, the Lipatti-Patti-Glinka-Poulenc of the Reiner on the roof, theGluck-Gluck of the hens, and every morning a woodpecker or some Byrd Chopin holes in a Tree. My only company was a Thorne Busch, a Partch of poison Ives, a Braun Babbit, and sometimes a Wolf, nothing Moore. For a Forrest Grainger it may be Fine - it may be the Katz Milhaud -- but I could have died of Borodin. A friend suggested my making this Tureck; "Abegg" his pardon, but I will never go Bach to those Gotterdaemmerung Hillis. They Suk! No, I don't care for the Ruggles life. I like a good Mehul - a little Suppe, some Szigeti, maybe some Salome at my local Taverner with a little lime Schubert after (even if they don't always clear the Crumbs off the table). And I like to Locatelli while I'm Eaton Maderna at night. Is that asking for Egk in Meyerbeer? Nono! So many people Berio themselves under a Holst of problems they know they can't Handel. Their answer is too Offenbach to nature - into Haydn, it seems to me. I Karajan a d'Indy life in the Berg for the most Paert. Maybe it isn't Perle Bliss for everybody, but it's Godunov for me! *************** Top Ten Reasons for Being a Soprano 10) The rest of the choir exists just to make you look good. 9) You can entertain your friends by breaking their wine glasses. 8) Can you name an opera where an alto got the man? 7) When sopranos want to sing in the shower, they know the tune. 6) It's not like you are ever going to sing the alto part by accident. 5) Great costumes -- like the hat with the horns on it. 4) How many world famous altos can you name? 3) When the fat lady sings, she's usually singing soprano. 2) When you get tired of singing the tune, you can sing the descant. 1) You can sing along with Michael Jackson. Top Ten Reasons for Being a Bass 10) You don't have to tighten your shorts to reach your note. 9) You don't have to worry about a woman stealing your job. 8) Or a pre adolescent boy. 7) Action heroes are always basses. That is -- if they ever sang, they would sing bass. 6) You get great memorable lyrics like bop, bop, bop, bop. 5) If the singing job doesn't work out, there's always broadcasting. 4) You never need to learn to read the treble clef. 3) If you get a cold, so what. 2) For fun, you can sing at the bottom of your range and fool people into thinking there's an earthquake. 1) If you belch while you're singing, the audience just thinks it's part of the score. Top Ten Reasons for Being a Tenor 10) Tenors get high -- without drugs. 9) Name a musical where the bass got the girl. (South Pacific? ...Sol) 8) You can show the sopranos how it SHOULD be sung. 7) Did you ever hear of anyone paying $1000 for a ticket to see The Three Basses? 6) Who needs brains when you've got resonance? 5) Tenors never have to waste time looking through the self-improvement section of the bookstore. 4) You get to sing along with John Denver singing High Calypso. 3) When you get really good at falsetto, you can make tons of money doing voice-overs for cartoon characters 2) Gregorian chant was practically invented for tenors. Nobody invented a genre for basses. 1) You can entertain your friends by impersonating Julia Child. Top Ten Reasons for Being an Alto 10) You get really good at singing E flat. 9) You get to sing the same note for 12 consecutive measures. 8) You don't really need to warm up to sing 12 consecutive bars of E flat. 7) If the choir really sucks, it's unlikely the altos will be blamed. 6) You have lots of time to chat during soprano solos. 5) You get to pretend that you are better than the sopranos, because everybody knows that women only sing soprano so they don't have to learn to read music. 4) You can sometimes find part time work singing tenor. 3) Altos get all the great intervals. 2) When the sopranos are holding some outrageously high note at the end of an anthem, the altos always get the last words. 1) When the altos miss a note, nobody gets hurt. *************** From Feb 2000 +++++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 ; web -- roundz.tripod.com Urgent message? Please phone. ================================================================================ Archive-Date: Fri, 05 Apr 2002 14:00:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 05 Apr 2002 17:00:36 -0500 (EST) From: CPOLDEN-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Playford Dance next Saturday in UK To: ecd-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <148.c645205.29df7884-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT Just a notice to say that tickets are still available for the following Playford Dance Saturday 13th April Caller Frances Richardson With Dave Brown and Contradition Laverton, Westbury, Wiltshire UK 8pm Tickets £5.00 Please email me for further information Many thanks cpolden-AT- aol.com ================================================================================ Archive-Date: Fri, 05 Apr 2002 18:12:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 05 Apr 2002 20:35:39 -0500 From: Allison M Thompson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: More musical terminology To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20020405.210526.-2005637.5.AllisonThompson-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Oh, Sol, Sol, the master exceeds the pupil (even though all I did was hit the copy and send button). I bow my head Little Grasshopper Allison On Fri, 05 Apr 2002 13:12:46 -0500 sol weber writes: > > Re Musical Terminology, rounds composer Gil DeBenedetti > said to me.... > > You may want to tell Allison that adagio "fromaggio" should be > spelled "formaggio". While in French the word is spelled "fromage", > > in Italian the r and the o are reversed. > > > And to add to the list..... > > > > Glossary of musical terms > > > ACCIDENTALS: Wrong notes > > AGNUS DEI: A famous female church composer. > > ALLEGRO: Leg fertilizer. > > ATONALITY: Disease that many modern composers suffer > from. The most prominent symptom is the patient's lacking > ability to make decisions. > > AUGMENTED FIFTH: A 36-ounce bottle > > BROKEN CONSORT: When somebody in the ensemble has to > leave and go to the restroom. > > CADENCE: When everybody hopes you're going to stop, but you > don't. > > CADENZA: The heroine in Monteverdi's opera "Frottola". > > CANTUS FIRMUS: The part you get when you can only play four > notes. > > CHANSONS DE GESTE: Dirty songs. > > CLAUSULA: Mrs. Santa. > > CONDUCTUS: The process of getting Vire into the cloister. > > CROTCHET: > (1) A tritone with a bent prong, > (2) it's like knitting, but it's faster, > (3) An unpleasant illness that occurs after the Lai, > if prolation is not used. > > CUT TIME: When you're going twice as fast as everybody else > in > the ensemble > > DA CAPO AL FINE: I like your hat! > > DI LASSO: Popular with Italian cowboys. > > DRONE: The sound of a single monk during an attack of > Crotchet. > > DUCTIA: (1) A lot of mallards, (2) Vire's organum. > > EMBOUCHURE: The way you look when you've been playing the > Krummhorn. > > ENGLISH HORN: A woodwind that got its name because it's neither > English nor a horn. Not to be confused with French horn, which is > German. > > ESTAMPIE: What they put on letters in Quebec > > FERMENTED FIFTH: > What the percussion players keep behind the tympani, which > resolves to a 'distilled fifth', which is what the conductor > uses > backstage. > > FINE: That was great! > > GARGLEFINKLEIN: A tiny recorder played by neums. > > GREGORIAN CHANT: A way of singing in unison, invented by > monks to > hide snoring. > > HOCKET: The thing that fits into a crochet to produce a > rackett. > > HURDY-GURDY: A truss for medieval percussionists who get > Organistrum. > > INTERVAL: How long it takes you to find the right note. There > are > three kinds: > (a) Major Interval: a long time; > (b) Minor Interval: a few bars; > (c) Inverted Interval: when you have to back one bar and try > again. > > INTONATION: Singing through one's nose. Considered highly > desirable in the Middle Ages. > > ISORHYTHM: The individual process of relief when Vire is out of > town. > > ISORHYTHMIC MOTET: When half of the ensemble got a different > photocopy than the other half. > > LAI: What monks give up when they take their vows. > > LASSO: The 6th and 5th steps of a descending scale. > > LAUDA: The difference between shawms and krummhorns > > LONGA: The time between visits with Vire. > > MESSIAH: An oratorio by Handel performed every Christmas by > choirs that believe they are good enough, in cooperation with > musicians who need the money. > > METRONOME: A dwarf who lives in the city. > > MINIM: The time you spend with Vire when there is a long line. > > BREVE: The time you spend when the line is short. > > MINNESINGER: A boy soprano or Mickey's girlfriend in the opera. > > MOTET: Where you meet Vire if the cloister is guarded. > > MUSICA FICTA: When you lose your place and have to bluff till you > find > it again. (Also known as 'faking'.) > > NEUMS: Renaissance midgets > > NEUMATIC MELISMA: A bronchial disorder caused by hockets. > > OPUS: A penguin in Kansas. > > ORCHESTRAL SUITES: Naughty women who follow touring orchestras. > > ORDO: The hero in Tolkien's "Lord of the Rings". > > ORGANISTRUM: A job-related hazard for careless medieval > percussionists, > caused by getting one's tapper caught in the clapper. > > ORGANUM: You may not participate in the Lai without one. > > PARALELL ORGANUM: Everybody standing in a double line, > waiting for Vire. > > PAUSE: A short period in an individual voice in which there > should be > relative quiet. Useful when turning to the next page in the > score, > breathing, emptying the horn of saliva, coughing, etc. Is > rarely > heard > in baroque music. Today, the minimum requirements for pauses in > individual pieces are those of the Musicians' Union (usually one > per > bar, or 15 minutes per hour). > > PERFORMANCE PRACTISE: Sex education. > > PROLATION: Precautions taken before the Lai. > > QUAVER: Beginning viol class. > > RACKETT: Capped reeds class. > > RECITATIVE: A disease that Monteverdi had. > > RHYTHMIC DRONE: The sound of many monks suffering with Crotchet. > > RITORNELLO: An opera by Verdi. > > ROTA: An early Italian method of teaching music without score > or > parts. > > RUBATO: > Expression used to describe irregular behaviour in a performer > with sensations of angst in the mating period. Especially > common > amongst tenors. > > SANCTA: Clausula's husband. > > SCORE: > A pile of all the individual orchestral voices, transposed to > C > so that nobody else can understand anything. This is what > conductors follow when they conduct, and it's assumed that > they > have studied it carefully. Very few conductors can read a > score. > > SINE PROPRIETATE: Cussing in church. > > SOLESME: The state of mind after a rough case of Crotchet. > > STOPS: Something Bach did not have on his organ. > > SUPERTONIC: Schweppes. > > TEMPUS IMPERFECTUM: Vire had to leave early. > > TEMPUS PERFECTUM: A good time was had by all. > > TRANSPOSITION: An advanced recorder technique where you change > from alto to soprano fingering (or vice-versa) in the middle of a > piece. > > TROPE: A malevolent Neum. > > TROTTO: An early Italian form of Montezuma's Revenge. > > TUTTI: A lot of sackbuts. > > VIRELAI: A local woman known for her expertise in the Lai. > > *************** > > 90 composers (I think) > > Subject: A Composer Makes Himself Perfectly Gliere > > You can Telemann by where he likes to live. I just Toch a trip > Orff into one of the Wilder areas Faure Wieck, and to be > Verdi Franck, it nearly drove Menotti. > > I know opinion Varese, but even Vivaldi urban noises, > the Bizet traffic, De Falla engines, as well as knowing > there are Mennin the streets Callas enoughto knock your > Bloch off, I couldn't resist the urge to Galuppi home > early Satie, and I Haieff to say I Still prefer the Mitropoulos. > > The Boyce were Sor that I had Gibbons up and succumbed > to the Riegger of the Field so easily, but I don't give a Schuetz. > > I was practically Krein from my Severacs and Pains brought on > by that brief time in the countryside! Even the sounds > got my Dandrieu up; let me Liszt some of them: > the Rorem of the wind, a constant Birtwhistle, > the Menuhin of the Katz, the Lipatti-Patti-Glinka-Poulenc > of the Reiner on the roof, theGluck-Gluck of the hens, > and every morning a woodpecker or some Byrd Chopin > holes in a Tree. My only company was a Thorne Busch, > a Partch of poison Ives, a Braun Babbit, and sometimes > a Wolf, nothing Moore. For a Forrest Grainger it may be Fine - > it may be the Katz Milhaud -- but I could have died of > Borodin. A friend suggested my making this Tureck; > "Abegg" his pardon, but I will never go Bach to those > Gotterdaemmerung Hillis. They Suk! > > No, I don't care for the Ruggles life. I like a good Mehul - a > little > Suppe, some Szigeti, maybe some Salome at my local > Taverner with a little lime Schubert after (even if they don't > always clear the Crumbs off the table). And I like to > Locatelli while I'm Eaton Maderna at night. Is that > asking for Egk in Meyerbeer? > > Nono! So many people Berio themselves under a Holst of > problems they know they can't Handel. Their answer > is too Offenbach to nature - into Haydn, it seems to me. > I Karajan a d'Indy life in the Berg for the most Paert. > Maybe it isn't Perle Bliss for everybody, but it's > > Godunov for me! > > *************** > > Top Ten Reasons for Being a Soprano > > 10) The rest of the choir exists just to make you look good. > > 9) You can entertain your friends by breaking their wine glasses. > > 8) Can you name an opera where an alto got the man? > > 7) When sopranos want to sing in the shower, they know the tune. > > 6) It's not like you are ever going to sing the alto part by > accident. > > 5) Great costumes -- like the hat with the horns on it. > > 4) How many world famous altos can you name? > > 3) When the fat lady sings, she's usually singing soprano. > > 2) When you get tired of singing the tune, you can sing the descant. > > 1) You can sing along with Michael Jackson. > > > Top Ten Reasons for Being a Bass > > 10) You don't have to tighten your shorts to reach your note. > > 9) You don't have to worry about a woman stealing your job. > > 8) Or a pre adolescent boy. > > 7) Action heroes are always basses. That is -- if they ever sang, > they would sing bass. > > 6) You get great memorable lyrics like bop, bop, bop, bop. > > 5) If the singing job doesn't work out, there's always broadcasting. > > 4) You never need to learn to read the treble clef. > > 3) If you get a cold, so what. > > 2) For fun, you can sing at the bottom of your range and fool people > into > thinking there's an earthquake. > > 1) If you belch while you're singing, the audience just thinks it's > part > of > the score. > > > Top Ten Reasons for Being a Tenor > > 10) Tenors get high -- without drugs. > > 9) Name a musical where the bass got the girl. > (South Pacific? ...Sol) > > 8) You can show the sopranos how it SHOULD be sung. > > 7) Did you ever hear of anyone paying $1000 for a ticket to see > The Three Basses? > > 6) Who needs brains when you've got resonance? > > 5) Tenors never have to waste time looking through the > self-improvement section of the bookstore. > > 4) You get to sing along with John Denver singing High Calypso. > > 3) When you get really good at falsetto, you can make tons of money > doing voice-overs for cartoon characters > > 2) Gregorian chant was practically invented for tenors. Nobody > invented a genre for basses. > > 1) You can entertain your friends by impersonating Julia Child. > > > Top Ten Reasons for Being an Alto > > 10) You get really good at singing E flat. > > 9) You get to sing the same note for 12 consecutive measures. > > 8) You don't really need to warm up to sing 12 consecutive bars > of E flat. > > 7) If the choir really sucks, it's unlikely the altos will be > blamed. > > 6) You have lots of time to chat during soprano solos. > > 5) You get to pretend that you are better than the sopranos, because > everybody knows that women only sing soprano so they don't have > to learn to read music. > > 4) You can sometimes find part time work singing tenor. > > 3) Altos get all the great intervals. > > 2) When the sopranos are holding some outrageously high note at > the end of an anthem, the altos always get the last words. > > 1) When the altos miss a note, nobody gets hurt. > > *************** > > From Feb 2000 > > > > > > +++++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 ; web -- roundz.tripod.com > Urgent message? Please phone. > ________________________________________________________________ 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/web/. ================================================================================ Archive-Date: Fri, 05 Apr 2002 19:58:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 05 Apr 2002 22:56:45 -0500 From: "Hanny D. Budnick" <74031.77-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Hanny's Gigs To: Blind.Copy.Receiver-AT- compuserve.com Message-ID: <200204052258_MC3-F8D1-29DC-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hi all, just so you can get your German and near-to-Germany dance friends alert to some interesting dance events: this is what I'll be leading - using that wonderful language called Kauderwelsch (calls in English mostly, explanations in German), participants German 4.13. Saturday "Old contras from New England" in Ludwigsburg-Hoheneck, Baden-Wuerttemberg info efritz_publish-AT- t-online.de 4.16. Tuesday, evening only in Aachen info Carol GerBear78-AT- aol.com 4.22. Monday, evening only in Uetersen, Schleswig-Holstein info Bernhard.Stief-AT- beiersdorf.com 4.27. Saturday "Playford Dances" in Berlin, day and evening info Jeannette.Klein-AT- gmx.de 4.28. Saturday "Old contras from New England" in Berlin, day and evening info hans-AT- krackau-web.de The Playford weekend I led in connection with a weekend of old music was great fun. Here are a few pictures: www.burg-fuersteneck.de/nachlese/altemusik02 _-AT- _ {)/' /\ /\_._,<_/ ' \ /_\ /> /< Hanny ================================================================================ Archive-Date: Sat, 06 Apr 2002 04:41:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 06 Apr 2002 07:38:03 -0500 From: "Hanny D. Budnick" <74031.77-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: More musical terminology To: Blind.Copy.Receiver-AT- compuserve.com Message-ID: <200204060740_MC3-F8D9-967B-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Well, Allison, I'm surprised you didn't say "O Sol e meeeeeeeow" _-AT- _ {)/' /\ /\_._,<_/ ' \ /_\ /> /< ================================================================================ Archive-Date: Sat, 06 Apr 2002 08:45:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 06 Apr 2002 11:45:02 -0500 (EST) From: Tideswell-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: More musical terminology To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <113.f7b241c.29e0800e-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Sol said (amongst many, many other choice things) >AUGMENTED FIFTH: A 36-ounce bottle So a diminished fifth would be one you couldn't help opening on the way home? And (look, we're almost back on topic!) an Ampleforth would be slightly more than that? thanks, Sol Nilos ================================================================================ Archive-Date: Sat, 06 Apr 2002 10:11:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 06 Apr 2002 10:11:07 -0800 (PST) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: More musical terminology To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020406181107.61342.qmail-AT- web20003.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Tideswell-AT- aol.com wrote: > Sol said (amongst many, many other choice things) > >AUGMENTED FIFTH: A 36-ounce bottle > > So a diminished fifth would be one you couldn't help opening > on the way home? > And (look, we're almost back on topic!) an Ampleforth would > be slightly more > than that? Would a half pint be a small Neum? Andy Portland OR __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Sat, 06 Apr 2002 10:42:57 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 06 Apr 2002 13:46:26 -0500 From: Ellen Tepper Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: More musical terminology To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20020406.134626.-366141.3.etepper-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT On Sat, 06 Apr 2002 10:11:07 -0800 (PST) Andrew Peterson writes: > > --- Tideswell-AT- aol.com wrote: > > Sol said (amongst many, many other choice things) > > >AUGMENTED FIFTH: A 36-ounce bottle > > > > So a diminished fifth would be one you couldn't help opening > > on the way home? > > And (look, we're almost back on topic!) an Ampleforth would > > be slightly more > > than that? > > Would a half pint be a small Neum? > Andy > Portland OR And what about the Seagram's 7th chord??? The progression I learned was: Seagram's 7th, to Canadian Club 5th, to V.O.....to tonic! Ellen Glenside, PA > __________________________________________________ > Do You Yahoo!? > Yahoo! Tax Center - online filing with TurboTax > http://taxes.yahoo.com/ ================================================================================ Archive-Date: Mon, 08 Apr 2002 12:07:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Apr 2002 15:08:04 -0400 From: Loretta Holz Reply-To: ECD-AT- playford.slac.stanford.edu Subject: How are dances chosen for your ball? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <029a01c1df30$b66aee90$c902010a-AT- lorettapc> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_PNKxjRThzsKbnI7PHn1zJA)" This is a multi-part message in MIME format. --Boundary_(ID_PNKxjRThzsKbnI7PHn1zJA) Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Here's a question I'd like to ask of anyone who helps run a ball--how are the dances on the program selected? by the Master/Mistress of ceremonies? the committee running it? the chairperson of the event? others? What prompted my question today was the enjoyable selection (by Mary Jones) at the Binghamton (NY) Ball we just attended this weekend. The ball was well called from the stage by Mary, Pamela and Gary. The music was terrific -- by the Flying Romanos at the ball and for the afternoon review session by the local musicians--Roodiments of ECD. The whole event was so beautifully and professionally run by Lindsay Morgan and her staff of dancers and musicians! I'm still glowing and can't wait until next year. Loretta --Boundary_(ID_PNKxjRThzsKbnI7PHn1zJA) Content-type: text/html; charset=iso-8859-1 Content-transfer-encoding: 7BIT

Here's a question I'd like to ask of anyone who helps run a ball--how are the dances on the program selected? by the Master/Mistress of ceremonies? the committee running it? the chairperson of the event? others?

What prompted my question today was the enjoyable selection (by Mary Jones) at the Binghamton (NY) Ball we just attended this weekend. The ball was well called from the stage by Mary, Pamela and Gary. The music was terrific -- by the Flying Romanos at the ball and for the afternoon review session by the local musicians--Roodiments of ECD. The whole event was so beautifully and professionally run by Lindsay Morgan and her staff of dancers and musicians! I'm still glowing and can't wait until next year.

Loretta

--Boundary_(ID_PNKxjRThzsKbnI7PHn1zJA)-- ================================================================================ Archive-Date: Mon, 08 Apr 2002 12:44:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Apr 2002 14:47:19 -0500 From: Paul Stamler Subject: Re: How are dances chosen for your ball? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <002601c1df36$3218d200$12394b0c-AT- paulstam> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <029a01c1df30$b66aee90$c902010a-AT- lorettapc> ----- Original Message ----- From: Loretta Holz <> Ours are chosen by our main caller, Peter Wollenberg, in conjunction with the board and in consultation with the musicians. If there will be other callers that night, they have a hand in it as well. Peace, Paul ================================================================================ Archive-Date: Mon, 08 Apr 2002 12:58:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Apr 2002 12:58:46 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: More musical terminology To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020408195846.85356.qmail-AT- web20004.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Ellen Tepper wrote: > On Sat, 06 Apr 2002 10:11:07 -0800 (PST) Andrew Peterson > writes: > > > > --- Tideswell-AT- aol.com wrote: > > > Sol said (amongst many, many other choice things) > > > >AUGMENTED FIFTH: A 36-ounce bottle > > > > > > So a diminished fifth would be one you couldn't help > opening > > > on the way home? > > > And (look, we're almost back on topic!) an Ampleforth > would > > > be slightly more > > > than that? > > > > Would a half pint be a small Neum? > > > Andy > > Portland OR > > And what about the Seagram's 7th chord??? > The progression I learned was: > > Seagram's 7th, to Canadian Club 5th, to V.O.....to tonic! > > Ellen > Glenside, PA I've been hearing a lot of Teutonic chords coming from my neighbor's house. He's an opera singer and has been studying Wagner. Andy __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Mon, 08 Apr 2002 13:47:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Apr 2002 16:45:42 -0400 From: "Hanny D. Budnick" <74031.77-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Who knows Ron Coxall? To: Blind.Copy.Receiver-AT- compuserve.com Message-ID: <200204081647_MC3-F911-E0CD-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT I would like to contact Ron Coxall, who is, I believe, an ECD leader somewhere around Bury St. Edmunds. Off list replies are welcome. _-AT- _ {)/' /\ /\_._,<_/ ' \ /_\ /> /< Hanny ================================================================================ Archive-Date: Mon, 08 Apr 2002 14:03:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Apr 2002 17:01:21 -0400 From: "Hanny D. Budnick" <74031.77-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: How are dances chosen for your ball? To: Blind.Copy.Receiver-AT- compuserve.com Message-ID: <200204081703_MC3-F915-3823-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Having organized the granddaddy of the US Playford Balls, I based the program on those dances with which our regular Germantown Country Dancers were thoroughly familiar and could dance with enjoyment right off. We had danced the material more or less regularly for five years, so there was no cramming afternoon, no 'ball workshop' - and the booklet was mainly produced as a remembrance and as an aid for the out-of-town dancers. No pre-event anxieties, no need for reading the crib sheet during the event - just a glorious whole evening "for those who know", AND THEY DID! I don't think that nowadays we could get away with planning a festive event that way! There is so much more material to choose from! We have turned into willing dance gypsies, so 'local knowledge and/or preference' is not a deciding factor. Whoever arrives at the final program makes a great effort to please all comers, and - in retrospect -has done so successfully! I think we very much want to have a wonderful experience at a ball and appreciate everyone's contribution toward making it that way, and the choice of dances is not even the primary reason. Just make sure that if you are responsible for the dance program and you decide to include Newcastle, be prepared to do it TWICE! _-AT- _ {)/' /\ /\_._,<_/ ' \ /_\ /> /< Hanny ================================================================================ Archive-Date: Mon, 08 Apr 2002 14:23:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Apr 2002 16:23:54 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: How are dances chosen for your ball? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200204082123.g38LNsq21423-AT- staff2.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Loretta Holz writes: > > Here's a question I'd like to ask of anyone who helps run a ball--how are > the dances on the program selected? by the Master/Mistress of ceremonies? > the committee running it? the chairperson of the event? others? Here how the dances are chosen for the Central Illinois English Country Dancers' balls. The three regular callers (myself, Jane Hobgood and Susan Burt), and occasional guest callers, submit a list of dances we would each like to do at the ball. Then I, with input from the other callers, put together a list based on the many variables; dance formation, degree of difficulty, tempo, key, etc. to produce a evening with variety. I usually start with a Grand March or some other processional dance (Gisburn Processional, etc.) and then have some warm up dances, build the level of difficulty to somewhere near the middle of the program and then finish with slightly less difficult dances, alternating fast and slow dances and set dances and longways dances. I usually try to put a waltz (Drapers Gardens, Duke of Kents Waltz, Waterfall Waltz, Wood Duck, etc.) at the end of each half of the program. 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: Mon, 08 Apr 2002 14:28:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Apr 2002 16:28:52 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: How are dances chosen for your ball? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200204082128.g38LSqD23565-AT- staff2.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hanny D. Budnick writes: > > Having organized the granddaddy of the US Playford Balls, I based the > program on those dances with which our regular Germantown Country Dancers > were thoroughly familiar and could dance with enjoyment right off. We had > danced the material more or less regularly for five years, so there was no > cramming afternoon, no 'ball workshop' - and the booklet was mainly > produced as a remembrance and as an aid for the out-of-town dancers. No > pre-event anxieties, no need for reading the crib sheet during the event - > just a glorious whole evening "for those who know", AND THEY DID! > I don't think that nowadays we could get away with planning a festive event > that way! There is so much more material to choose from! We have turned > into willing dance gypsies, so 'local knowledge and/or preference' is not a > deciding factor. Whoever arrives at the final program makes a great effort > to please all comers, and - in retrospect -has done so successfully! I > think we very much want to have a wonderful experience at a ball and > appreciate everyone's contribution toward making it that way, and the > choice of dances is not even the primary reason. Just make sure that if you > are responsible for the dance program and you decide to include Newcastle, > be prepared to do it TWICE! For our ball we generally select from the dances we have been doing at our regular dances during the previous several months. We don't have a ball workshop, but we walk-through each dance and prompt as needed. I wouldn't want to schedule a dance for the ball that we hadn't done at some point in the previous several months (unless it was very straightforward), but people visiting from out of town generally have no trouble with the dances at our balls. 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: Mon, 08 Apr 2002 15:06:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Apr 2002 15:06:43 -0700 (PDT) From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: How are dances chosen for your ball? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020408220643.78798.qmail-AT- web13608.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT At the Elm City Assembly, we have left the program entirely in the hands of the Mistress (so far only Mistresses) of Ceremony, subject to approval by the musicians. --- Loretta Holz wrote: > Here's a question I'd like to ask of anyone who helps run a > ball--how are the dances on the program selected? by the > Master/Mistress of ceremonies? the committee running it? the > chairperson of the event? others? > > What prompted my question today was the enjoyable selection (by > Mary Jones) at the Binghamton (NY) Ball we just attended this > weekend. The ball was well called from the stage by Mary, Pamela > and Gary. The music was terrific -- by the Flying Romanos at the > ball and for the afternoon review session by the local > musicians--Roodiments of ECD. The whole event was so beautifully > and professionally run by Lindsay Morgan and her staff of dancers > and musicians! I'm still glowing and can't wait until next year. > > Loretta > > ===== "There is no inverse relationship between freedom and security. Less of one does not lead to more of the other. People with no rights are not safe from terrorist attack." Molly Ivins __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Mon, 08 Apr 2002 15:21:29 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Apr 2002 22:00:43 +0100 From: Trevor Monson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Hilary Herbert, The Falconers in Sheffield(UK) To: efdss-forum-AT- yahoogroups.com, ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <000201c1df4c$3cf237a0$ae4779d5-AT- trevormo> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Just a quick advert for anyone who may be near South Yorkshire next Saturday. Hilary Herbert with The Falconers will be in Sheffield (St. Thomas More C.H., Margetson Crescent, Parson Cross, Sheffield) on Saturday 13th April. Workshops start 2.15. Dance at 7.00. Map can be seen under venues at www.fisy.freeserve.co.uk Any further information from me. Will she do any dances that take longer than 20 mins? Will she do "Waverley Ahoy!"? (I don't know - so come and see for yourself) Trevor Monson _________________________________________________________ Do You Yahoo!? Get your free -AT- yahoo.com address at http://mail.yahoo.com ================================================================================ Archive-Date: Mon, 08 Apr 2002 15:33:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Apr 2002 23:36:06 +0100 From: Trevor Monson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: How are dances chosen for your ball? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <003d01c1df4d$ccd6f580$ae4779d5-AT- trevormo> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <029a01c1df30$b66aee90$c902010a-AT- lorettapc> Only being able to answer for the dances (as opposed to balls) I have organised in the Sheffield area - we have always left the choice of dances completely up to the caller. Sometimes they will ask if we have a preference for any particular dance. The caller also discusses the dances with the band - contacting them to let them know the programme, and to sort out any problems with tunes beforehand. Trev > Here's a question I'd like to ask of anyone who helps run a ball--how are the dances on the program selected? by the Master/Mistress of ceremonies? the committee running it? the chairperson of the event? others? > _________________________________________________________ Do You Yahoo!? Get your free -AT- yahoo.com address at http://mail.yahoo.com ================================================================================ Archive-Date: Mon, 08 Apr 2002 21:08:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 08 Apr 2002 21:08:00 -0700 From: Chris Sackett & Brooke Friendly Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: How are dances chosen for your ball? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3CB26920.7684A508-AT- opendoor.com> MIME-Version: 1.0 Content-Type: text/plain; x-mac-creator=4D4F5353; x-mac-type=54455854; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <029a01c1df30$b66aee90$c902010a-AT- lorettapc> Chris and I choose the dances for our ball. We have a request sheet at our weekly class to collect suggestions for several months before we decide the program. During those months we try new dances and bring back old favorites to give dancers ideas of what they might want to suggest in addition to dances they remember. Not all the suggestions are included and we add other dances as necessary to make a good, balanced program based on figures, set formation, time signature, key, level of difficulty, how familiar it is to our group and related groups in Oregon, and date/composer. We make sure to have at least one 1st edition Playford, a variety from late 1600s to late 1700s, a few modern (Pat Shaw, Maggot Pie), a number of dances by a variety of contemporary composers, and we usually include a traditional dance (rant, hornpipe...). We have a short grand march and then usually start with some sort of easy big circle (circle mixer, two facing two, three facing three...). We make sure the first few dances are easy and the last dance is easy (and not a waltz), the rest are a mix of easy to challanging. Our spring ball was this past Saturday and based on the feedback, people had loads of fun. Brooke Friendly Ashland OR Loretta Holz wrote: > Here's a question I'd like to ask of anyone who helps run a ball--how > are the dances on the program selected? by the Master/Mistress of > ceremonies? the committee running it? the chairperson of the event? > others?What prompted my question today was the enjoyable selection (by > Mary Jones) at the Binghamton (NY) Ball we just attended this > weekend. The ball was well called from the stage by Mary, Pamela and > Gary. The music was terrific -- by the Flying Romanos at the ball and > for the afternoon review session by the local musicians--Roodiments of > ECD. The whole event was so beautifully and professionally run by > Lindsay Morgan and her staff of dancers and musicians! I'm still > glowing and can't wait until next year. Loretta ================================================================================ Archive-Date: Tue, 09 Apr 2002 04:17:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Apr 2002 12:14:13 +0100 From: Trevor Monson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <000f01c1dfb7$f366e2e0$b34279d5-AT- trevormo> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <3CAB8468.85F915A6-AT- sprintmail.com> <001a01c1dbb4$26553880$f54779d5-AT- trevormo> <3CACF803.CFB1194D-AT- sprintmail.com> Albert, So right corners are first corner positions, and left corners are second corner positions?! Trev > Trevor, > > I mean the corners diagonally to the right (only relative positions, > regardless of sex, number, or previous condion of servitude) That would be > explained on the occasion when calling. I'm assuming duple minor proper, all > facing into the set. The terminology could be used for any two-facing-two > configuration, regardless of orientation (political or other), if the dance > calls for corner crossings within the foursome, I just haven't used it that > general way. > > Albert > > Trevor Monson wrote: > > > Albert, > > > > For right corners do you mean the people on the right end of each couple > > are involved or the people at the end of the right diagonal, and is this > > when they are facing across the set? If you are facing up/down the set > > are right corners then left corners, as they are at the other end of the > > line, or the diagonal has changed - even though these are still the same > > positions in the room? > > > > Trev > > > > ----- Original Message ----- > > From: Albert Blank and Nancy DeVore > > To: > > Sent: Wednesday, April 03, 2002 11:38 PM > > Subject: Re: people vs places > > > > > My version is "right corners", "left corners". I think that's helpful > > for the > > > inumerate. > > > Albert > > > > > > Campbell_Kaynor-AT- biogen.com wrote: > > > > > > > Victoria, > > > > Without offering an opinion on that specific dance, I'll pass along > > an > > > > item of terminology that has served me well. Besides defining the > > 1st and > > > > 2nd corners to the dancers, I also introduce the terms "1st > > diagonal" and > > > > "2nd diagonal" as referring to the direction/track and not the > > individual > > > > people who dance that track. It seems to minimize confusion at times > > that > > > > the use of the term "corners" seems ambiguous. > > > > Cammy _________________________________________________________ Do You Yahoo!? Get your free -AT- yahoo.com address at http://mail.yahoo.com ================================================================================ Archive-Date: Tue, 09 Apr 2002 05:10:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Apr 2002 13:04:30 +0100 From: Trevor Monson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Unable to communicate/signoff To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: PAUL HUTCHINSON Message-ID: <004201c1dfbf$fa57f320$b64479d5-AT- trevormo> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Hi Alan, Please can you unsubscribe Paul Hutchinson from the ECD list. He has been trying to do this himself, but none of his messages appear to be getting through, hence his request for me to ask you. Thanks, Trev _________________________________________________________ Do You Yahoo!? Get your free -AT- yahoo.com address at http://mail.yahoo.com ================================================================================ Archive-Date: Tue, 09 Apr 2002 07:38:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Apr 2002 10:37:18 -0400 (EDT) From: David.Millstone-AT- valley.net (David Millstone) Subject: Re: How are dances chosen for your ball? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <13610426-AT- enfield.VALLEY.NET> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Chiming in a little late... I get the list in digest form. For the Strafford (VT) Ball, a program committee of local dancers and callers creates a list of (typically) 20-24 dances that we think appropriate. We want most dances on the Ball program to be "standard repertoire," so that folks coming from away-- who can't participate in the four weekly practice sessions-- will feel confident seeing a list of familiar dances. This also means that local dancers can build up their comfort with dances that they might meet in another locale. (And yes, we're aware that one region's standard repertoire may well be different from anothers.) We include several recent compositions as well as older dances and do the usual balance (key, time signature, tempo, formation, energy level...) that others have mentioned. We usually repeat four or five dances from the previous year. Since we use the Ball as a way of building our local ECD community. Since some of the regulars only dance English in the month leading up to the Ball, this way they can take a dance they've learned once and revisit it. We pass this list of suggestions along to the caller-- it's been Scott Higgs every year-- and ask him to make the final selection of about 18 dances and to create the order of dances. Scott looks over the list and passes along his thoughts, such comments as "need more dreamy dances" or "need more energetic dances." If necessary, we propose a few alternates. Last year, we sent Scott fewer dances, asked him to cull our list to 16 and to add two others that we didn't include that he thought would be appropriate. We also circulate the list among the musicians who will be playing, and ask if there are any on the list that they really don't enjoy playing, or, conversely, if there are tunes that they really want to play. David Millstone ================================================================================ Archive-Date: Tue, 09 Apr 2002 08:05:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Apr 2002 10:05:28 -0500 From: Campbell_Kaynor-AT- biogen.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: How are dances chosen for your ball? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Dear Loretta, I simply pick the dances I like (which are mostly from the 17th century published repertoire) with some concessions to the ones the dancers obviously enjoy. Some dances have naturally captivating tunes and choreography but with a few others I have to use more energy convincing the dancers that they are fun - even orchestrating the presentation. For example, many people fail to enjoy the mystique of Dargason (especially when they occupy less active positions in the set). What I like to do is to initiate this dance at the end of the break with slightly dimmed lighting and a single musician playing the tune. I find a few volunteers to start it off by being the middle pairs of "virtual sets" while other dancers are still chatting and gradually people decide to join on to the ends of the lines. Even the skeptics can't resist joining as the danced gains momentum and the musicians join the band to bring a fuller sound. Even if all they do is the hey at the end, they are invariably smiling as they locate partners for the next dance. Occasionally there is a theme as in this year's Party in Old Deerfield. Since the village was commemorating the massacre of 1704, I chose dances that were published from 1651-1710 (with only 2 exceptions). Our afternoon session does not overlap in repertoire with the evening (the distinction is "informal" rather than "dress-up") so people who come for both get to do around 30 different dances. I don't know whether people like these Balls because of any special technique that I use in selecting the repertoire or whether the people who come to my annual Party are the ones who enjoy my taste in dance and I'm not sure it matters. I always get a few first timers (people who were just walking by, or saw a flyer somewhere) who have never done a step of English and they invariably stick around for the duration so I feel as though I'm doing something right. I called an English dance in Binghamton in the mid '70s at an Art musem or something. It is my recollection that English was not an on-going activity there at that time, but my dance was very well received. I am glad to hear that is is an established genre these days. Cammy ================================================================================ Archive-Date: Tue, 09 Apr 2002 08:50:43 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Apr 2002 11:49:42 -0400 (EDT) From: DavBarnert-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Granddaddy? (was: How are dances chosen for your ball?) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: 74031.77-AT- compuserve.com Message-ID: <13d.c6eed0f.29e46796-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Hanny wrote: >Having organized the granddaddy of the US Playford Balls,... Am I the only one curious? Or does everyone else know? Tell us more, Hanny. To what does "the granddaddy of the US Playford Balls" refer? The first? The longest-running? The largest? Inquiring minds want to know. ______ /\/\/\/\ <______> | | | | | David Barnert <______> | | | | | <______> | | | | | Albany, N.Y. <______> \/\/\/\/ Ventilator Concertina Bellows Bellows (Vocation) (Avocation) ================================================================================ Archive-Date: Tue, 09 Apr 2002 11:05:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Apr 2002 11:05:18 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: How are dances chosen for your ball? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020409180518.42991.qmail-AT- web20004.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Campbell_Kaynor-AT- biogen.com wrote: > I don't know whether people like these Balls because of any > special technique that I use in selecting the repertoire or > whether the people who come to my annual Party are the ones who > enjoy my taste in dance and I'm not sure it matters. I always > get a few first timers (people who were just walking by, or saw > a flyer somewhere) who have never done a step of English and > they invariably stick around for the duration so I feel as > though I'm doing something right. I've come to the conclusion a long time ago that retaining beginners beyond the break has a lot to do with how well they have learned the basics and how comfortable the caller/teacher makes people feel with their ability to get through the dances and feel a sense of accomplishment. That does _not_ necessarily mean that the dances have been easy. It means that people haven't become frustrated when facing a challenge. I've seen nights at Contra (we tend to get a lot more beginners there than at English) where there was a large number of beginners and many left by the time the break was over, and very few of them came back again. I've also seen nights when they got a very good basic workshop before the dance started and, despite some rather challenging dances that stretched their abilities, stayed the entire evening and came back the next week. Andy in Portland OR __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Tue, 09 Apr 2002 11:16:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Apr 2002 11:16:28 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: How are dances chosen for your ball? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020409181628.73693.qmail-AT- web20002.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- David Millstone wrote: > For the Strafford (VT) Ball... We want > most dances on the Ball program to be "standard repertoire," I'm not sure that there really is such a thing anymore. Lyrl pointed out to me that when we started dancing most places did not have musicians to play for them on a regular basis and what we learned as "standard repertoire" was limited to what recorded music was available, mostly through CDSS from EFDSS. We started English dancing in the DC area in the late 60's. Joe Blundon had some of the old EFDSS 78rpm recordings, which added to what other people had of the, then current, 45rpm offerings. Boston and New York were the only places I danced back then which regularly had musicians playing instead of records. (Yes, I was a dance gypsy even then.) Andy in Portland OR __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Tue, 09 Apr 2002 11:35:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Apr 2002 14:37:12 -0400 From: Albert Blank and Nancy DeVore Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3CB334D8.CFD2090A-AT- sprintmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <3CAB8468.85F915A6-AT- sprintmail.com> <001a01c1dbb4$26553880$f54779d5-AT- trevormo> <3CACF803.CFB1194D-AT- sprintmail.com> <000f01c1dfb7$f366e2e0$b34279d5-AT- trevormo> Minus 3 or 4 syllables. Note that this in the context of couple-facing couple. If the orientation of the two couples is rotated 90 degrees, the meanings of first corner positions and second corner positions could then be different. In context, right and left corners are unambiguous. Have fun, Albert Trevor Monson wrote: > Albert, > > So right corners are first corner positions, and left corners are second > corner positions?! > > Trev > > > Trevor, > > > > I mean the corners diagonally to the right (only relative positions, > > regardless of sex, number, or previous condion of servitude) That > would be > > explained on the occasion when calling. I'm assuming duple minor > proper, all > > facing into the set. The terminology could be used for any > two-facing-two > > configuration, regardless of orientation (political or other), if the > dance > > calls for corner crossings within the foursome, I just haven't used it > that > > general way. > > > > Albert > > > > Trevor Monson wrote: > > > > > Albert, > > > > > > For right corners do you mean the people on the right end of each > couple > > > are involved or the people at the end of the right diagonal, and is > this > > > when they are facing across the set? If you are facing up/down the > set > > > are right corners then left corners, as they are at the other end of > the > > > line, or the diagonal has changed - even though these are still the > same > > > positions in the room? > > > > > > Trev ================================================================================ Archive-Date: Tue, 09 Apr 2002 11:46:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Apr 2002 13:46:53 -0500 From: Campbell_Kaynor-AT- biogen.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: How are dances chosen for your ball? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT I think I agree, although I probably differ on what you refer to as "basics." What I consider "basic" is the general flow of the dance and an understanding of where one was, where one is, and where one needs to be for the next phrase of the tune. By emphasizing these aspects I can rapidly expose beginners to the full wealth of choreographic variety that exists in the evening's repertoire. The cost is that I introduce the DETAILS of style gradually throughout an evening so it may not look so pretty early on. Cammy in the east Andrew Peterson To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Sent by: cc: owner-ecd-AT- PLAYFORD.SLAC.S Subject: Re: How are dances chosen for your ball? TANFORD.EDU 04/09/02 01:05 PM Please respond to ECD --- Campbell_Kaynor-AT- biogen.com wrote: > I don't know whether people like these Balls because of any > special technique that I use in selecting the repertoire or > whether the people who come to my annual Party are the ones who > enjoy my taste in dance and I'm not sure it matters. I always > get a few first timers (people who were just walking by, or saw > a flyer somewhere) who have never done a step of English and > they invariably stick around for the duration so I feel as > though I'm doing something right. I've come to the conclusion a long time ago that retaining beginners beyond the break has a lot to do with how well they have learned the basics and how comfortable the caller/teacher makes people feel with their ability to get through the dances and feel a sense of accomplishment. That does _not_ necessarily mean that the dances have been easy. It means that people haven't become frustrated when facing a challenge. I've seen nights at Contra (we tend to get a lot more beginners there than at English) where there was a large number of beginners and many left by the time the break was over, and very few of them came back again. I've also seen nights when they got a very good basic workshop before the dance started and, despite some rather challenging dances that stretched their abilities, stayed the entire evening and came back the next week. Andy in Portland OR __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Tue, 09 Apr 2002 12:01:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Apr 2002 14:02:32 -0500 From: Campbell_Kaynor-AT- biogen.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT It's hard to figure out if this is a joke or not! In case it isn't I'll add my 2 cents that I find the adjectives "left" and "right" nearly always ambiguous, the terms "1st" and "2nd corners" occasionally ambiguous (depending on the dance), and the terms "1st" and "2nd diagonals" (as defined by where the band sits) as un-ambiguous. CK ----- Forwarded by Campbell Kaynor/Cambridge/Biogen on 04/09/02 01:52 PM ----- Paul / Victoria Bestock To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Sent by: cc: owner-ecd-AT- PLAYFORD.SLAC.S Subject: people vs places TANFORD.EDU 04/03/02 02:05 PM Please respond to ECD Hi, In my dance description for Scotch Morris it says the second corners cross first. It does not state whether this is original second corner people who are in first corner position at this point in the dance, or whether this means the second corner position, or origianl first corners. What do the rest of you prefer here? Victoria in Seattle Hello Victoria, Presumably, you're looking at Tom Cook's reconstruction... I had the same question myself. Earlier in the dance, he writes "1 wo and 2nd man (2 corners)" so that's one possible clue that he defines "corners" by people, at least on this page. Since the corner crossing follows a cast and lead (into progressed place) and precedes a circle, both symmetric figures, there's no compelling reason for one corner or the other to cross first. So I call it as 2nd corner _people_ (in first corner position). That keeps the "tradition" of the first corner position crossing first, and agrees with the tenuous definition prior. Hope that helps, Gene Victoria, Without offering an opinion on that specific dance, I'll pass along an item of terminology that has served me well. Besides defining the 1st and 2nd corners to the dancers, I also introduce the terms "1st diagonal" and "2nd diagonal" as referring to the direction/track and not the individual people who dance that track. It seems to minimize confusion at times that the use of the term "corners" seems ambiguous. Cammy My version is "right corners", "left corners". I think that's helpful for the inumerate. Albert Albert, For right corners do you mean the people on the right end of each couple are involved or the people at the end of the right diagonal, and is this when they are facing across the set? If you are facing up/down the set are right corners then left corners, as they are at the other end of the line, or the diagonal has changed - even though these are still the same positions in the room? Trev Trevor, I mean the corners diagonally to the right (only relative positions, regardless of sex, number, or previous condion of servitude) That would be explained on the occasion when calling. I'm assuming duple minor proper, all facing into the set. The terminology could be used for any two-facing-two configuration, regardless of orientation (political or other), if the dance calls for corner crossings within the foursome, I just haven't used it that general way. Albert Albert, So right corners are first corner positions, and left corners are second corner positions?! Trev Minus 3 or 4 syllables. Note that this in the context of couple-facing couple. If the orientation of the two couples is rotated 90 degrees, the meanings of first corner positions and second corner positions could then be different. In context, right and left corners are unambiguous. Have fun, Albert ================================================================================ Archive-Date: Tue, 09 Apr 2002 14:08:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Apr 2002 17:09:15 -0400 From: Loretta Holz Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Binghamton ECD group -- Was: How are ball dances chosen To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <027d01c1e00a$cedd02d0$c902010a-AT- lorettapc> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: Cammy sent the following comment: > I called an English dance in Binghamton in the mid '70s at an Art musem or > something. It is my recollection that English was not an on-going activity > there at that time, but my dance was very well received. I am glad to hear > that is is an established genre these days. This is a story well worth telling and should be an inspiration to people in other areas. I'll start with what I know and hope that others who know more about the details will jump in. I'm looking at the phenomenon as an outsider and feel we can all learn from what happened about how to grow our own local dance communities. (Correct any details I get wrong). Gary and Rowina Roodman had been running sessions for the last ? years in Binghamton. They ran dances but also classes. People were asked to sign up for six (?) classes and paid a fee (low) for these--three(?) sets of classes a year. Making this commitment and paying for a set of classes meant people attended. Also, the fact that they were considered classes meant people came to learn. This was working very well adding new people to the Binghamton dance community. Another factor that helped was the support of talented local musicians who also are dancers. Then the Roodmans had to move. Their work has been continued by three people they groomed for this--Ken and Lindsay Morgan and Richard Brown. The ball this new group of dedicated leaders ran this past weekend is proof of their success as well as the fact that the latest class has 30 people--a larger number than ever before!! I believe Don Bell has used the limited set of lessons approach? Has anyone else? With what success? How do you get the word out to those who might be interested? Advice to others who might like to do this in their areas? ================================================================================ Archive-Date: Tue, 09 Apr 2002 15:32:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Apr 2002 18:33:02 -0400 (EDT) From: SallenNic-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Choice of Ball programme To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <26.25e2c1b3.29e4c61e-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT I was interested to hear that in other places the musicians are consulted, as I do not think that would generally obtain in the UK - but maybe I am wrong. As far as our Ball in Scotland is concerned, I make the programme up (as I do all the teaching throughout the year) unilaterally! For a number of years now it has been my practice to create the programme around a theme (A Walsh Ball, Dance & Danceability, Playford from the New World etc.). I list an excess number of possible dances on a grid which has formations down the side and time signatures across the top. I put the key of the tune for each dance beside its title. Then it is a fairly easy matter to construct the programme from the grid, alternating formations and time signatures, scattering the set dances among the longways ones. Key progression from dance to dance also matters to me, as when we make a recording later I want the key changes from tune to tune to be as harmonically pleasing as possible, and if I can get a minor tune followed by one in the relative major I am happy (or vice versa). A run like A - D - G - C - F - Bb - A would make me delirious, but it doesn't often work out like that! I was also very interested in Jonathan's comments about easy/hard grading, as I think we work along very similar lines. I start with one or two easy longways as warmer-uppers (and make them 'little' dances, so people are not devastated if they miss the first two), then a reasonably easy set dance, and so on, with the meaty stuff later in the first half. The second half needs to start with at least one very gentle dance to get people going after the meal, and then the last three or so need to be either very well known or reasonably easy (to allow for flagging brains!). Sometimes I finish with an 'up' dance (Fair Quaker of Deal) and sometimes with a quiet one (Peace be with you) or occasionally a simple but grand dance (Hole in the Wall) - all have worked. I always make the first half significantly loger than the second half: if the programme is going to be of twenty dances, I would have the interval after eleven or even twelve. Maybe I'm lucky, but I never consult the musicians, as I know they will happily play anything I ask for, and play it with flair. Sorry - great long dissertation, but it is a subject and task I find very interesting. One plug, finally, for The Assembly Ball this year, which is on June 29th in Crawfordjohn, South Lanarkshire, and is 'A Kynaston Ball'. Nicolas B., Lanark, Scotland. ================================================================================ Archive-Date: Tue, 09 Apr 2002 19:08:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 09 Apr 2002 22:10:11 -0400 From: Albert Blank and Nancy DeVore Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3CB39F02.83C7D1BC-AT- sprintmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: Hello Cammy, When two face two (the context) left corners and right corners are not ambiguous. Or, maybe, I'm being dumb. Did I miss something funny? Ciao, Al Campbell_Kaynor-AT- biogen.com wrote: > It's hard to figure out if this is a joke or not! > > In case it isn't I'll add my 2 cents that I find the adjectives "left" and > "right" nearly always ambiguous, the terms "1st" and "2nd corners" > occasionally ambiguous (depending on the dance), and the terms "1st" and > "2nd diagonals" (as defined by where the band sits) as un-ambiguous. > > CK ================================================================================ Archive-Date: Wed, 10 Apr 2002 08:50:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Apr 2002 08:57:13 -0700 From: Mary Devlin Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Who knows Ron Coxall? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Actually, I've been trying to find out how to contact him as well. No luck yet. Please let me know too. Thanks! Mary mary-AT- mdevlin.com on 4/8/02 1:45 PM, Hanny D. Budnick at 74031.77-AT- compuserve.com wrote: > I would like to contact Ron Coxall, who is, I believe, an ECD leader > somewhere around Bury St. Edmunds. Off list replies are welcome. > > _-AT- _ {)/' > /\ /\_._,<_/ > ' \ /_\ > /> /< Hanny > ================================================================================ Archive-Date: Wed, 10 Apr 2002 10:34:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Apr 2002 13:34:31 -0400 From: "Stephen D. Corrsin" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: choosing dances for the ball To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU BCC: Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 7BIT With regard to choosing dances for local Playford balls and similar occasions: it has always been my understanding that a small cabal of haughty elitists and defrocked aristos meet in secret in the smoke filled rooms of their exclusive clubs. There, amidst a flagrant flurry of conspiracies, cabalistics, cacophonies, and cocoapuffs, they decide the terpsichorian fate of the mere flunkies, peons, and sycophantic myrmidons. I.e., and e.g., usn's. This is the only way I can see that "Parson's Farewell" has survived. yrs Steve Corrsin _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ================================================================================ Archive-Date: Wed, 10 Apr 2002 10:55:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Apr 2002 13:56:03 -0400 From: Campbell_Kaynor-AT- biogen.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Choice of Ball programme To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8BIT Dear Nicolas, My approach is similar in that I distribute a list (that is 30 to 50% larger than what we will have time for) of dances from which the evening's programme will be selected. (I can send you the formatted list as a picture or attachment off-line if you want to see what it looks like with uncorrupted formatting but a small sample is at the bottom). Then I get together with the musicians and we play through all of them, taking note of the ones they love, the few that don't inspire one or another of the band members, and the ones that I as the caller particularly want to do for reasons having to do with the choreography rather than the tune. (Since we can rarely schedule practises, we also discuss any arrangements that we want to plan in advance). In this way we weed out a portion of the repertoire and I pass the reduced list on to the likely sit-ins. (We invite aspiring musicians of any calibre to join the hired musicians in the capacity of "sit-ins" and I go to some effort to let the ones who I expect to attend know what we have planned). My list is also coded for my benefit and this year I added keys to my Email list that I sent to sit-ins because different transcriptions do not always agree. Note that since I do not require dancers to know any of these dances in advance, I don't organize the dances in any sequence ahead of time (except I often find that having them do one dance can facilitate the instruction of another so tend to use that order). Rather I try to assess the crowd and the band during and between each dance to determine what they are silently yearning to do next (balanced with what they can handle). Sometimes they want contrast in key, style, energy, or difficulty but other times they may want to do something very similar and let their new partners supply the contrast. (Obviously I also enjoy this topic and I love Steve's characterization of the process - you will note that Parson's Farewell is in the excerpt below), Cammy (This is probably pointless since formatting doesn't tend to go through Email as is but here is the explanation: As a key to the caller for fast reference and dance selection, No number = longways, number = number of couples per set is followed by Name of dance, date first published, and all are color-coded for dance difficulty) Repertoire from which the dances for the Playford Party, 2002 will most likely be selected Alchurch 1690 Easy Blew Britches 1652 Hard Buckingham House 1710 Medium Mulberry Garden 1670 Easy New New Nothing 1651 Medium 4 Newcastle 1651 Hard 4 Nonesuch 1651 Hard Old Nollís Jig 1701 Medium 2 Parson's Farewell 1651 Hard 3 Picking up Sticks 1651 Hard ================================================================================ Archive-Date: Wed, 10 Apr 2002 11:56:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Apr 2002 14:57:22 -0400 From: Campbell_Kaynor-AT- biogen.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hello Al, The reason I couldn't tell whether this was a serious discussion or a joke was that the references to political leanings etc... threw me off. "Trevor, I mean the corners diagonally to the right (only relative positions, regardless of sex, number, or previous condion of servitude) That would be explained on the occasion when calling. I'm assuming duple minor proper, all facing into the set. The terminology could be used for any two-facing-two configuration, regardless of orientation (political or other), if the dance calls for corner crossings within the foursome, I just haven't used it that general way. Albert" So here is why I stumble over the terms left and right. Your explanation stumped me right at the start because when you said: "I mean the corners diagonally to the right ..." I can't tell whether you are speaking of the corners who face on a diagonal right track as viewed by the caller and musicians who tend to occupy a position similar to "the presence," or the individual dancers themselves. Since the dancers are constantly moving position and orientation (facing partners or neighbors) and because the caller is usually teaching to all the dancers at once, they tend to expect the caller to mean the former and transpose the instruction to fit their own particular position. The fact that I am wondering what you mean at all indicates that a short, "concise" explanation is insufficient and the dancers will require much lengthier elucidation. (If you doubt that most dancers transpose the instructions that they assume are "as viewed by the caller," watch what happens when a caller announces "everyone line up facing your partners, ladies on the left and gents on the right)." Your clarification that you are "assuming duple minor proper, all facing into the set" simply points out that the terms are not static but change as the positions of the dancers do. Beyond the explanation being lengthy, there is also the fact that a significant proportion of every dance crowd has difficulty with left and right. How many times have you heard callers have to encourage people to try "the other left hand?" To alleviate anxiety on the part of those who struggle with left and right, I often "enlighten" the dancers with the following explanation/joke, (that I borrowed and modified from Ralph Sweet) that is intended to be of no help at all and even further, to confuse those who thought they were so on top of the issue: 1) "Hold both hands out in front of you, palms down with the thumbs open" (of course everyone is expecting clarification for the left/right-challenged dancers at this point) 2) "Notice that your right thumb is pointed at your left hand and your left thumb is pointed at your right hand." (Since this is obviously insufficient clarification, I add my own observation that:) 3) "Your right thumb is on the left side of your right hand pointed at your left hand and that the left thumb is on the right side of the left hand pointed at your right hand but if that is too much to encompass, 4) Simply bend your elbos and invert your right hand to palm up as you do so - you can tell which is left and right because they BOTH make an "L." Lastly, to address how the terms are ambiguous: The terms "left" and "right" are often used with opposite intentions. For example whether one goes left or right of someone is completely opposite to whether one passes by right or left shoulders. "Right corners" could refer to the corners described by the people standing on the right side of each pair (1st diagonal when facing up or down the set or second diagonal if one is facing across at one's partner), or it could mean the pair of people who point diagonally right to find their corners (which is the 2nd diagonal when pairs are facing up and down the set or the 1st diagonal when facing across). The same is true if it is a two couple dance - that either interpretation (i.e., person on the right or people who look diagonally right to find their corner) gives opposite results and that is further complicated by the opposite interpretations if one is facing one's partner rather than one's opposite. Of course, each individual dancer learns best in their own way. It is one of the tasks of the caller to assess the crowd, determine which words will get the point across to the majority of the dancers, and which explanations or added perspectives will get the rest on board. Sometimes (despite all I said above) I judge that left and right ARE the best terms to use with a particular crowd as it seems they would be for you, and so I use them. Hoping that this doesn't clarify the discussion but rather points out how uninterpretable these terms can be, All-in-good-humor, Cammy ================================================================================ Archive-Date: Wed, 10 Apr 2002 13:56:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Apr 2002 16:56:31 -0400 (EDT) From: Sue Wartell Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <200204102056.g3AKuWM06070-AT- info.cas.org> MIME-Version: 1.0 Content-Type: TEXT/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT ... What he said! I'm one of those severely directionally challenged dancers Cammy referred to. Left and right are essentially meaningless to me - I need to translate them to "this way" or "THAT way" and there are times that the translation takes significant time. I have short-cuts, but sometimes they trip me up. For example, in the US (at least), many people wear their wristwatch on their left wrist. So if I am told to pass someone by the right shoulder, I will head for the side not having the watch. There are, however, a significant number of people who don't follow the convention (say 10%), and I have come very close to colliding with them on various occasions. Once I've learned a dance, I assimilate the direction in a nonverbal way, and do fine. It's the learning that is difficult, and if I'm still trying to sort out which direction to go, I'm much more likely to miss the next instruction. I regard this minor disability as a personal quirk, and don't expect people to cater to me because of it, but I greatly appreciate a dance leader who finds multiple ways to say things, using left and right for those who prefer those terms and up or down, or toward the windows, or first corner position/second corner position, or other external referents for those of us who have problems with processing the words. Sue Wartell Solumbus OH ================================================================================ Archive-Date: Wed, 10 Apr 2002 17:07:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Apr 2002 20:08:58 -0400 From: "Emily L. Ferguson" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <200204102056.g3AKuWM06070-AT- info.cas.org> Generally, at least in the US, people wear their watch on the wrist opposite the hand with which they write. That's why about 10% of the population wears the watch on the right wrist. Personally, I think any reference to right or left is fraught with problems. I have always preferred clockwise and counter(anti)clockwise, since there's never any doubt about which way the clock goes. For all I know there is no doubt about that across the entire world, although my experience only extends to the European/American part of it. Even in the digital age, most people still learn to tell time from an analog clock first. To me, predicating the notion of corners on which way the couples were facing to begin with would be a catastrophe for nearly all beginners and many perennial intermediates. Fixing positions in relation to something stable in the dance space, like the band for instance, seems a lot more reliable which is why 1st and 2nd corners are positions in relationship to the "presence", which is what the band stands in for. Were I stuck calling to a recorded source, I would place the player where I intended the top of the room to be. Personally, also, I prefer that the people who begin the dance in the corner position remain that corner terminologically until they change identities at the end of the set. If this rubric is followed for all dances then there is never any need to discuss the definition once the majority of dancers have grasped it. I once had a morris dance who was severely left handed. Rounds was always interesting - was JohnJohn going to go the correct way!? We held our breath, and prepared to gently steer him in the same direction with the rest of us if he turned off the in wrong direction. Once I started using clockwise and counterclockwise, things got a lot easier. Left-handed though he was, he knew which way the clock went! ================================================================================ Archive-Date: Wed, 10 Apr 2002 17:43:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Apr 2002 20:44:10 -0400 From: Michael Siemon Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <200204102056.g3AKuWM06070-AT- info.cas.org> >Generally, at least in the US, people wear their watch on the wrist >opposite the hand with which they write. That's why about 10% of >the population wears the watch on the right wrist. > Personally, I think any reference to right or left is fraught with > problems. I have always preferred clockwise and counter(anti)clockwise, > since there's never any doubt about which way the clock goes. Ummm, with digital clocks/watches being much the most common these days, that is not likely to remain the case (if it ever was so, which I rather doubt. I'm pretty good about that sort of thing -- I was a geometer by training -- but I _always_ have to _stop_ and think about which way is clockwise and which anti-clockwise. Now, if dance callers would only use language like "in the direction of increasing theta in e ^ i*theta", it would be _much_ easier. :-)) What's important here is that there is _no_ single, simple, reliable way of conveying directionality in ECD calling or instruction, for the simple reason that people are just _different_. With any luck, two or three suggestions by a good teacher (by the way, as they use one consistent model in their ongoing patter) will help to bring on board those who don't immediately grasp the caller's style. It is _not_ possible for any caller/teacher to give _all_ the variants that _might_ help some part of the group, certainly not in the actual calling of the dance. With luck, the confusions of any individual dancer get clarified during the teaching -- that may require the confused dancer to put himself/herself on the line by publicly _asking_ for clarification. Once I, as a dancer, have received the "translation" into my own terms of the caller's vocabulary, it's my responsibility to act on that during the dance. But if I am in fact confused about what the caller _means_, I may be nothing but a loose cannon on the dance floor! ================================================================================ Archive-Date: Wed, 10 Apr 2002 18:36:49 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Apr 2002 21:38:15 -0400 From: Albert Blank and Nancy DeVore Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3CB4E907.E1CF4B5B-AT- sprintmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: Campbell_Kaynor-AT- biogen.com wrote: > Hello Al, > The reason I couldn't tell whether this was a serious discussion or a joke > was that the references to political leanings etc... threw me off. > "Trevor, > > I mean the corners diagonally to the right (only relative positions, > regardless of sex, number, or previous condion of servitude) That would be > explained on the occasion when calling. I'm assuming duple minor proper, > all > facing into the set. The terminology could be used for any two-facing-two > configuration, regardless of orientation (political or other), if the dance > calls for corner crossings within the foursome, I just haven't used it that > general way. > > Albert" > > So here is why I stumble over the terms left and right. > Your explanation stumped me right at the start because when you said: > "I mean the corners diagonally to the right ..." > I can't tell whether you are speaking of the corners who face on a diagonal > right track as viewed by the caller and musicians who tend to occupy a > position similar to "the presence," or the individual dancers themselves. Aha! Now I understand what your getting at. For me it is axiomatic that instructions should always refer to the dancer's momentary point of view. Anything else invites bedlam. > Since the dancers are constantly moving position and orientation (facing > partners or neighbors) and because the caller is usually teaching to all > the dancers at once, they tend to expect the caller to mean the former and > transpose the instruction to fit their own particular position. The fact > that I am wondering what you mean at all indicates that a short, "concise" > explanation is insufficient and the dancers will require much lengthier > elucidation. How lengthy? Like "your right corner is the person diaginally to your right. Wave to your right corner."? > (If you doubt that most dancers transpose the instructions > that they assume are "as viewed by the caller," watch what happens when a > caller announces "everyone line up facing your partners, ladies on the left > and gents on the right)." Your clarification that you are "assuming duple > minor proper, all facing into the set" simply points out that the terms are > not static but change as the positions of the dancers do. > > Beyond the explanation being lengthy, there is also the fact that a > significant proportion of every dance crowd has difficulty with left and > right. How many times have you heard callers have to encourage people to > try "the other left hand?" To alleviate anxiety on the part of those who > struggle with left and right, I often "enlighten" the dancers with the > following explanation/joke, (that I borrowed and modified from Ralph Sweet) > that is intended to be of no help at all and even further, to confuse those > who thought they were so on top of the issue: > 1) "Hold both hands out in front of you, palms down with the thumbs open" > (of course everyone is expecting clarification for the > left/right-challenged dancers at this point) > 2) "Notice that your right thumb is pointed at your left hand and your left > thumb is pointed at your right hand." > (Since this is obviously insufficient clarification, I add my own > observation that:) > 3) "Your right thumb is on the left side of your right hand pointed at your > left hand and that the left thumb is on the right side of the left hand > pointed at your right hand but if that is too much to encompass, > 4) Simply bend your elbos and invert your right hand to palm up as you do > so - you can tell which is left and right because they BOTH make an "L." > > Lastly, to address how the terms are ambiguous: > The terms "left" and "right" are often used with opposite intentions. For > example whether one goes left or right of someone is completely opposite to > whether one passes by right or left shoulders. "Right corners" could refer > to the corners described by the people standing on the right side of each > pair (1st diagonal when facing up or down the set or second diagonal if one > is facing across at one's partner), or it could mean the pair of people who > point diagonally right to find their corners (which is the 2nd diagonal > when pairs are facing up and down the set or the 1st diagonal when facing > across). The same is true if it is a two couple dance - that either > interpretation (i.e., person on the right or people who look diagonally > right to find their corner) gives opposite results and that is further > complicated by the opposite interpretations if one is facing one's partner > rather than one's opposite. > > Of course, each individual dancer learns best in their own way. It is one > of the tasks of the caller to assess the crowd, determine which words will > get the point across to the majority of the dancers, and which explanations > or added perspectives will get the rest on board. Sometimes (despite all I > said above) I judge that left and right ARE the best terms to use with a > particular crowd as it seems they would be for you, and so I use them. > Hoping that this doesn't clarify the discussion but rather points out how > uninterpretable these terms can be, > > All-in-good-humor, Cammy Yes, I've been in the crowd when you do the left-right routine and had a hearty chuckle. In seriousness, the "wave" instruction usually straightens the dancers out. All the best, Al -- Albert Blank & Nancy DeVore 102 Loring Avenue Pelham, NY 10803-2014 tel. 914 738-7678 email: fandango-AT- sprintmail.com ================================================================================ Archive-Date: Wed, 10 Apr 2002 19:03:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Apr 2002 22:04:46 -0400 From: Albert Blank and Nancy DeVore Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3CB4EF3E.648430C5-AT- sprintmail.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_1zMMfQxTy/ZtAVJ7h5KEDg)" References: <200204102056.g3AKuWM06070-AT- info.cas.org> --Boundary_(ID_1zMMfQxTy/ZtAVJ7h5KEDg) Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT Sue Wartell wrote (in part): > Left and right are > essentially meaningless to me - > And to many people, Sue. It would be necessary to write a book about the caler's art to cover every detail. In my answer to Cammy Kaynor, I explained that I ask the dancers to make a visual connection to their right or left corners. If you tend to confuse right and left, that action gets you straightened out at once. To great comic effect, choreographers use the idea of having one member of a group face one way while all the others face in the other. Of course, the left out one corrects quickly. (This segues into other dance jokes but you get the point.) I'm one of those sad sacks who was forced to write with the right hand when nature wanted me to use the left. My writing still slopes the wrong way but years of dance and dance training have helped me adapt. I trust your path will not be so arduous. All the best, Albert --Boundary_(ID_1zMMfQxTy/ZtAVJ7h5KEDg) Content-type: text/html; charset=us-ascii Content-transfer-encoding: 7BIT Sue Wartell wrote (in part):

Left and right are 
essentially meaningless to me -

And to many people, Sue. It would be necessary to write a book about the caler's art to cover every detail. In my answer to Cammy Kaynor, I explained that I ask the dancers to make a visual connection to their right or left corners. If you tend to confuse right and left, that action gets you straightened out at once. To great comic effect, choreographers use the idea of having one member of a group face one way while all the others face in the other. Of course, the left out one corrects quickly. (This segues into other dance jokes but you get the point.)

I'm one of those sad sacks who was forced to write with the right hand when nature wanted me to use the left. My writing still slopes the wrong way but years of dance and dance training have helped me adapt. I trust your path will not be so arduous.

All the best,
Albert --Boundary_(ID_1zMMfQxTy/ZtAVJ7h5KEDg)-- ================================================================================ Archive-Date: Wed, 10 Apr 2002 19:38:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 10 Apr 2002 22:38:56 -0400 (EDT) From: CF1125-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: choosing dances for the ball To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <38.2623ac26.29e65140-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT In a message dated 4/10/02 6:35:55 PM, corrsin1-AT- hotmail.com writes: << With regard to choosing dances for local Playford balls and similar occasions: it has always been my understanding that a small cabal of haughty elitists and defrocked aristos meet in secret in the smoke filled rooms of their exclusive clubs. There, amidst a flagrant flurry of conspiracies, cabalistics, cacophonies, and cocoapuffs, they decide the terpsichorian fate of the mere flunkies, peons, and sycophantic myrmidons. I.e., and e.g., usn's. This is the only way I can see that "Parson's Farewell" has survived. yrs Steve Corrsin>> That's how I got Parson's on last year's Baltimore program. Nods to you. Carl Friedman ================================================================================ Archive-Date: Thu, 11 Apr 2002 01:40:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 11 Apr 2002 09:43:52 +0100 From: Trevor Monson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <002501c1e135$098964c0$ca4479d5-AT- trevormo> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: Cammy said: > Lastly, to address how the terms are ambiguous: > The terms "left" and "right" are often used with opposite intentions. For > example whether one goes left or right of someone is completely opposite to > whether one passes by right or left shoulders. "Right corners" could refer > to the corners described by the people standing on the right side of each > pair (1st diagonal when facing up or down the set or second diagonal if one > is facing across at one's partner), or it could mean the pair of people who > point diagonally right to find their corners (which is the 2nd diagonal > when pairs are facing up and down the set or the 1st diagonal when facing > across). The same is true if it is a two couple dance - that either > interpretation (i.e., person on the right or people who look diagonally > right to find their corner) gives opposite results and that is further > complicated by the opposite interpretations if one is facing one's partner > rather than one's opposite. > Thanks for expounding (expanding?) on what I thought I may have tried to say (I think)! Trev _________________________________________________________ Do You Yahoo!? Get your free -AT- yahoo.com address at http://mail.yahoo.com ================================================================================ Archive-Date: Thu, 11 Apr 2002 07:17:25 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 11 Apr 2002 10:17:51 -0400 From: Campbell_Kaynor-AT- biogen.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Dear Emily, Never be sure there is no room for confusion! Some of us are so perverted that we get confused as to whether you are looking down on the "clock" (as the caller and band tend to view it) or up as the dancer's are. Obviously what the ceiling calls clockwise is opposite to what the floor calls clockwise. In large part, I agree with all you said. My off-line response to Sue mentions how important I think the presence is to all my Playford era dancing (I've enclosed it below). However, I believe that this statement: Personally, also, I prefer that the people who begin the dance in the corner position remain that corner terminologically until they change identities at the end of the set. is at variance with my preference to associate terminology with The Presence. Since some people feel as you do while others expect the personel but not the position to change, I found it expedient to coin a different phrase to define the directions rather than the people. I use "1st diagonal" in the way that square dance callers speak of "your corner" - i.e., a position and not a particular individual. Cheers, Cammy Dear Sue, Thanks for that - I have been feeling guilty all day for cluttering the ECD list with my response. Your reply makes me feel that it was not a wholly useless effort although my method (i.e., to further obscure) may have been unorthodox. Since the Playford dances were written and published when "The Presence" (whether actual or virtual) lurked at the head of the hall, I myself tend to favor instructions that tell me where to go (geographically) in relation to the hall and how to go (stylisticly) in relation to the music. By defining (early in the evening) the "first diagonal" and "second diagonal" as diagonals that remain unchanged in relation to "The Presence," I have found that people know instantly which direction to look throughout the rest of the evening. Many of them are sighting on the windows, the stairs to the left of the stage, or other landmarks, but nobody is spending time trying to unravel which is left and right nor what the caller INTENDS by left and right. I do use the terms at times but I always watch to see whether their use is effective. If I say "give a right hand to the next" and I sense confusion I can always find an alternate description such as "the free (or available) hand" (if it follows a left hand turn) or "the inside (or outside) hand" if one is rounding a corner. Happy to have found someone who knows what I am talking about, Cammy ================================================================================ Archive-Date: Thu, 11 Apr 2002 08:14:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 11 Apr 2002 10:02:51 -0500 From: "M.G. Mudrey, Jr." Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <5.1.0.14.2.20020411095930.00a90070-AT- mail.mhtc.net> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_mPvng/ROTh9SOc7LY6clLA)" References: --Boundary_(ID_mPvng/ROTh9SOc7LY6clLA) Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7BIT At 09:43 AM 4/11/02 +0100, you wrote: >Cammy said: > > > Lastly, to address how the terms are ambiguous: > > The terms "left" and "right" are often used with opposite intentions. >For > > example whether one goes left or right of someone is completely >opposite to > > whether one passes by right or left shoulders. A strong corollary to this is in some Kontra tanz in Europe. While dancing a Finnish set dance many years ago, the caller directed us for a dos-a-dos by the right. the leader and I collided as I passed right shoulders and she passed to her right making it a left shoulder dos-a-dos. In Allegeime Francaise (Fledermaus) the dos-a-dos are all by the left shoulder. I wonder is this is the result of pervious postings...ie Cribs are written for right dos-a-dos, for instance, but the user of the crib was not aware that it meant right shoulder or pass to the right? Mike --Boundary_(ID_mPvng/ROTh9SOc7LY6clLA) Content-type: text/html; charset=us-ascii Content-transfer-encoding: 7BIT At 09:43 AM 4/11/02 +0100, you wrote:

Cammy said:

> Lastly, to address how the terms are ambiguous:
> The terms "left" and "right" are often used with opposite intentions.
For
> example whether one goes left or right of someone is completely
opposite to
> whether one passes by right or left shoulders.

A strong corollary to this is in some Kontra tanz in Europe.

While dancing a Finnish set dance many years ago, the caller directed us for a dos-a-dos by the right. the leader and I collided as I passed right shoulders and she passed to her right making it a left shoulder dos-a-dos.

In Allegeime Francaise (Fledermaus) the dos-a-dos are all by the left shoulder.

I wonder is this is the result of pervious postings...ie
Cribs are written for right dos-a-dos, for instance, but the user of the crib was not aware that it meant right shoulder or pass to the right?

Mike

--Boundary_(ID_mPvng/ROTh9SOc7LY6clLA)-- ================================================================================ Archive-Date: Thu, 11 Apr 2002 10:08:30 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 11 Apr 2002 10:10:03 -0700 From: Jon Berger Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3CB5C36B.82A42A2-AT- sbcglobal.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <200204102056.g3AKuWM06070-AT- info.cas.org> Sue Wartell wrote: > > ... What he said! I'm one of those severely directionally > challenged dancers Cammy referred to. Left and right are > essentially meaningless to me - I need to translate them to "this > way" or "THAT way" and there are times that the translation > takes significant time. I have short-cuts, but sometimes they > trip me up. For example, in the US (at least), many people wear > their wristwatch on their left wrist. So if I am told to pass > someone by the right shoulder, I will head for the side not > having the watch. I saw a guy at a contra dance once wearing a T-shirt that had "left" and "right" printed right-side-up on, respectively, the right and left sides of the shirt, and the same printed upside-down on, respectively, the left and right sides of the shirt -- the idea being that the wearer looks down and reads the upside-down text, and the partner reads the right-side-up text. I thought it was very considerate. -- Jon Berger Business: jon-AT- perforce.com Personal: jberger-AT- sbcglobal.net http://pages.sbcglobal.net/jberger ================================================================================ Archive-Date: Thu, 11 Apr 2002 14:34:42 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 11 Apr 2002 17:35:11 -0400 (EDT) From: David.Millstone-AT- valley.net (David Millstone) Subject: Standard repertoire To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <13739310-AT- enfield.VALLEY.NET> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Andy Peterson wrote, in response to my comment about choosing dances that are "standard repertoire" for our Ball, "I'm not sure that there really is such a thing anymore." I initially put the phrase in quotes to indicate that I'm aware that this may be suspect usage but still... Given a choice between "Fandango" and, say, "The Twenty Ninth of May," in my experience I've found that the former holds a better claim to be considered standard repertoire, a dance that one could expect to encounter more frequently in more parts of the ECD world. Similarly, "Mad Robin" is, in my experience, more common than "Maid's Morris." David ================================================================================ Archive-Date: Thu, 11 Apr 2002 15:09:43 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 11 Apr 2002 18:24:49 -0400 From: Graham.Christian-AT- risk.sungard.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Standard repertoire To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT I think there are several mysteries, and several matters of taste, folded into the question of a standard repertoire. What *was* standard repertoire? We certainly murmur often enough among ourselves that we have insane expectations of our memories nowadays, and that in 17--, they would have danced the same top-fifteen new dances in pump room after assembly room the whole season long. But you have to wonder why Playford &c. kept reprinting some dances for a period of over twenty years. To fill out a volume? perhaps. But then consider the anecdote--I think from the life of Fanny Burney--about being compelled (with a few others) to dance George III's favorite, "London Gentlewoman," for over two hours. If it was anything like the dance we know, it was over a hundred years old by then (and Fanny too may well have felt over a hundred years old by bedtime). At a certain point, Cecil Sharp's *Country Dance* books may truly have represented the standard repertoire--but then there was the "New Series," and Fallibroome--and so on. By the time *The Playford Ball* was published, I'm not certain it represented the *current* repertoire as much as the repertoire of the *previous* twenty years. Do we do "Aye me" *often*? Mind you--I'm not saying "ever"--*often*? And there is no question that--as we also murmur among ourselves--there has been an explosion of repertoire. Many new and newly discovered and newly reconstructed dances--too many to count--and still coming. I think, like all our predecessors, we want *good* dances--but our notion of the true, the good, and the beautiful, at least in dances, inevitably changes. Graham Christian Technical Writer, Product Management Telephone number: (617)542-2800, extension 247 Email address: graham.christian-AT- risk.sungard.com Group web address: http://www.risk.sungard.com SunGard Trading and Risk Systems, BancWare 3 Post Office Square Boston, MA 02109 "Sphinx of black quartz, judge my vow." ********************************************************************** This email and any files transmitted with it are confidential and intended solely for the use of the individual or entity to whom they are addressed. If you have received this email in error please notify the system manager. This footnote also confirms that this email message has been swept by MIMEsweeper for the presence of computer viruses. ********************************************************************** ================================================================================ Archive-Date: Thu, 11 Apr 2002 15:12:49 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 11 Apr 2002 15:00:22 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: Standard repertoire To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01KGFWYDGMAE9FVFUJ-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT David Millstone wrote: > Andy Peterson wrote, in response to my comment about choosing dances that are > "standard repertoire" for our Ball, "I'm not sure that there really is such a > thing anymore." I initially put the phrase in quotes to indicate that I'm aware > that this may be suspect usage but still... > Given a choice between "Fandango" and, say, "The Twenty Ninth of May," in my > experience I've found that the former holds a better claim to be considered > standard repertoire, a dance that one could expect to encounter more frequently > in more parts of the ECD world. Similarly, "Mad Robin" is, in my experience, > more common than "Maid's Morris." I agree with these examples, and I agree that some dances get done more regularly in more places than others. What there _isn't_ is one book or list of "standard repertoire." (I was going to say "there is no canon", but of course there are a couple of Pat Shaw dances that prove me wrong.) You can't point at "The Playford Ball" or Barnes or any volume of The Country Dance Book or Fallibroome or the Community Dances Manuals and say "everything in there is part of the standard repertoire." -- 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: Thu, 11 Apr 2002 18:29:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 11 Apr 2002 21:30:05 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Standard repertoire 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 Thu, 11 Apr 2002 Graham.Christian-AT- risk.sungard.com wrote: > > I think there are several mysteries, and several matters of taste, folded > into the question of a standard repertoire. > What *was* standard repertoire? We certainly murmur often enough among > ourselves that we have insane expectations of our memories nowadays, and > that in 17--, they would have danced the same top-fifteen new dances in > pump room after assembly room the whole season long. My take on the question was that the ball organizers were concerned with the modern "standard repertoire," viz. the dances most likely to be familiar already to the dancers who would likely attend their events (and perhaps by selecting those dances in particular, might entice folks to attend an evening of _current_ favorites). Eric ================================================================================ Archive-Date: Fri, 12 Apr 2002 07:52:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 12 Apr 2002 10:53:11 -0400 From: Terence Gaffney Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Pre-Neffa Party 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, If you're coming to the Boston area for NEFFA, this is an invitation to join us at our Pre-NEFFA dance party, Wednesday April 17 at the Park Avenue Church in Arlington. Every year we try to have a guest caller from outside New England; this year we are fortunate to have Philippe Callens as our leader. Musicians for the event will be Earl Gaddis and Jacqueline Schwab. It's always special to have English dancers from all over the country together for an evening. ECD is a connector par excellence; for an evening we abolish distance, and, by adding pieces to our memory-mosaic, the unity remains. For information on location and price see our website http://www.cds-boston.org/ Best Regards, Terry ================================================================================ Archive-Date: Fri, 12 Apr 2002 14:34:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 12 Apr 2002 17:34:48 -0400 From: Campbell_Kaynor-AT- biogen.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: NEFFA postlude To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Dear Friends, To assuage the post-NEFFA withdrawal, I encourage anyone sticking around the Boston area in the week after to check out my "Double Dance" on Friday 4/26, at St. John's United Methodist Church, 80 Mt. Auburn St. in Watertown Massachusetts. From 7-9 we do 17th century Playford dances and from 9-11 we do New England Contras. We strive for period-appropriate music (no piano for the English) and invite musicians at any skill level to sit-in with the band. (I hold this dance monthly and you may reply off-line for more particulars or to be added to my Email notification list). Since this is a monthly event and 4/26 is the closest to May Day, we will do a little Maypole dancing and maybe a Morris jig or two in the middle of the evening. Consider it detox for NEFFA and warm-up for May Day. Cammy Kaynor ================================================================================ Archive-Date: Fri, 12 Apr 2002 20:07:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 12 Apr 2002 23:09:34 -0400 From: Lee Goldberg Reply-To: ECD-AT- playford.slac.stanford.edu Subject: NEFFA postlude To: ECD Message-ID: <004c01c1e298$a38519c0$6401a8c0-AT- MORTON> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_sJ3iLZ2VDmhTtHD3mwZbvg)" This is a multi-part message in MIME format. --Boundary_(ID_sJ3iLZ2VDmhTtHD3mwZbvg) Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Latching on to Cammy's suggestion - For those who might be in the Albany area after May Day - The Capital English Country Dancers are having their end of season party on May 5th at the Shaker Meeting House, 875 Watervliet Shaker Rd., Albany, NY. It's a Sunday afternoon from 3 to 6. Paul Ross is calling with music by Spare Parts. All are invited. Admission at the door is $15. E-mail me for directions or info. Lee Goldberg --Boundary_(ID_sJ3iLZ2VDmhTtHD3mwZbvg) Content-type: text/html; charset=iso-8859-1 Content-transfer-encoding: 7BIT

Latching on to Cammy's suggestion -

For those who might be in the Albany area after May Day -

The Capital English Country Dancers are having their end of season party on May 5th at the Shaker Meeting House, 875 Watervliet Shaker Rd., Albany, NY. It's a Sunday afternoon from 3 to 6. Paul Ross is calling with music by Spare Parts. All are invited. Admission at the door is $15.

E-mail me for directions or info.

Lee Goldberg

--Boundary_(ID_sJ3iLZ2VDmhTtHD3mwZbvg)-- ================================================================================ Archive-Date: Fri, 12 Apr 2002 23:32:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 12 Apr 2002 23:32:57 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020413063257.76496.qmail-AT- web20006.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT > Sue Wartell wrote (in part): > > Left and right are > > essentially meaningless to me - > > > --- Albert Blank wrote: > And to many people, Sue. It would be necessary to write a book > about the caler's art to cover every detail. In my answer to > Cammy Kaynor, I explained that I ask the dancers to make a > visual connection to their right or left corners. If you tend > to confuse right and left, that action gets you straightened > out at once. To great comic effect, choreographers use the idea > of having one member of a group face one way while all the > others face in the other. Of course, the left out one corrects > quickly. (This segues into other dance jokes but you get the > point.) Not being one who has orientation problems, I have known many who do. I sympathize, but am glad I don't share your plight. I remember how difficult it was for my partner (who had a problem with "left" and "right") to re-learn Shrewsbury Lasses when Reel Nutmeg started it as a three couple set then turned it into a duple minor longways midway through our NEFFA suite one year. (I mean we rehearsed it that way, but it was confusing to learn.) I've known people who have a very difficult time finding anything, even with explicite written directions. (One friend told me once, "I get lost on the way to the bathroom.") As one who drew maps for a while, if you give me an address and a map I can find where I need to go. I've even been known to look at the map, then leave it home and drive straight to where I want to go. As far as the use of the terms "corners" or "diagonals", I learned corners over 30 years ago and prefer that designation, ...and it's two less syllables if you're trying to call it. (How many of you know who your 3rd and 4th corners are in "Contra Corners?") Andy __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Fri, 12 Apr 2002 23:41:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 12 Apr 2002 23:41:58 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020413064158.27212.qmail-AT- web20005.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Albert Blank wrote: > Yes, I've been in the crowd when you do the left-right routine > and had a hearty chuckle. I've experienced many very interesting and challenging "Beckett" formation dances at Cammy's contra dances in Amherst years ago, ...and enjoyed them all. He's quite a master at weaving people on diagonal paths. Andy in Portland OR __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Fri, 12 Apr 2002 23:51:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 12 Apr 2002 23:52:06 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: choosing dances for the ball To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020413065206.78350.qmail-AT- web20006.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- "Stephen D. Corrsin" wrote: > With regard to choosing dances for local Playford balls and > similar occasions: it has always been my understanding that a > small cabal of haughty elitists and defrocked aristos meet in > secret in the smoke filled rooms of their exclusive clubs. > There, amidst a flagrant flurry of conspiracies, cabalistics, > cophonies, and cocoapuffs, they decide the terpsichorian fate > of the mere flunkies, peons, and sycophantic myrmidons. I.e., > and e.g., usn's. The only smoke filled room most of my dancing friends would be found in might be one with a fireplace or a leaky stove pipe. I know so few smokers among the dance community that I'm always surprised when I meet one. > This is the only way I can see that "Parson's Farewell" has > survived. That happens to be one of my favorite dances, which I never get to do becuase most people hate teaching it. I'm going to have to drag it out at the first Friday dance some night. One of the Reel Nutmeg suites had Parson's Farewell followed immediately by St. Margaret's Hill. The transition from the fast paced skipping at the end of PF into the elegant slow(er) cast of St.MH was fantastic. Andy in Portland OR __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Sat, 13 Apr 2002 10:00:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 13 Apr 2002 13:01:25 -0400 (EDT) From: Sue Wartell Subject: Country Dance Weekend in Columbus OH - October 18-20, 2002 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <200204131701.g3DH1OM28999-AT- info.cas.org> MIME-Version: 1.0 Content-Type: TEXT/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Mark your calendars now for the Columbus Country Dance Weekend with Bare Necessities in Columbus OH on October 18-20, 2002. The weekend we had in October 2000 was a great success, and we'd love to have you join us to make this one a success, too. Sue (for more information, contact me off-list at swartell-AT- cas.org ) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The dance will be held at: OSU Student Union Ballroom 1739 N. High Street Columbus, OH 43210 This is a grand ballroom with an excellent wooden dance floor. Parking (sometimes a problem on an urban campus) is available in the parking garage right next to the Union. This event is a joint effort of the Columbus English Country Dancers, the Heather 'N' Thistle Columbus Royal Scottish Country Dance Society, and the Big Scioty Barn Dance. Come share three dance traditions. Weekend cost is $65 (postmarked prior to October 4; after that, the price will be $70 for the weekend) Prices for other packages and for individual events are also available. The program is: Friday October 18 - American Contra Dance 8-11 PM Caller:Joseph Pimentel Musicians: Peter Barnes, Mary Lea Saturday October 21 - English Country Dance Workshops 9:30 AM-12 noon and 1:30-4:00 PM English Country Dance Ball 8-11:30 PM Festive attire encouraged. Musicians: Bare Necessities All dances will be taught by Jacqueline Schwab. Sunday October 22 Engish Country Dance Workshop 10A AM-12:30 PM. Dances will be taught by Jacqueline Schwab Musicians: Bare Necessities Scottish Country Dance 1:30-4:00 PM. Dances will be briefed; program available on web site Musicians: Earl Gaddis, Jacqueline Schwab Contact me for more information (swartell-AT- cas.org) or to request a flyer with additional information and a registration form. We also have a web site: http://www.bigscioty.com/shaw.html Details are posted there, as is a printable registration form. Information about hotels are also posted there. A limited amount of local hospitality is also available; the registration form includes a check box to request additional information. ================================================================================ Archive-Date: Sat, 13 Apr 2002 18:13:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 13 Apr 2002 18:13:53 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020414011353.38501.qmail-AT- web20010.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- "Emily L. Ferguson" wrote: > ...I have always preferred clockwise and > counter(anti)clockwise, since there's never any doubt about > which way the clock goes. Unless you're reading one like my uncle had that was made as a joke to hang over your bar. It ran the other way... > For all I know there is no doubt about that across the entire > world, although my experience only extends to the > European/American part of it. Even in the digital age, most > people still learn to tell time from an analog clock first. I worked with a guy years ago who said that there would not be a digital time piece in his house until his children learned to tell time. Andy in Portland OR __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Mon, 15 Apr 2002 06:58:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 15 Apr 2002 09:58:22 -0400 From: Campbell_Kaynor-AT- biogen.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Off-line plug for diagonals. 1) There is ambiguity in the traditional designation of "corners" (whether the ambiguity is on the part of the original publisher/choreographer or merely on the part of our, or any particular dancer's interpretation of those instructions). 2) I believe it is unwise to redefine a term that is already in common usage and fraught with ambiguous interpretation. No matter how you define it, there will be those who take exception to one's right to redefine any dance terminology. 3) I use the term "diagonal" to teach more than to call. If the dance has a natural flow in connection with itself and the music and once the dancers have had the walk through and have some idea of the order of the figures, the teaching expression, "1st diagonals cross - 2nd diagonals cross" becomes the calling expression, "cross - cross." As long as the majority of dancers are clear about who crosses first, the minority has tremendous difficulty not following suit. 4) Even though diagonal has extra syllables it lacks the "or" sound of corners, four, forward, etc... If dancers hear only one syllable of a call (probably the most frequent situation) they will hear the "or" sound rather than the "ag" of diagonal. CK Andrew Peterson To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Sent by: cc: owner-ecd-AT- PLAYFORD.SLAC.S Subject: Re: people vs places - one person's simple is another's tangle TANFORD.EDU 04/13/02 02:32 AM Please respond to ECD > Sue Wartell wrote (in part): > > Left and right are > > essentially meaningless to me - > > > --- Albert Blank wrote: > And to many people, Sue. It would be necessary to write a book > about the caler's art to cover every detail. In my answer to > Cammy Kaynor, I explained that I ask the dancers to make a > visual connection to their right or left corners. If you tend > to confuse right and left, that action gets you straightened > out at once. To great comic effect, choreographers use the idea > of having one member of a group face one way while all the > others face in the other. Of course, the left out one corrects > quickly. (This segues into other dance jokes but you get the > point.) Not being one who has orientation problems, I have known many who do. I sympathize, but am glad I don't share your plight. I remember how difficult it was for my partner (who had a problem with "left" and "right") to re-learn Shrewsbury Lasses when Reel Nutmeg started it as a three couple set then turned it into a duple minor longways midway through our NEFFA suite one year. (I mean we rehearsed it that way, but it was confusing to learn.) I've known people who have a very difficult time finding anything, even with explicite written directions. (One friend told me once, "I get lost on the way to the bathroom.") As one who drew maps for a while, if you give me an address and a map I can find where I need to go. I've even been known to look at the map, then leave it home and drive straight to where I want to go. As far as the use of the terms "corners" or "diagonals", I learned corners over 30 years ago and prefer that designation, ...and it's two less syllables if you're trying to call it. (How many of you know who your 3rd and 4th corners are in "Contra Corners?") Andy __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Mon, 15 Apr 2002 08:15:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 15 Apr 2002 08:16:05 -0700 (PDT) From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Another plug for diagonals (was Re: people vs places - one person's simple is another's tangle To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020415151605.51829.qmail-AT- web13606.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Campbell_Kaynor-AT- biogen.com wrote: > 4) Even though diagonal has extra syllables it lacks the "or" sound > of corners, four, forward, etc... If dancers hear only one syllable > of a call > (probably the most frequent situation) they will hear the "or" > sound rather than the "ag" of diagonal. Worse, in my experience as a dancer, when the sound is a little funky, it can be very difficult to distinguish the sound of "corNER" from "partNER." ===== "There is no inverse relationship between freedom and security. Less of one does not lead to more of the other. People with no rights are not safe from terrorist attack." Molly Ivins __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Mon, 15 Apr 2002 09:40:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 15 Apr 2002 12:40:57 -0400 (EDT) From: DavBarnert-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places - one person's simple is another's tangle To: ecd-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <9b.25e3a27e.29ec5c99-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Andy wrote: >I worked with a guy years ago who said that there would not be a >digital time piece in his house until his children learned to >tell time. I met a reasonably intelligent teenager last week who looked at an "analog" clock and was baffled by it because the face didn't have any numbers on it. ______ /\/\/\/\ <______> | | | | | David Barnert <______> | | | | | <______> | | | | | Albany, N.Y. <______> \/\/\/\/ Ventilator Concertina Bellows Bellows (Vocation) (Avocation) ================================================================================ Archive-Date: Mon, 15 Apr 2002 10:13:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 15 Apr 2002 10:13:53 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Another plug for diagonals (was Re: people vs places - one person's simple is another's tangle To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020415171353.35919.qmail-AT- web20005.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Barbara Ruth wrote: > Worse, in my experience as a dancer, when the sound is a > little funky, it can be very difficult to distinguish the sound > of "corNER" from "partNER." Especially if the caller swallows their words instead of enunciating them. I think Pat Napier, who taught Appalachian Square classes at Berea Christmas School (and maybe still does), was one of the hardest callers to understand because of this habit. I remember one year at NEFFA the Contra medley was all women callers. The first two callers voices were so similar that you didn't even notice the change when the second one took over. When Debbie Small took over, her relatively soft voice was completely lost to those of us in about 1/3 of the room. I remember because I was dancing with one of my favorite partners of all time and the dance completely fell apart at the bottom of our line, as well as in several others around us. Andy __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Mon, 15 Apr 2002 19:39:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 15 Apr 2002 19:39:49 -0700 (PDT) From: Lyrl Catherine Ahern Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020416023949.58187.qmail-AT- web13804.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Campbell_Kaynor-AT- biogen.com wrote: 1) There is ambiguity in the traditional designation of "corners" This is all very confusing to me--what's the ambiguity? "Corners" and "diagonals" mean different things to me. "Corners" are either the person diagonally across from me in a duple minor set or the persons across to my right and left in a triple minor or 3-couple set. A "diagonal" is a person across and to my left or right who is usually not my corner. For example, there might be a 3-couple dance where, in the B1, one faces on the right diagonal and crosses, followed by facing left and crossing in the B2. Because of the nature of the set, of course, not everyone can cross both times. The people you have crossed with are diagonals, but not corners, by my definition. Argh... Lyrl __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Wed, 17 Apr 2002 06:03:47 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 17 Apr 2002 09:03:50 -0400 From: Campbell_Kaynor-AT- biogen.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Lyrl Catherine Ahern To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Sent by: cc: owner-ecd-AT- PLAYFORD.SLAC.S Subject: Re: people vs places TANFORD.EDU 04/15/02 10:39 PM Please respond to ECD --- Campbell_Kaynor-AT- biogen.com wrote: 1) There is ambiguity in the traditional designation of "corners" This is all very confusing to me--what's the ambiguity? ... Lyrl, For "what's" the ambiguity, I refer you to the start of this discussion (see below) as an example. Although this may have been one individual, the discussion that dragged on afterwards should indicate the problem is widespread. Although each individual thinks they know what is meant by "corners" and many of the experts claim they have the proper and only correct definition, there is not uniform consensus. Cammy Paul / Victoria Bestock To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Sent by: cc: owner-ecd-AT- PLAYFORD.SLAC.S Subject: people vs places TANFORD.EDU 04/03/02 02:05 PM Please respond to ECD Hi, In my dance description for Scotch Morris it says the second corners cross first. It does not state whether this is original second corner people who are in first corner position at this point in the dance, or whether this means the second corner position, or origianl first corners. What do the rest of you prefer here? Victoria in Seattle ================================================================================ Archive-Date: Wed, 17 Apr 2002 07:00:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 17 Apr 2002 07:00:30 -0700 (PDT) From: Carl Andersen Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Pre-NEFFA event: CDW April Dance To: ECD List Message-ID: <20020417140030.3377.qmail-AT- web12207.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT The Showers & Flowers Dance of Country Dancers of Westchester is at 8pm, Friday, April 19, at the Church in the Highlands at the corner of Bryant & Grandview Avenues, White Plains, NY. Beverly Francis is emcee for the party with music by Cynthia Shaw and Friends. Admission is $10.00 for CDW members; others pay $12.00. Contributions of refreshments -- sweets, savories, fruits, and other goodies -- are welcome! Directions to the Church in the Highlands; the Spring, 2002, schedule; and other CDW information are available at our website: http://www.geocities.com/Heartland/Plains/2225/ White Plains is a 30-minute rail trip on Metro North's Harlem Line from Grand Central Terminal in New York City, with trains running frequently. Those wishing to be picked up by Bluebell transporter at White Plains station *must* call Susan Murrow beforehand at (914) 762-8619 to make arrangements. For more information, call Susan at the number above or Leah Barkan at (914) 693-5577. __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/ ================================================================================ Archive-Date: Wed, 17 Apr 2002 17:37:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 17 Apr 2002 14:35:32 -0400 From: Allison M Thompson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Trying to locate a book To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: sofdh-AT- juno.com Message-ID: <20020417.203328.-1917411.4.AllisonThompson-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT I have been trying without success to get from ILL A.C. Cowley's The Maypole Dance (London: Curwen, 1891). and/or Emily Hughes, May Pole Exercises: A Collection of Exercises Compiled for hte Use of Teachers in Infant Schools (Birmingham: W.B. Hill, 1895) If anyone has either of these in their collection & would be willing to make me a photocopy, I would reimburse costs and toss in a free cd of Amarillis: Waltzing in the Trees. Keeping my fingers crossed! Allison ================================================================================ Archive-Date: Fri, 19 Apr 2002 15:00:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 18 Apr 2002 11:42:26 -0700 From: Howard Carlberg Subject: faces or places (was: people vs places) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3CBF1370.D78809FC-AT- ix.netcom.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: This discussion of people versus places has been about how to describe or call the figure, not about how to dance it. I don't know that anybody even answered Victoria as to how to dance Scotch Cap. Once you know how you want to dance a dance, you may have to use several methods of description, perhaps inclucing demonstration to communicate that to the dancers. Where I come from, I know the issue as "faces or places". Most people I run into in context understand what that means, or can quickly figure it out. As an example, I was recently in a morris set, 3 couple longways formation, mixed people from different teams, in public, street performance. Different people knew different traditions, but we agreed to one, and we were on! Halfway through the chorus, after a half hey, the set was inverted, and we have the situation which this discussion is all about. Who goes first now? Is it the first corner people now in the second corner position, ie "faces". Or is it the original second corner people now in first corner position, ie "places". Durring the half hey I shouted "faces or places?", expecting the answer of "faces", that is how we always do it. But the answer came back as "places" everybody knew what it meant, and could adjust to it. If I had known the answer and wanted to direct the set, I could have hollared "places not faces" to the set. The point is, 3 or 4 words is all it took to clarify the situation. There is no universal truth that is always correct in every dance. Some dances have different figures than others. While we should strive for commonly accepted definitions of terms, as we do, we are still going to have to give a little more explanation sometimes, but needn't always draw it out at lenght. cheers, Howard -- Howard & Shirley Carlberg 878 Pauline Court Santa Rosa, CA 95401 (707) 528-2310 - phone in house ================================================================================ Archive-Date: Tue, 23 Apr 2002 14:10:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 22 Apr 2002 22:57:45 -0700 From: John Carver Reply-To: ECD-AT- playford.slac.stanford.edu Subject: callers for a ball To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3.0.5.32.20020422225745.00914b80-AT- pop.islandnet.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: How do callers/instructors go about arranging tours? How do venues get in touch with them? We're planning to host an English ball here in Victoria in March 2003. We've had a couple of quite successful weekend workshops now (the next will be Sept. 14 weekend), and there's been a lot of interest shown for a ball. We've got the venue, and enthusiastic volunteers. Now we need to find the right person to lead the dancing. Suggestions? John Carver Victoria English Country Dance Society (Victoria's on Vancouver Island, just off the left side of the map of Canada - http://victoriabc.com/ ) ================================================================================ Archive-Date: Tue, 23 Apr 2002 14:10:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 20 Apr 2002 08:28:15 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: faces or places (was: people vs places) To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020420152815.58602.qmail-AT- web20001.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Howard Carlberg wrote: > The point is, 3 or 4 words is all it took to clarify the > situation. There is no universal truth that is always > correct in every dance. Some dances have different figures > than others. While we should strive for commonly accepted > definitions of terms, as we do, we are still going to have > to give a little more explanation sometimes, but needn't > always draw it out at lenght. In any particular dance you are doing/teaching, what works best for the flow of the dance might depend upon the previous or following figure. Or the choice could be to mirror or complement some other figure. Andy __________________________________________________ Do You Yahoo!? Yahoo! Games - play chess, backgammon, pool and more http://games.yahoo.com/ ================================================================================ Archive-Date: Tue, 23 Apr 2002 14:10:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 22 Apr 2002 09:09:52 -0400 From: Allison M Thompson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: O'Carolan To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20020422.090952.-2016031.0.AllisonThompson-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT I'm starting a project to compile modern ECDs set to the tunes of O'Carolan. David Millstone, whose 1994 article in CDSS News was the inspiration for this, has very kindly shared with me his list of about 30 such dances, and I am sorting through these and starting to obtain permissions. I would be happy to review other nominations. If this idea causes creative juices to flow, let me gently yet firmly urge you not to set a dance to any of the O'Carolan waltzes included in Barnes' Little Couple Dance Music, as these have been somewhat overused. There are numerous wonderful tunes--both driving folky types and more flowing baroquey types--in O'Neill's collection (although apparently some are misattributed to Carolan, and I'm not yet sure which these are!) and, more accurately, in the Ossian collection. Best wishes, Allison Thompson 1623 Denniston Street Pittsburgh PA 15217 USA allisonthompson-AT- juno.com ________________________________________________________________ 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/web/. ================================================================================ Archive-Date: Tue, 23 Apr 2002 14:10:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 21 Apr 2002 11:27:31 -0700 From: Paul / Victoria Bestock Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: faces or places (was: people vs places) To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <5.1.0.14.1.20020421105722.00a177a0-AT- mail.oz.net> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: Hi all, Howard points out that my original question was never answered. I don't usually have a problem explaining which corners _I_ mean when I say "second corners cross." My question was which corners did the writer of the dance description for Scotch Morris mean-- the people? (because they're in the first corner position which crosses first in most dances) Or the places? (because that's where the original first corners are and they usually go first) The lack of consensus about these terms was apparent last Friday when the caller said "First corners cross" in a dance where the progression had happened. All four people in my minor set attempted to cross-- the people in the first corner positions, and the people who were the original first corners. We all knew what WE meant by "first corners" in that situation and we had to ask the caller what HE meant. But what do scholars think that the original author of the dance meant? What was commonly meant in Playford's time-- people or places? And how do you know that? We can adjust the terminology to suit the caller and community once we figure that out. Thanks for any guidance toward an answer to this question. Victoria ================================================================================ Archive-Date: Tue, 23 Apr 2002 14:10:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 21 Apr 2002 21:57:51 -0700 (PDT) From: metis-AT- seki.mcs.csuhayward.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Ffarwel ir Marian (revisited) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200204220457.g3M4vpG11788-AT- seki.mcs.csuhayward.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT Now that I have the tune embedded in my brain (thanks to the Bare Necessities Simple Pleasures album), I'd love to try the dance, whose title and source I have bilingually notated below (thanks to Nicolas B.). > Farewell Marian Four Welsh Barn Dances Williams, Gwyn > (Ffarwel ir Marian) (Cymdeithas Ddawns) (Wwilliamms, Gwwynn) CDSS has no information on it. I'd be delighted to order a copy of this source if it's anywhere in print. In case it isn't, or in the meantime, would someone by willing to send it to me offlist? The tune is in Barnes (labeled as "dance 197-", which I'm straining not to take as a postpositional minus sign), so I only need the instructions. I'd also be curious as to background information. Gene's notes in the album says the dance is traditional, collected rather than invented by Williams. This makes me wonder what exactly the locals who danced it would have called it: "Farewell Marian", "Ffarwel ir Marian" or "Farewell to the Shore"? Or did it vary among the natives? Thanks, Tom Tom Roby Department of Math & CS metis-AT- seki.mcs.csuhayward.edu California State University [Fax] 510-885-4314 25800 Carlos Bee Blvd. [Off] 510-885-2691,3591 Hayward, CA 945423092 http://seki.csuhayward.edu ================================================================================ Archive-Date: Tue, 23 Apr 2002 17:02:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Apr 2002 15:13:54 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Reflector problems should now be resolved To: winston-AT- SLAC.Stanford.EDU BCC: ecd-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01KGWOQDXOXY8Y6T65-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT List Subscribers -- While I was out of town, there were some fairly serious network problems here at SLAC. (Tech talk: An Ethernet-enabled detector on the booster injector for the SPEAR ring had accidentally been placed on a backbone network rather than a switched subnet; when it decided it had a problem that needed attention, it started sending out 2000 _broadcast_ packets a second, flooding the main network and disrupting inter-computer communications, resulting in cluster crashes and disconnects. The code that runs the detector has been changed so that it won't flood the network again, and it's been moved to a port on a switched subnet.) That was resolved on the weekend, but it left various systems in various bad states. The crucial thing for the mailing lists / reflectors I support was that the main SLAC mail gateway had quit trying to deliver mail to the system that runs mailing lists, although it hadn't bounced the mail yet. I just got this sorted out, so messages from Friday have just gone out. Administrative messages (subscribe, unsubscribe, etc) would have been delayed just as the list mail was. If you sent a message and it didn't bounce, it should now have been processed. If it hasn't been - if you tried to unsubscribe and are still subscribed, etc, then send the message again. Sorry for the inconvenience. -- Alan Winston, list maintainer =============================================================================== 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 Apr 2002 17:02:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Apr 2002 16:53:29 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Reflector problems _should_ now be resolved To: ecd-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01KGWRXHYCCM8Y58B7-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: message/rfc822 Return-path: Received: from DIRECTORY-DAEMON.SSRL.SLAC.STANFORD.EDU by SSRL.SLAC.STANFORD.EDU (PMDF V6.0-025 #37499) id <01KGWOQEXCO08Y6DBV-AT- SSRL.SLAC.STANFORD.EDU> for WINSTON-AT- SSRL.SLAC.STANFORD.EDU (ORCPT winston-AT- slac.stanford.edu); Tue, 23 Apr 2002 15:21:16 -0700 (PDT) Received: from SSRL.SLAC.STANFORD.EDU by SSRL.SLAC.STANFORD.EDU (PMDF V6.0-025 #37499) id <01KGWLBXZV8W8Y6T65-AT- SSRL.SLAC.STANFORD.EDU> for winston-AT- SLAC.Stanford.EDU; Tue, 23 Apr 2002 15:21:15 -0700 (PDT) Date: Tue, 23 Apr 2002 15:13:54 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Reflector problems should now be resolved To: winston-AT- SLAC.Stanford.EDU Reply-to: winston-AT- SLAC.Stanford.EDU Message-id: <01KGWOQDXOXY8Y6T65-AT- SSRL.SLAC.STANFORD.EDU> MIME-version: 1.0 Content-type: TEXT/PLAIN; CHARSET=us-ascii Content-transfer-encoding: 7BIT Original-recipient: rfc822;winston-AT- slac.stanford.edu List Subscribers -- While I was out of town, there were some fairly serious network problems here at SLAC. (Tech talk: An Ethernet-enabled detector on the booster injector for the SPEAR ring had accidentally been placed on a backbone network rather than a switched subnet; when it decided it had a problem that needed attention, it started sending out 2000 _broadcast_ packets a second, flooding the main network and disrupting inter-computer communications, resulting in cluster crashes and disconnects. The code that runs the detector has been changed so that it won't flood the network again, and it's been moved to a port on a switched subnet.) That was resolved on the weekend, but it left various systems in various bad states. The crucial thing for the mailing lists / reflectors I support was that the main SLAC mail gateway had quit trying to deliver mail to the system that runs mailing lists, although it hadn't bounced the mail yet. I just got this sorted out, so messages from Friday have just gone out. Administrative messages (subscribe, unsubscribe, etc) would have been delayed just as the list mail was. If you sent a message and it didn't bounce, it should now have been processed. If it hasn't been - if you tried to unsubscribe and are still subscribed, etc, then send the message again. Sorry for the inconvenience. -- Alan Winston, list maintainer =============================================================================== 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 =============================================================================== =============================================================================== 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 Apr 2002 18:40:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Apr 2002 09:31:26 +1000 From: Earthly Delights music & dance Subject: POTLUCK? To: ECD Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <011801c1eb1e$fd92ff20$75ecfea9-AT- webone.com.au> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT I'm curious about your potluck dances. What do people bring? Do you have any recipes to share with us beginners in the field? I'm writing from Australia, where we have a mid-evening supper table at our dances but lots of people now bring packets of biscuits. Not much is homemade. I take along bowls of chopped up fruit and veges and some sandwiches. I'd love responses to this message - any hints will be passed on to our dancing crowd. Some dances that are organised by other people here have decided to cancel their suppers, something I'm upset about as I feel it makes for an even more social evening. Warmest Regards, Aylwen Garden Earthly Delights - Music and Dance 87 Schlich Street Yarralumla ACT 2600 AUSTRALIA Ph +61 +2 +62811098 Website: http://www.earthlydelights.com.au Dances & Gigs: http://www.earthlydelights.com.au/upcoming.htm ================================================================================ Archive-Date: Tue, 23 Apr 2002 19:00:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Apr 2002 19:00:25 -0700 From: "Gary D. Shapiro" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: POTLUCK? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <011801c1eb1e$fd92ff20$75ecfea9-AT- webone.com.au> At 9:31 AM +1000, on 4/24/02, Earthly Delights music & dance wrote: >I'm curious about your potluck dances. What do people bring? We had a potluck last night (Sunday) in between the afternoon ECD and the evening contra dance here in Santa Barbara, California. I brought spaghetti with marinara, reheated in the on-site oven; others brought salmon (!), rice dishes, pasta dishes, bean dishes, salads, pizza, vegies, meatballs, bread, fruit, desserts, drinks. Some homemade, some store-bought. It usually just works out. One fellow always brings noodle kugle but he was out of town. Twice a year--once in the spring around Easter and once in the fall before our Thanksgiving--we provide turkey, and charge US$1. -- Gary ================================================================================ Archive-Date: Tue, 23 Apr 2002 19:06:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Apr 2002 17:51:47 -0700 From: Paul / Victoria Bestock Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: O'Carolan To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <5.1.0.14.1.20020423174536.00a20c60-AT- mail.oz.net> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT HI Allison, One of the workshops at Cascadia this year is dances to O'Carolan tunes. Philippe Callens is planning and teaching it-- perhaps he has some ideas for you. Victoria in Seattle ================================================================================ Archive-Date: Tue, 23 Apr 2002 19:23:41 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 23 Apr 2002 22:23:35 -0400 From: Terence Gaffney Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: O'Carolan 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 4/23/02 8:51 PM, "Paul / Victoria Bestock" wrote: > HI Allison, > > One of the workshops at Cascadia this year is dances to O'Carolan > tunes. Philippe Callens is planning and teaching it-- perhaps he has some > ideas for you. > > Victoria in Seattle > > > Dear Friends, Has anyone done a dance party on or around St Patty's day of English dances to Irish tunes? (or including Irish titles--it would be hard to resist doing "Irish Lamentations" at such an event.) Best, Terry ================================================================================ Archive-Date: Wed, 24 Apr 2002 06:19:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Apr 2002 09:13:58 -0400 From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Reflector problems should now be resolved To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20020424.091402.-805817.4.gmurrow-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT It's always good to remember what it was like when we each were novices at ECD. Alan's recent post reminded me... When calling a dance like Prince William, callers say something like: "Mirror heys... then one cross over to your own side. Ones cross and go below, while two move up. Ones turn once and a half. Same for twos. Contra-corners, first man going first (2nd woman move up). Ones turn 2-hands. Other corners. Ones lead out through the women. Cast back and 2-hand turn. Lead out through men, cast back, and 2-hand turn to the bottom" This is what is sounds like to a beginning dancer: "An Ethernet-enabled detector on the booster injector for the SPEAR ring had accidentally been placed on a backbone network rather than a switched subnet; when it decided it had a problem that needed attention, it started sending out 2000 _broadcast_ packets a second, flooding the main network and disrupting inter-computer communications, resulting in cluster crashes and disconnects. The code that runs the detector has been changed so that it won't flood the network again, and it's been moved to a port on a switched subnet." Gene Murrow EC Dancer, Caller, Musician, and speaker in tongues ------------------------------------------------------------------------- -- Permanent address: - for your Address book ISP of the moment: - "Reply" button destination ================================================================================ Archive-Date: Wed, 24 Apr 2002 07:44:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Apr 2002 10:44:30 -0400 From: Bree Kalb Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Virus warning To: Bree Kalb Message-ID: <002001c1eb9e$8f0341c0$659bf7a5-AT- bertha> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT I'm sending this to every one in my address book. Don't open anything from me with an attachment. I got infected just opening a message this morning and now it's coming back to me from various people and lists with different subject headings. You might want to delete anything with an attachment for now. ================================================================================ Archive-Date: Wed, 24 Apr 2002 07:59:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Apr 2002 11:04:28 -0400 From: Graham.Christian-AT- risk.sungard.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: That Miss Othmar noise again To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT In response to Gene's observation--we hope and pray that this is *only* the verbal reminder just before the music starts, and not the whole of the teaching to a mixed crowd (tell me nobody would teach Prince William to a *beginner* crowd). Mercifully, the key difference between description of a technical problem and dance instruction is that after the latter, you have to do something; after the former, you can simply say, "Super. Whatever you say." [waWAwaWA wa WAWA]. Graham Christian Technical Writer, Product Management Telephone number: (617)542-2800, extension 247 Email address: graham.christian-AT- risk.sungard.com Group web address: http://www.risk.sungard.com SunGard Trading and Risk Systems, BancWare 3 Post Office Square Boston, MA 02109 "Sphinx of black quartz, judge my vow." ********************************************************************** This email and any files transmitted with it are confidential and intended solely for the use of the individual or entity to whom they are addressed. If you have received this email in error please notify the system manager. This footnote also confirms that this email message has been swept by MIMEsweeper for the presence of computer viruses. ********************************************************************** ================================================================================ Archive-Date: Wed, 24 Apr 2002 08:00:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Apr 2002 10:00:27 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: POTLUCK? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200204241500.g3OF0RD03555-AT- staff2.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Earthly Delights music & dance writes: > > I'm curious about your potluck dances. What do people bring? > Do you have any recipes to share with us beginners in the > field? > I'm writing from Australia, where we have a mid-evening > supper table at our dances but lots of people now bring > packets of biscuits. Not much is homemade. I take along > bowls of chopped up fruit and veges and some sandwiches. I'd > love responses to this message - any hints will be passed on > to our dancing crowd. Some dances that are organised by > other people here have decided to cancel their suppers, > something I'm upset about as I feel it makes for an even > more social evening. My experience has been with 2 different kinds of potlucks associated with dances. One is the dessert potluck where people bring cakes, cookies and other snacks, as well as drinks, to share, usually at the break in the dance. We have done this at our ECD balls and usually get quite a spead to partake of at the break. The other kind is the potluck dinner before or after the dance. Our local contra dance group, and others that I have attended elsewhere, hold a few of these each year. Usually it is some sort of special event and there is always quite a wide variety of food. Our ECD group holds potluck dinners after our Sunday afternoon dances. The trick is to make sure that you get enough main dishes. You don't want a situation where everyone brings macaroni salad and no one brings meat or dessert. (This actually happened at one I attended). Usually if you have a large enough crowd you will get a good variety. If you have a smaller crowd you may want to have people sign up for, or be assign, different types of foods. Some people to bring salads, some to bring vegetables, some to bring main dishes, some to bring desserts, etc. We've done that with some potluck at work to insure that we get a good variety. 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 Apr 2002 10:43:29 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Apr 2002 13:38:08 -0400 From: sol weber Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Reflector amphigories To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20020424.134007.-242315.0.solweber-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT In the same posting, I received the following from Wordsmith..... amphigory (AM-fi-gor-ee) noun, also amphigouri A nonsensical piece of writing, usually in verse form, typically composed as a parody. [From French amphigouri.] "More jeers than cheers currently greet the amphigories of Father Divine, and the followers of kindred dark-town messiahs are noisier than they are numerous." Mark Gauvreau Judge, Justice to George S. Schuyler, Policy Review (Washington), Aug/Sep 2000. ........and also Alan's discussion of reflector problems..... An Ethernet-enabled detector on the booster injector for the SPEAR ring had accidentally been placed on a backbone network rather than a switched subnet; when it decided it had a problem that needed attention, it started sending out 2000 _broadcast_ packets a second, flooding the main network and disrupting inter-computer communications, resulting in cluster crashes and disconnects..... I assume the two postings were unrelated. Those cluster crashes and disconnects *do* resemble some dances I've been in where adjoining sets have dyslexic moments when a whole line has to slip left or right. +++++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 ; web -- roundz.tripod.com Urgent message? Please phone. ================================================================================ Archive-Date: Wed, 24 Apr 2002 19:49:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 24 Apr 2002 22:49:14 -0400 From: Patricia Ruggiero Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: POTLUCK? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <001201c1ec03$c90a7f90$9bc4c943-AT- g9tfz> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT One method that fosters greater variety is to suggest that folks with last names between the letters A and H (for example) bring main dishes; letters I to P bring salads; and Q to Z bring desserts. That doesn't guarantee homemade goodies, though. Sad to hear it. Although the ECD group with whom we dance doesn't go in for potluck dinners, the SCD groups favor a *very hearty* refreshment table during the intermission with an abundance of both homemade and store-bought offerings. My frequent contribution is a tray of dried fruits (apricots, figs, dates, are especially well received) with walnut and pecan halves scattered throughout. Perhaps a "recipe swap" night would encourage folks to show off their culinary skills instead of bringing packets of biscuits...... Pat Charlottesville, VA USA Aylwen wrote: "I'm curious about your potluck dances. What do people bring? Do you have any recipes to share with us beginners in the field? I'm writing from Australia, where we have a mid-evening supper table at our dances but lots of people now bring packets of biscuits. Not much is homemade...." ================================================================================ Archive-Date: Thu, 25 Apr 2002 02:26:29 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 09:37:00 +0200 From: Martin Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: POTLUCK? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <5.1.0.14.0.20020425093254.00a05d90-AT- pop.wanadoo.fr> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT >Someone wrote > > but lots of people now bring packets of biscuits. >Not much is homemade...." Look on the bright side. At least when the food isn't very good, you know that people are attending the event for the sake of the dancing. Here, the tables at our bring-a-dish parties get so overloaded with such a tasty variety of homemade goodies, that I am becoming quite convinced my dancers are not really interested in dancing at all -- they just come for the food! Martin in Grenoble, France. http://perso.wanadoo.fr/scots.in.france/scd.htm ================================================================================ Archive-Date: Thu, 25 Apr 2002 06:54:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 09:54:11 -0400 (EDT) From: "Priscilla M. Burrage" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: POTLUCK? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT We have two or three Potlucks a year, and I have one once a month at my house for another activity. Some basic rules: Have a person designated coordinator for the potluck. Some people have to know what to bring. When they call, ask them what they like to make -- or what they have time to fix. The coordinator also discourages bringing "store-bought" items. ("Well, if you don't cook, why don't you bring wine, butter and French bread, ground coffee for our coffee-maker, etc.") Surprising how many people discover they can fix something. If some people are coming from a distance or crossing an intnernational border (we in the US belong to the Montreal, Canada, branch), make sure the locals know to bring the hot dishes. For our once a month at home potluck, there is no coordination, but the folks coming later bring dessert. In the US, our words for a meal of this type vary by the locale: The Gaelic element in the northeast has given us "the luck of the pot;" and the strong Spanish influence, starting i about 1840, has given us the "covered dish." Doesn't matter what you callit, the meal is alway delicious. ~~~~~~~~~~~~~~~~~ Priscilla Burrage Vermont US (pburrage-AT- zoo.uvm.edu) ================================================================================ Archive-Date: Thu, 25 Apr 2002 12:26:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 12:25:56 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020425192556.32759.qmail-AT- web20003.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT If you have been taught, as Lyrl and I were by the people we learned from 30-35 years ago (Jack and Frances Wright, Barbara Harding, Mary Owen, May Gadd, Genny Shimer, Helene Cornelius, George Fogg, Bob Dalsemer...), that in a duple minor longways the first corners are the first man and second lady and the second corners are the second man and first lady, there is not any ambiguity in the instructions. The second corners are still second corners no matter where they have moved to within the duple minor set. If the instruction is to the second corners, that's who does the figure. Andy in Portland --- Campbell_Kaynor-AT- biogen.com wrote: > For "what's" the ambiguity, I refer you to the start of this > discussion (see below) as an example. > > Lyrl Catherine Ahern wrote: > This is all very confusing to me--what's the ambiguity? ... > > --- Campbell_Kaynor-AT- biogen.com wrote: > 1) There is ambiguity in the traditional designation of > "corners" > > Paul / Victoria Bestock wrote: > In my dance description for Scotch Morris it says the second > corners cross first. It does not state whether this is > original second corner people who > > are in first corner position at this point in the dance, or > whether this means the second corner position, or origianl > first corners. > > What do the rest of you prefer here? > > Victoria in Seattle __________________________________________________ Do You Yahoo!? Yahoo! Games - play chess, backgammon, pool and more http://games.yahoo.com/ ================================================================================ Archive-Date: Thu, 25 Apr 2002 12:51:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 15:49:12 -0400 From: Susan Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: susan-AT- generalist.org Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT Andy writes: >If you have been taught, as Lyrl and I were by the people we >learned from 30-35 years ago (Jack and Frances Wright, Barbara >Harding, Mary Owen, May Gadd, Genny Shimer, Helene Cornelius, >George Fogg, Bob Dalsemer...), that in a duple minor longways >the first corners are the first man and second lady and the >second corners are the second man and first lady, there is not >any ambiguity in the instructions. Except of course if one has been taught that the first corners are the first lady and second man. I tend to call it thus, but shortened ("first lady's...") which avoids the entire issue. >The second corners are still >second corners no matter where they have moved to within the >duple minor set. If the instruction is to the second corners, >that's who does the figure. Yes. I find identifying the person rather than the place more helpful myself, but judging from this whole debate that's something that varies widely. I'm trying to think when this whole "first/second" thing appeared, and for that matter when "corners" appeared as the descriptive for this sort of pair (as oppose to the swing/turn corners sorts of figures.) Anyone know offhand? Susan (it's gloomy, it's rainy, I'm too lazy to go dig) ================================================================================ Archive-Date: Thu, 25 Apr 2002 13:21:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 16:22:36 -0400 From: "Emily L. Ferguson" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: susan-AT- generalist.org Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: >Except of course if one has been taught that the first corners are the >first lady and second man. I tend to call it thus, but shortened >("first lady's...") which avoids the entire issue. > Goodness. Who taught you that!!! Certainly not in Modern American Recreational ECD? (Still wondering who you are). -- 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/gft-pics/ef-notes.htm http://www.beetlecat.org/results/99champs.html http://www.beetlecat.org/store.html#yrbook landscape at: http://www.capecodlife.com/CCD/regions/upper_cape.html ================================================================================ Archive-Date: Thu, 25 Apr 2002 13:22:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 16:22:04 -0400 From: Loretta Holz Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Boston Center CD series To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <03ba01c1ec96$dd321120$c902010a-AT- lorettapc> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <20020425192556.32759.qmail-AT- web20003.mail.yahoo.com> Will there be more CDs in the series? Have the themes/dances been selected? I'm enjoying all the wonderful music and hoping there will be lots more. Loretta ================================================================================ Archive-Date: Thu, 25 Apr 2002 13:32:00 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 15:28:38 -0500 From: "M.G. Mudrey, Jr." Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <5.1.0.14.2.20020425152725.00ac97a0-AT- mail.mhtc.net> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_aRKLtN1Qdetoo42H/XBhgg)" References: --Boundary_(ID_aRKLtN1Qdetoo42H/XBhgg) Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7BIT At 04:22 PM 4/25/02 -0400, you wrote: >>Except of course if one has been taught that the first corners are the >>first lady and second man. I tend to call it thus, but shortened >>("first lady's...") which avoids the entire issue. Someone please look this up. In a three couple set where the first couple are now in second place, both look to the right for first corners. In a two couple set, both look to the right for first corners (the 1st woman has none), second corners to the left (1st man has none) Seems to make sense to me. mm --Boundary_(ID_aRKLtN1Qdetoo42H/XBhgg) Content-type: text/html; charset=us-ascii Content-transfer-encoding: 7BIT At 04:22 PM 4/25/02 -0400, you wrote:

Except of course if one has been taught that the first corners are the
first lady and second man. I tend to call it thus, but shortened
("first lady's...") which avoids the entire issue.

Someone please look this up.

In a three couple set where the first couple are now in second place, both look to the right for first corners.

In a two couple set, both look to the right for first corners (the 1st woman has none), second corners to the left (1st man has none)

Seems to make sense to me.

mm
--Boundary_(ID_aRKLtN1Qdetoo42H/XBhgg)-- ================================================================================ Archive-Date: Thu, 25 Apr 2002 14:38:47 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 17:36:21 -0400 From: Susan Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, elf-AT- cape.com CC: susan-AT- generalist.org Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT Someone named "Emily L. Ferguson" writes: >>Except of course if one has been taught that the first corners are the >>first lady and second man. I tend to call it thus, but shortened >>("first lady's...") which avoids the entire issue. > >Goodness. Who taught you that!!! Well, you see, there's these things called dance manuals, which are full of, you know, dances, which have been published in different countries over the last few hundred years. Many can be found on the Library of Congress website, or you can see facsimiles of them in well-done books like _The Playford Ball_. If you actually look in the dance manuals (or at facsimiles of them), you can see the wording of the dances. For early 19th century, which is one of the periods I focus on, there are quite literally hundreds of dances in which this move starts with the first lady and the second man, with clever (and clear) phrases like "first lady turns the second gent." Amazingly enough, if one reads the manuals, one can figure out how to dance these dances of the period, to some extent. So, if one is teaching country dances of a particular period, one is likely to learn and teach the style points of that particular period. For early 19thc dance, that would generally indicate the first lady starting first, so if one is coming out of an early 19thc country dance background, one has probably learned that as normal. Although as I said, I call it specifically, since 1) I don't *assume* anyone is going to remember terms like "first" and "second" and 2) that's the period way to call it, presumably because they were as subject to confusion and forgetfulness as we are. >Certainly not in Modern American Recreational ECD? Is MARECD different from normal social MECD in some way? Like Dancesport or something? I've never heard of it. I wasn't taught to dance in MARECD or MECD. Might I remind you that this is a list for discussion of all kinds of country dance, not just MECD or MARECD or whatever your personal preference is? I realize that with a limited dance background it is tough to remember that there are other styles, but please *try* to keep an open mind. >(Still wondering who you are). I'd commend to you reading a good book or other ways to productively spend your time, but I suppose it's yours to spend. I don't know who you are either, but I'm able to carry on conversations without getting upset about it. Perhaps I am unusually phlegmatic of disposition. Susan (who had a private bet with herself that she couldn't post without getting hassled by nosy strangers) ================================================================================ Archive-Date: Thu, 25 Apr 2002 14:59:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 14:58:59 -0700 (PDT) From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Ride wanted to CDNY farewell party from DC To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020425215859.53747.qmail-AT- web13606.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Anyone out there planning to drive from the DC area to the CDNY farewell bash for Sharon, David & Michael on Sunday May 19? I'll be coming down for the Washington Spring Ball on Saturday May 18, and would love to have a ride back. Willing to share driving, gas cost, home-baked goodies... Barbara ===== "There is no inverse relationship between freedom and security. Less of one does not lead to more of the other. People with no rights are not safe from terrorist attack." Molly Ivins __________________________________________________ Do You Yahoo!? Yahoo! Games - play chess, backgammon, pool and more http://games.yahoo.com/ ================================================================================ Archive-Date: Thu, 25 Apr 2002 15:24:00 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 18:23:46 -0400 From: SFORDNYC-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Farewell Blowout Hoohah! May 19th -- Reminder To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <6C791173.330529E1.0078596C-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Dear Friends: Following up on Barbara's message.... Just a reminder about CDNY's Farewell Blowout Hoohah for Sharon & David Green and Michael Siemon on Sunday, May 19th from 3-8 p.m. at the Temple House of Congregation Beth Elohim in Park Slope, Brooklyn (where we hold our Playford Ball). Whether coming up from the Washington Ball or coming down from Dance-A-Rama in Connecticut, we hope you'll converge on NYC for music making, dancing, and feasting! If you are planning to attend, I would like to know about your potluck contribution. Everything is welcome! Appetizer, Salad, Main Dish (veggie or meat), Dessert. If you're not able to make something but wish to contribute in some way, a small donation towards drinks and assorted munchies will be accepted. Check out the hoohah page on www.cdny.org for a full blown tribute to the "dearly departing." Please reply to me privately -- unless you wish to inspire the assembled multitude with your offering. See you on May 19th! Suzanne Ford / CDNY ================================================================================ Archive-Date: Thu, 25 Apr 2002 15:37:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 15:37:46 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020425223746.84177.qmail-AT- web20005.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Susan wrote: > Except of course if one has been taught that the first corners > are the first lady and second man. I tend to call it thus, but > shortened ("first lady's...") which avoids the entire issue. I've never run into that in 35 years of dancing ECD in many locations around the country. Andy __________________________________________________ Do You Yahoo!? Yahoo! Games - play chess, backgammon, pool and more http://games.yahoo.com/ ================================================================================ Archive-Date: Thu, 25 Apr 2002 15:45:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 18:44:02 -0400 (EDT) From: "Susan R. Lorand" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Ride wanted to CDNY farewell party from DC 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 Thu, 25 Apr 2002, Barbara Ruth wrote: > Willing to share driving, gas cost, home-baked goodies... > Barbara i wish i could offer a ride; i can vouch for the quality of barbara's home-baked goodies, especially of the chocolate sort... susie lorand princeton, nj, usa ================================================================================ Archive-Date: Thu, 25 Apr 2002 15:45:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 18:43:23 -0400 From: Susan Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: susan-AT- generalist.org Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT Andy writes: >--- Susan wrote: >> Except of course if one has been taught that the first corners >> are the first lady and second man. I tend to call it thus, >but >> shortened ("first lady's...") which avoids the entire issue. > >I've never run into that in 35 years of dancing ECD in many >locations around the country. Let me guess....nothing but MECD, right? Note the line that appears in the header of every single post on this list: >X-Listname: Discussion of modern and historical English Country Dance Hint: MECD standardizes some things that were not standardized over a 350-year period. Susan ================================================================================ Archive-Date: Thu, 25 Apr 2002 15:53:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 18:49:42 -0400 From: "Emily L. Ferguson" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: At 5:36 PM -0400 4/25/02, Susan wrote: >Someone named "Emily L. Ferguson" writes: >>>Except of course if one has been taught that the first corners are the >>>first lady and second man. I tend to call it thus, but shortened >>>("first lady's...") which avoids the entire issue. >> >>Goodness. Who taught you that!!! > >Well, you see, there's these things called dance manuals, which are I, too, am aware that there are many printed dance manuals from quite a few centuries now. And it's interesting, indeed, that the first woman is the one who initiates corner activities in many 19th c. longways dance, but, of course, there's nothing inherent in that situation which would confirm that the 1st woman and the 2nd man are, therefore, first corners. Do the 19th c. manuals specify which number the corners are? And how do the manuals address the contra corner figure? -- 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/gft-pics/ef-notes.htm http://www.beetlecat.org/results/99champs.html http://www.beetlecat.org/store.html#yrbook landscape at: http://www.capecodlife.com/CCD/regions/upper_cape.html ================================================================================ Archive-Date: Thu, 25 Apr 2002 16:11:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 16:11:30 -0700 (PDT) From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Identities - Was Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020425231130.61620.qmail-AT- web13604.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Could we please have a moratorium on comments about people's identities? I don't see that the value of Susan's contributions to this list are in any way lessened by not having her last name attached, and since she has made clear her preference regarding using it, I don't understand why it has to be made an issue. Given the abuse of privacy that is rife in our modern world, not everyone is comfortable displaying their full name in a forum where anybody at all can pick it up and use it for any purpose, and there are many people who have had experiences that give them reason to be cautious. The flak that Susan has been getting on this list is exactly the kind of behavior that makes people prefer some degree of anonymity. Barbara --- "Emily L. Ferguson" wrote: > >Except of course if one has been taught that the first corners are > the > >first lady and second man. I tend to call it thus, but shortened > >("first lady's...") which avoids the entire issue. > > > > Goodness. Who taught you that!!! > > Certainly not in Modern American Recreational ECD? > > (Still wondering who you are). ===== "There is no inverse relationship between freedom and security. Less of one does not lead to more of the other. People with no rights are not safe from terrorist attack." Molly Ivins __________________________________________________ Do You Yahoo!? Yahoo! Games - play chess, backgammon, pool and more http://games.yahoo.com/ ================================================================================ Archive-Date: Thu, 25 Apr 2002 16:13:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 15:58:47 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01KGZJ4PAYRA8Y6T65-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; format=flowed; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT References: > At 5:36 PM -0400 4/25/02, Susan wrote: > >Someone named "Emily L. Ferguson" writes: > >>>Except of course if one has been taught that the first corners are the > >>>first lady and second man. I tend to call it thus, but shortened > >>>("first lady's...") which avoids the entire issue. > >> > >>Goodness. Who taught you that!!! > > > >Well, you see, there's these things called dance manuals, which are > I, too, am aware that there are many printed dance manuals from quite > a few centuries now. And it's interesting, indeed, that the first > woman is the one who initiates corner activities in many 19th c. > longways dance, but, of course, there's nothing inherent in that > situation which would confirm that the 1st woman and the 2nd man are, > therefore, first corners. > Do the 19th c. manuals specify which number the corners are? And how > do the manuals address the contra corner figure? In my non-authoritative experience - and perhaps Rich Galloway or Michael Barraclough, as others who've been through the unreconstructed text of 18th and 19th century dance manuals could chime in here with some more-authoritative experience - texts from before the revival tend to use "corners" only in the sense of what we've interpreted as contra corners, and (as Susan says), refer to the people they're talking about by their role rather than as corners. ("What we've interpreted as contra corners" because texts say things like "swing corners" but there's enough music for contra corners which is an awfully long time to just do a hand or elbow turn with one person.) I disremember whether Wilson defines and diagrams "swing corners" as contra corners. An easily accessible example would be "The Northdown Waltz". As I recall, _Playford Ball_ shows the original text (which clearly specifies that the first woman and second man start off) and then shows the interpretation; I don't recall if the interpretation says "first corners" but I know it has the usual revival first corners start the dance. If "first corners" means "the diagonally-opposite people who go first", then it's at least colorable to say that 1st woman and 2nd man are first corners in 18th and early 19th century dance, although it's also colorable to say that "first corners" is an undefined term in 18th and early 19th century dance. You can certainly make an argument that "first corners" in this sense is an entirely 20th-century term and as such only has a 20th-century definition, which is "first man and second woman". Some people - not usually me - prefer to say "first diagonal" and "second diagonal", mostly to avoid ambiguity. It's kind of confusing to have a personal first corner and second corner at the same time as your two couple minor set has a first corner and second corner (at most one of which will line up with your personal first and second corner), so I usually say "your first _contra_ corner" to disambiguate. Another reason, as John Hertz once told me, to avoid "corner" is so as not to sound like a square dance caller (which is important in his Regency dance context, since the choice of words sets the mood of the period). -- 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: Thu, 25 Apr 2002 16:18:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 19:16:27 -0400 From: Susan Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: susan-AT- generalist.org Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT Someone named "Emily L. Ferguson" wrote: >I, too, am aware that there are many printed dance manuals from quite >a few centuries now. And it's interesting, indeed, that the first >woman is the one who initiates corner activities in many 19th c. >longways dance, but, of course, there's nothing inherent in that >situation which would confirm that the 1st woman and the 2nd man are, >therefore, first corners. This is a bit too obscure for me. What is the definition of "first corners" if not the corners which move first? The term appears to be nonexistent at the time, so one could say they aren't "first corners," since that isn't what they're called, but it does seem to be their de facto role. I doubt anyone conceptualized the default first movers as "second". >Do the 19th c. manuals specify which number the corners are? No. They don't use numbers. They don't even call them corners. As I was pointing out in a different message, I'm not sure when that term came in. They call them "first lady and second gent." or "first gent. and second lady." (Note that I'm referring to pre-1825 stuff; for later 19thc I would have to do some digging which I just don't have time for right now. Perhaps someone else can help.) >And how >do the manuals address the contra corner figure? There are several different variations of it, none of which seem to be quite like the MECD figure as I have experienced it (although I haven't experienced it all that often). The manuals which explain the figure in detail explain it with diagrams and instructions that refer to labelled points on the diagram. (Lady at C turns gentleman at A, that sort of thing.) They do not call anyone "first corners" or "second corners". "Corners" meaning the outside people in a triple-couple minor set when the first couple has progressed to the center position seems to predate the usage of "corners" to mean the people diagonally across from each other in a duple minor set. Susan ================================================================================ Archive-Date: Thu, 25 Apr 2002 16:31:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 19:28:50 -0400 From: Susan Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: susan-AT- generalist.org Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT Quoth Alan: >("What we've interpreted as contra corners" because texts say things like >"swing corners" but there's enough music for contra corners which is an awfully >long time to just do a hand or elbow turn with one person.) I disremember >whether Wilson defines and diagrams "swing corners" as contra corners. I am not entirely certain what the MECD contra corners consists of, but here's Wilson's swing corners figure from _Complete System_: With a set of W2 W1 W3 M2 M1 M3 (in other words, first couple progressed), - first couple swings right hands - M1/W3, W1/M2 swing left hands - first couple swings right hands - M1/W2, W1/M3 swing left hands - first couple return to places My impression is that the MECD figure chops some of that off, but I couldn't tell you precisely what; I just do what the caller said to do for whichever dance (our local callers usually spell it out on the walk-through). >Some people - not usually me - prefer to say "first diagonal" and "second >diagonal", mostly to avoid ambiguity. It's kind of confusing to have a >personal first corner and second corner at the same time as your two couple >minor set has a first corner and second corner (at most one of which will line >up with your personal first and second corner), so I usually say "your first >_contra_ corner" to disambiguate. Disambiguate, riiiiight. Glad we got *that* all clear! :) >Another reason, as John Hertz once told me, >to avoid "corner" is so as not to sound like a square dance caller (which is >important in his Regency dance context, since the choice of words sets the mood >of the period). That's why I name the individuals ("first lady..."). I've never found a manual using "diagonals" either; to me it screams "modern!" Susan ================================================================================ Archive-Date: Thu, 25 Apr 2002 16:44:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 16:14:55 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: Identities - Was Re: people vs places To: Barbara Ruth CC: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01KGZK7Y09A48Y6T65-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT Barbara wrote: > Could we please have a moratorium on comments about people's > identities? I don't see that the value of Susan's contributions to > this list are in any way lessened by not having her last name > attached, and since she has made clear her preference regarding using > it, I don't understand why it has to be made an issue. Given the > abuse of privacy that is rife in our modern world, not everyone is > comfortable displaying their full name in a forum where anybody at > all can pick it up and use it for any purpose, and there are many > people who have had experiences that give them reason to be cautious. I second all of this. Also, "susan-AT- generalist.org" ought to be enough to differentiate her from the other Susans on the list. > The flak that Susan has been getting on this list is exactly the > kind of behavior that makes people prefer some degree of anonymity. My impression (as I've mentioned to Susan) is that what's actually going on here is an unfortunate clash of two different models of civility. At our home dances, it would generally be considered polite to go up to newcomers, welcome them, introduce yourself and ask their name (although in my experience you usually get only the first name in that case). Wanting to know somebody's name is part of being friendly and welcoming. On Usenet - and in bulletin board culture, and in mailing lists on BITnet, for that matter - your email address or your "handle" _is_ your online identity. You may choose to give your name and contact information, but your reputation, your place in the community, comes from your posting history under the particular name. (Even there it's considered de trop to keep changing your email address and expecting to be treated as a different person, although if your address changes you might come back and introduce yourself with a reference to your old handle.) Insisting on knowing somebody else's real-world name is nosey, pushy, and irrelevant - what you need to know about a person to deal with them in an online forum is all there already, in their posting history. (Plenty of people are comfortable using their legal names in these fora, but it's just not mandatory.) Susan is operating under Internet rules. (Not surprising; I recruited her from the Usenet group rec.arts.sf.fandom - where everything is on-topic, except maybe actual sf - after a great discussion on Regency quadrilles.) A lot of the rest of us have met each other, and may view the list as an extension of the face-to-face dance community; another place to interact with people you know from camp, or from your weekly dance, or whatever. (And that's great; one of the best uses of this list ever was as a check-in spot for NY ECDers on and just after 9/11.) But that's not all it is. It's also a place to discuss topics of mutual interest with people whom we haven't already met and may never meet. (It _has_ to be that, if it's going to be useful.) As the list-owner, I _want_ it to be both; I want to feel that the list serves and helps build a community. Usually that's not a problem. Right now it is. So, please, everybody: 1) Chill 2) Presume goodwill 3) Remember that different cultures have different ideas about personal space, and that your friendly gesture can be taken as pushy. If you perceive that's what's going on, back off. 4) Please remember to "sign" your posts, which can just mean putting your handle at the bottom. Not everybody can see "from" in the headers. -- 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: Thu, 25 Apr 2002 16:58:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 16:49:46 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01KGZKPCIHJC8Y6T65-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT Susan-AT- generalist.org wrote: > I am not entirely certain what the MECD contra corners consists of, but > here's Wilson's swing corners figure from _Complete System_: > With a set of > W2 W1 W3 > M2 M1 M3 > (in other words, first couple progressed), A > - first couple swings right hands B > - M1/W3, W1/M2 swing left hands C > - first couple swings right hands D > - M1/W2, W1/M3 swing left hands E > - first couple return to places > My impression is that the MECD figure chops some of that off, but I > couldn't tell you precisely what; I just do what the caller said to do > for whichever dance (our local callers usually spell it out on the > walk-through). There are various variants of this in MECD. (The figure survives in duple-minor contras, where many people find it very confusing because you have to interact with people outside your duple minor set, for one thing, and because even the inactives are busy all the time. "E" is often "actives balance and swing", as in modern renditions of Chorus Jig.) In Fandango, it's two hand turns, and the turns start at the part I labeled "B" above. In Trip to Tunbridge, it's B1: 1-4 1s pass right shoulder, turn right diagonal right hand 5-8 1s pass partner right shoulder (whoosh), turn other opposite right hand B2: 1-4 1s cross by right shoulder, lead lines out a double, fall back, turning to face partners at last second which bears a family resemblance to contra corners but feels very different. In Miss Barrett's Waltz I think it's a full contra corners in waltz time with an additional right hand turn once round, left hand turn once round for the 1s. -- 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: Thu, 25 Apr 2002 17:20:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 20:19:57 -0400 From: Campbell_Kaynor-AT- biogen.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: country corners To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Susan's figure below is more reminiscent of the triple minor contradances such as Sackett's Harbor (which I believe is a fairly modern dance - 20th century at least) than the duple minors which usually end with the 1s (actives) meeting each other rather than retiring to their places in the set.. Susan-AT- generalist.org wrote: > I am not entirely certain what the MECD contra corners consists of, but > here's Wilson's swing corners figure from _Complete System_: > With a set of > W2 W1 W3 > M2 M1 M3 > (in other words, first couple progressed), A > - first couple swings right hands B > - M1/W3, W1/M2 swing left hands C > - first couple swings right hands D > - M1/W2, W1/M3 swing left hands E > - first couple return to places ================================================================================ Archive-Date: Thu, 25 Apr 2002 18:34:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 17:23:54 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: country corners To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01KGZO2E9ZT28Y6T65-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT Cammy wrote: > Susan's figure below is more reminiscent of the triple minor contradances > such as Sackett's Harbor (which I believe is a fairly modern dance - 20th > century at least) than the duple minors which usually end with the 1s > (actives) meeting each other rather than retiring to their places in the > set.. I'd assumed that "Sackett's Harbor" was more-or-less contemporaneous with Wilson, since it's named after a place significant in the War of 1812. (But I have no idea when the usual tune is from.) The business of turning the minor set sideways is unusual if not unique - is that why you believe it's from the 1900s? If not, how come? -- 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: Thu, 25 Apr 2002 18:46:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 18:45:35 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: [fwd from Dorothy Olsson] HISTORICAL DANCE PROGRAM, AMHERST To: ecd-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01KGZOHKTOOM8Y6T65-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=iso-8859-1 Content-Transfer-Encoding: 8BIT (Please excuse any cross-postings.) Please join us for the HISTORICAL DANCE PROGRAM at the AMHERST EARLY MUSIC FESTIVAL July 28-August 4, 2002 and August 4-11, 2002 University of Connecticut at Storrs THIS YEAR'S THEME: "Music of Italy: Medieval, Renaissance, and Baroque" For over twenty years the historical dance program has been a highly successful part of the Amherst Early Music Festival, itself the largest festival of its kind in the world. Students particularly enjoy the opportunities for performance, along with stimulating classes by dance historians and performers. FACULTY Carol G. Marsh, Kaspar D. Mainz, Dorothy Olsson DANCE CLASSES Dance is an integral part of the Amherst Early Music Festival; classes will be offered in Renaissance and Baroque dance, character dance, and contradanza. All levels of dancers are welcome. PERFORMANCES Performance opportunities with live music include "Balletti e Commedia" (August 3, 2002) and "Ballo delle Ingrate" (August 9, 2002). CONCERTS AND OTHER EVENTS Participants are also entitled to attend many other events (including English country dancing, concerts and lectures) in the evenings that are part of the Amherst Early Music Festival Central Program. FOR MORE INFORMATION AND APPLICATION FORM For more information, see our website: http://www.amherstearlymusic.org/ (Historical Dance Program, under Program Information) Amherst Early Music Marilyn Boenau, Director 50 Hovey St. Watertown, MA 02472 Phone: 617-744-1324 Fax: 617-744-1327 E-mail: info-AT- amherstearlymusic.org For more information about the dance program, contact Dr. Dorothy Olsson: do6-AT- nyu.edu Für Informationen auf Deutsch, bitte kontaktieren Sie Kaspar D. Mainz: KasparMnz-AT- aol.com ================================================================================ Archive-Date: Thu, 25 Apr 2002 19:36:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 22:34:33 -0400 From: Susan Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: susan-AT- generalist.org Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT Quoth Alan: >In Fandango, it's two hand turns, and the turns start at the part I labeled >"B" above. Just for variety, here's Wilson's "turn corners" figure, with his distinction between "turn" and "swing' being that "turn" involves both hands and "swing" only one. (Refer to all previous discussions about Wilson being a wee bit *excessive* in his attempts to systematize country dancing). This seems to be close to what you describe from Fandango: With a set of W2 W1 W3 M2 M1 M3 (in other words, first couple progressed), - first couple passes right shoulders - M1/W3, W1/M2 turn two hands - first couple passes right shoulders - M1/W2, W1/M3 turn two hands - first couple return to places Sound about right? I think the only time he actually says contrary corners is in "set contrary corners", in which you aren't turning anyone, just approaching and setting. The path is a little different from the above in that the first couple passes left shoulders going to their first corner; the rest is the same. Susan ================================================================================ Archive-Date: Thu, 25 Apr 2002 21:18:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 23:04:47 -0500 From: Mike Mudrey Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: country corners To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <5.1.0.14.2.20020425225420.00a3e540-AT- mhtc.net> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT Ralph Page Elegant Collection of Contras p. 81 "Howe's Ball Room Hand Book" Boston 1858 gives the dance as "Speed the Cable." An 1862, p. 92 edition of the same book gives it name as "Steamboat Quickstep." Specfic phrase used: "Turn contra corners." Page could find reference to it as "Sacketts Harbor in the 1890s. Jim Kimball's CD Sackett's Harbor uses the tune from a tunebook prepared from about 1800 until John Carroll death in 1812 (not necessarily definitive for the dance). It is definitely not a 20th Century Dance. On the phase "contra corners" Wilson (1815) is clear than in all the "turn corner" figures (p. 62-) the first corner to be turned is always to the lead dancers right. mm At 05:23 PM 4/25/2002 -0700, you wrote: >Cammy wrote: > > > Susan's figure below is more reminiscent of the triple minor contradances > > such as Sackett's Harbor (which I believe is a fairly modern dance - 20th > > century at least) than the duple minors which usually end with the 1s > > (actives) meeting each other rather than retiring to their places in the > > set.. > >I'd assumed that "Sackett's Harbor" was more-or-less contemporaneous with >Wilson, since it's named after a place significant in the War of 1812. (But I >have no idea when the usual tune is from.) The business of turning the minor >set sideways is unusual if not unique - is that why you believe it's from the >1900s? If not, how come? > >-- 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 >=============================================================================== Mike Mudrey 106 Ravine Road Mount Horeb, WI53572-1930 608-437-3701 mgmudrey-AT- mhtc.net mike-AT- mudrey.com dance connections for Madison, Wisconsin http://sprott.physics.wisc.edu/dances.htm ================================================================================ Archive-Date: Thu, 25 Apr 2002 22:58:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 25 Apr 2002 22:54:30 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01KGZXAE3EY48YA392-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT > Quoth Alan: > >In Fandango, it's two hand turns, and the turns start at the part I labeled > >"B" above. > Just for variety, here's Wilson's "turn corners" figure, with his distinction > between "turn" and "swing' being that "turn" involves both hands and > "swing" only one. (Refer to all previous discussions about Wilson being > a wee bit *excessive* in his attempts to systematize country dancing). > This seems to be close to what you describe from Fandango: > With a set of > W2 W1 W3 > M2 M1 M3 > (in other words, first couple progressed), A> - first couple passes right shoulders B> - M1/W3, W1/M2 turn two hands C> - first couple passes right shoulders D> - M1/W2, W1/M3 turn two hands E> - first couple return to places > Sound about right? Nearly. (As we do Fandango, anyway, you don't really pass your partner at A; you take the short path to your corner, which is probably technically passing _left_ shoulders. At C, partners turn two hands; at E, partners turn two hands again, speeding up on the last few beats for propulsion into figure eights through the end couples.) -- 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: Fri, 26 Apr 2002 02:33:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 26 Apr 2002 02:33:15 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: [fwd from Nic Broadbridge] English-Scottish session at Pinewoods To: ecd-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01KH04STAO7W8YA392-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT Hi there folks, Pass the following along to anyone you think might be interested. Priscilla Adams English Scottish Session http://www.geocities.com/SoHo/Courtyard/8534 Pinewoods July 8 - 12, 2002 ENGLISH-SCOTTISH SESSION AT PINEWOODS - 2002 This summer's English-Scottish Session is offering an attractive and exciting combination of classes and evening dances that will please dancers and musicians alike. ESS has always been an interdisciplinary session with its duo offering of English and Scottish dances as well as other related dance traditions including Morris, Highland, Ritual (Longsword and Rapper) and Lady's Step. ESS has always encouraged both English and Scottish dancers and musicians to sample each other's dances and music. In Summer 2001, the Session took another major "step" by bringing in George Fogg to teach the wildly successful Colonial Dance classes. The teaching staff for ESS-2002 includes Charlie Ingles, teaching Scottish Country Dance, Barbara Finney for English Country Dance, and George Fogg returning for another round of Colonial Dance. Joining them will be Jan Elliott for Longsword and Morris and Maggie Carchrie for Cape Breton and Highland dance, and a Waltz/Hambo class will be taught by Priscilla Adams. The music staff features Nicolas Broadbridge, accordion, as English band leader, Sylvia Miskoe, accordion, for Scottish band leader and R.P.Hale, harpsichord, Colonial band leader; joined by fiddlers Betsy Hooper, Ralph Thompson and Aidan Broadbridge and pianist/multi-intrumentalist Terry Traub. Jan Elliott will join in with concertina and recorders, R.P. will also be on Scottish dance piano, and the piper is Dan Emery. This summer ESS has scheduled daily music classes for English, Scottish and Morris as well as in piping. And, of course, Monday through Thursday evenings feature the Dances in C# Major followed by the after-parties. The Monday dance is the Welcome dance and there will be two formals this week--English-Scottish on Wednesday and the Washington Ball for Thursday which will include Colonial dances and early contras along with the English and Scottish sets. For more information, please call Howard Brezner at 518-456-1732 or e-mail him at or check out our web site at http://www.geocities.com/SoHo/Courtyard/8534/ AND The ESS Committee is looking for qualified and enthusiastic persons to fill the following scholarship positions for ESS 2002: Evening Party Coordinator Afternoon Tea Coordinator Assistant Sound The ESS Committee is looking for qualified and enthusiastic persons to fill the following special campers jobs for ESS 2002: Car Zar/ receive the privilege of arriving early on Monday Decorating C# for evening dances/ a chance to show off your creativity Assistants to Evening Party Coordinator/ Any true party folks out there Assistant to Afternoon Tea Coordinator/ of course you know how to make that exceptional pot of tea Assistant to Afternoon Party Coordinator/ a time for afternoon whimsy The ESS Committee is looking for qualified, dedicated and enthusiastic persons to fill ESS Committee positions for ESS 2003 - 04: An opportunity for you to keep the tradition alive, be part of the planning/creating and and go to Pinewoods free. Reply to: Priscilla Adams ESS Committee Chair ArachneAS-AT- aol.com or Send in registration to Howard Brezner hsbrezne-AT- gw.dec.state.ny.us ================================================================================ Archive-Date: Fri, 26 Apr 2002 05:30:41 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 26 Apr 2002 07:30:34 -0500 From: Roger Diggle Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: country corners To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200204261230.g3QCUZHj014758-AT- im1.sec.tds.net> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Alan Winston - SSRL Central Computing wrote: >Cammy wrote: > >> Susan's figure below is more reminiscent of the triple minor contradances >> such as Sackett's Harbor (which I believe is a fairly modern dance - 20th >> century at least) than the duple minors which usually end with the 1s >> (actives) meeting each other rather than retiring to their places in the >> set.. Alan wrote: >I'd assumed that "Sackett's Harbor" was more-or-less contemporaneous with >Wilson, since it's named after a place significant in the War of 1812. >(But I >have no idea when the usual tune is from.) The business of turning the minor >set sideways is unusual if not unique - is that why you believe it's from the >1900s? If not, how come? I, too, had the idea that this dance was War of 1812 connected, but I've never been able to pin down an original source. I'd love to know what information anyone has. It's possible that the idea that this dance is that old was, sort of, pasted onto it from Hull's Victory, following the (not completely unreasonable) presumption that a dance named after a place important in that war would probably be from that time. Roger Diggle ================================================================================ Archive-Date: Fri, 26 Apr 2002 05:55:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 26 Apr 2002 12:54:20 +0000 (GMT) From: allisonthompson-AT- juno.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re:Sackett's Harbor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: Message-ID: <20020426.055520.491.173749-AT- webmail1.wlv.untd.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT If I'm not mistaken, someone recently wrote a wonderful essay on this dance and its history. It's in one of the CDSS Newses from the last year or so. Allison ================================================================================ Archive-Date: Fri, 26 Apr 2002 07:30:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 26 Apr 2002 10:24:58 -0400 (EDT) From: "Susan R. Lorand" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Sackett's Harbor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT i'd be very interested to know which tunes alan winston and mike mudrey are referring to. (an abc notation of the first few measures would do.) alan wrote: > (But I have no idea when the usual tune is from.) mike wrote: > Jim Kimball's CD Sackett's Harbor uses the tune from a tunebook prepared > from about 1800 until John Carroll death in 1812 (not necessarily > definitive for the dance). i'm partial to the tune i learned from laurie andres, the first four bars of which i think can be notated: T:Sackett's Harbor M:2/2 L:1/8 K:Am EGAB A2 AB|cBAG A2 E2|G2 G2 GABc|dcBc dcBc|.... (this tune may have appeared in the CDSS news in the last couple of years; i don't have time to hunt up the reference right now.) --susie lorand princeton, nj, usa ================================================================================ Archive-Date: Fri, 26 Apr 2002 08:57:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 26 Apr 2002 11:57:01 -0400 From: Campbell_Kaynor-AT- biogen.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: country corners To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Thanks for setting me straight - my info was from when I learned the dance as a young lad, and obviously my memory or the oral grapevine were incorrect. Mike Mudrey To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Sent by: cc: owner-ecd-AT- PLAYFORD.SLAC.S Subject: Re: country corners TANFORD.EDU 04/26/02 12:04 AM Please respond to ECD Ralph Page Elegant Collection of Contras p. 81 "Howe's Ball Room Hand Book" Boston 1858 gives the dance as "Speed the Cable." An 1862, p. 92 edition of the same book gives it name as "Steamboat Quickstep." Specfic phrase used: "Turn contra corners." Page could find reference to it as "Sacketts Harbor in the 1890s. Jim Kimball's CD Sackett's Harbor uses the tune from a tunebook prepared from about 1800 until John Carroll death in 1812 (not necessarily definitive for the dance). It is definitely not a 20th Century Dance. On the phase "contra corners" Wilson (1815) is clear than in all the "turn corner" figures (p. 62-) the first corner to be turned is always to the lead dancers right. mm At 05:23 PM 4/25/2002 -0700, you wrote: >Cammy wrote: > > > Susan's figure below is more reminiscent of the triple minor contradances > > such as Sackett's Harbor (which I believe is a fairly modern dance - 20th > > century at least) than the duple minors which usually end with the 1s > > (actives) meeting each other rather than retiring to their places in the > > set.. > >I'd assumed that "Sackett's Harbor" was more-or-less contemporaneous with >Wilson, since it's named after a place significant in the War of 1812. (But I >have no idea when the usual tune is from.) The business of turning the minor >set sideways is unusual if not unique - is that why you believe it's from the >1900s? If not, how come? > >-- 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 > =============================================================================== Mike Mudrey 106 Ravine Road Mount Horeb, WI53572-1930 608-437-3701 mgmudrey-AT- mhtc.net mike-AT- mudrey.com dance connections for Madison, Wisconsin http://sprott.physics.wisc.edu/dances.htm ================================================================================ Archive-Date: Fri, 26 Apr 2002 09:38:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 26 Apr 2002 11:33:06 -0500 From: "M.G. Mudrey, Jr." Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Reflector problems should now be resolved To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <5.1.0.14.2.20020426113204.00ae21a0-AT- wiscmail.wisc.edu> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_a8mWSBFF/qT+R2BSIv3MHg)" --Boundary_(ID_a8mWSBFF/qT+R2BSIv3MHg) Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7BIT I passed Gene's expansion on Alan's explanation of Reflector Problems to the Madison, Wisconsin ECD crowd...and Needless to say...both were well received!!! Now...If I can only remember NOT to use either Gene's or Alan's descriptive methods!!!! Mike Madison Wisconsin English Country Dancing The Madison (Wisconsin) English Country Dance Society meets on the first and third Mondays of the month from 7:30-9:30 PM. Dancing October through May at the Wilmar Center, 953 Jenifer St., Madison, Wisconsin June through September in front of Memorial Library, University of Wisconsin-Madison For more information, contact Mike (mgmudrey-AT- mhtc.net), Jean (608-231-1040) or Don (608-238-9951) Website images http://sprott.physics.wisc.edu/mecds/home.htm no images http://sprott.physics.wisc.edu/mecds/hometext.htm --Boundary_(ID_a8mWSBFF/qT+R2BSIv3MHg) Content-type: text/html; charset=us-ascii Content-transfer-encoding: 7BIT I passed Gene's expansion on Alan's explanation of Reflector Problems to the Madison, Wisconsin ECD crowd...and

Needless to say...both were well received!!!

Now...If I can only remember NOT to use either Gene's or Alan's descriptive methods!!!!

Mike

Madison Wisconsin English Country Dancing

The Madison (Wisconsin) English Country Dance Society meets
on the first and third Mondays of the month from 7:30-9:30 PM.

Dancing
        October through May at the Wilmar Center,
                953 Jenifer St., Madison, Wisconsin
        June through September in front of Memorial Library,
                University of Wisconsin-Madison
For more information, contact
        Mike (mgmudrey-AT- mhtc.net),
        Jean (608-231-1040) or
        Don (608-238-9951)
Website
images
http://sprott.physics.wisc.edu/mecds/home.htm
no images
http://sprott.physics.wisc.edu/mecds/hometext.htm
--Boundary_(ID_a8mWSBFF/qT+R2BSIv3MHg)-- ================================================================================ Archive-Date: Fri, 26 Apr 2002 17:45:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 26 Apr 2002 17:43:58 -0700 From: Chris Sackett & Brooke Friendly Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Identities - Was Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3CC9F44D.C30A0F41-AT- opendoor.com> MIME-Version: 1.0 Content-Type: text/plain; x-mac-creator=4D4F5353; x-mac-type=54455854; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <01KGZK7Y09A48Y6T65-AT- SSRL.SLAC.STANFORD.EDU> And the reverse - I was just back east for the New York ball, CDSS board meeting and NEFFA and got to talk to (and dance with!) a number of people I had 'met' only on-line. What fun. (and hear's also to respecting different cultures - thanks Alan for giving more insight into the internet culture) Brooke from Oregon USA Alan Winston - SSRL Central Computing wrote: > A lot of the rest of us have met each other, and may view the list as an > extension of the face-to-face dance community; another place to interact with > people you know from camp, or from your weekly dance, or whatever. ================================================================================ Archive-Date: Fri, 26 Apr 2002 17:54:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 26 Apr 2002 17:53:47 -0700 From: Chris Sackett & Brooke Friendly Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Identities - Was Re: people vs places To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3CC9F69B.13E97C8A-AT- opendoor.com> MIME-Version: 1.0 Content-Type: text/plain; x-mac-creator=4D4F5353; x-mac-type=54455854; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <01KGZK7Y09A48Y6T65-AT- SSRL.SLAC.STANFORD.EDU> <3CC9F44D.C30A0F41-AT- opendoor.com> oops, I meant here's (not hear's) Chris Sackett & Brooke Friendly wrote: > And the reverse - I was just back east for the New York ball, CDSS board meeting > and NEFFA and got to talk to (and dance with!) a number of people I had 'met' only > on-line. What fun. > > (and hear's also to respecting different cultures - thanks Alan for giving more > insight into the internet culture) > > Brooke from Oregon USA > > Alan Winston - SSRL Central Computing wrote: > > > A lot of the rest of us have met each other, and may view the list as an > > extension of the face-to-face dance community; another place to interact with > > people you know from camp, or from your weekly dance, or whatever. ================================================================================ Archive-Date: Sat, 27 Apr 2002 08:31:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 27 Apr 2002 11:31:48 -0400 (EDT) From: David.Millstone-AT- valley.net (David Millstone) Subject: Sackett's Harbor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <14434859-AT- enfield.VALLEY.NET> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT I wrote an article about Sackett's Harbor that appeared in the CDSS News, Issue #148, May/June 1999. Executive summary: Sackett's Harbor, in western New York, was the headquarters for the American fleet on Lake Ontario during the War of 1812. There was a battle fought there, but I argue that the dance (originally titled Speed the Cable) commemorates the delivery overland of a massive cable needed to outfit a new ship under construction, the usual water delivery being precluded by a British blockade of the site. I'll be happy to e-mail a copy of the text to anyone interested. David Millstone ================================================================================ Archive-Date: Sat, 27 Apr 2002 11:23:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 27 Apr 2002 19:10:51 +0100 From: francis2 Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: POTLUCK? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000201c1ee19$29d061c0$06443c3e-AT- oemcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <011801c1eb1e$fd92ff20$75ecfea9-AT- webone.com.au> Almost anything that you would like to eat yourself Try Scotch Eggs, Quiches of various sorts, sandwiches of any sort, Ham tomato cheese etc, Vol au Vents filled with something such as chicken or tuna, other nibbles on plain crackers, celery or carrot sticks with a dip, one dance we visit regularly always has a plate of smoked salmon sandwiches on thin brown bread. Cakes, sponges, fruitcake, fruit bread, jaffa cakes, chocolate biscuits, etc etc the list is endless. Have a good party, Regards francis2. ----- Original Message ----- From: "Earthly Delights music & dance" To: "ECD" Sent: Wednesday, April 24, 2002 12:31 AM Subject: POTLUCK? > I'm curious about your potluck dances. What do people bring? > Do you have any recipes to share with us beginners in the > field? > I'm writing from Australia, where we have a mid-evening > supper table at our dances but lots of people now bring > packets of biscuits. Not much is homemade. I take along > bowls of chopped up fruit and veges and some sandwiches. I'd > love responses to this message - any hints will be passed on > to our dancing crowd. Some dances that are organised by > other people here have decided to cancel their suppers, > something I'm upset about as I feel it makes for an even > more social evening. > Warmest Regards, > Aylwen Garden > > Earthly Delights - Music and Dance > 87 Schlich Street > Yarralumla ACT 2600 AUSTRALIA > Ph +61 +2 +62811098 > Website: http://www.earthlydelights.com.au > Dances & Gigs: > http://www.earthlydelights.com.au/upcoming.htm > ================================================================================ Archive-Date: Sat, 27 Apr 2002 11:23:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 27 Apr 2002 19:25:04 +0100 From: francis2 Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Sackett's Harbor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000301c1ee19$2af559c0$06443c3e-AT- oemcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: In England we usually dance sacketts harbor to Crockers Reel ----- Original Message ----- From: "Susan R. Lorand" To: Sent: Friday, April 26, 2002 3:24 PM Subject: Sackett's Harbor > i'd be very interested to know which tunes alan winston and mike mudrey > are referring to. (an abc notation of the first few measures would do.) > > alan wrote: > > > (But I have no idea when the usual tune is from.) > > mike wrote: > > > Jim Kimball's CD Sackett's Harbor uses the tune from a tunebook prepared > > from about 1800 until John Carroll death in 1812 (not necessarily > > definitive for the dance). > > i'm partial to the tune i learned from laurie andres, the first four bars > of which i think can be notated: > > T:Sackett's Harbor > M:2/2 > L:1/8 > K:Am > EGAB A2 AB|cBAG A2 E2|G2 G2 GABc|dcBc dcBc|.... > > (this tune may have appeared in the CDSS news in the last couple of years; > i don't have time to hunt up the reference right now.) > > --susie lorand > princeton, nj, usa > ================================================================================ Archive-Date: Sat, 27 Apr 2002 11:25:00 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 27 Apr 2002 13:24:43 -0500 From: Mike Mudrey Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Sackett's Harbor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <5.1.0.14.2.20020427132402.00a621c0-AT- mhtc.net> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT At 11:31 AM 4/27/2002 -0400, you wrote: >I wrote an article about Sackett's Harbor that appeared in the CDSS News, >Issue >#148, May/June 1999. David... I forgot to check my back issues... Thanks for the heads up.! Mike ================================================================================ Archive-Date: Sun, 28 Apr 2002 10:47:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 28 Apr 2002 14:47:22 -0300 From: John Wood Reply-To: ECD-AT- playford.slac.stanford.edu Subject: (no subject) To: "ECD-AT- SSRL04.SLAC.STANFORD.EDU" Message-ID: <3CCC35A9.F3F80E1D-AT- accesscable.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT NO MAIL ================================================================================ Archive-Date: Mon, 29 Apr 2002 02:47:25 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Apr 2002 10:44:18 +0100 From: Michael Barraclough Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: dance sources To: eceilidh-AT- netservs.com, ECD-AT- SSRL04.SLAC.STANFORD.EDU, allceilidh-AT- yahoogroups.com CC: 'Rachel Bearon' Message-ID: <000001c1ef62$78ccb680$c0b501d5-AT- michael> MIME-Version: 1.0 Content-Type: text/plain; charset=Windows-1252 Content-Transfer-Encoding: 7BIT [Original email (at bottom) comes from UK eceilidh list but I am copying this response to the UK allceilidh and ECD lists for interest.] Galopede was collected by Cecil Sharp in Warwickshire and published in the Country Dance Book Vol 1 and re-published in Community Dance Manuals Book 2. Be aware, however, that "trad" does not necessarilty mean that Sharp saw it being done. Most of his dances were in fact collected from correspondents or people he interviewed and he seems to ignore the history of the person he collects from. Thus a dance collected from someone in place X, and therefore recorded as being from X, may well in fact have travelled with that person from Y to X and actually have nothing to do with X. Be aware, also, that printed dance manuals and the "ballroom" were the chief source of social dances and that locating a particular dance in place X is highly dubious. For a modern analogy, consider the dance Country Bumpkin. Is it a dance from Berkshire (where the idea was conceived), from London (where it was first performed), from Cheshire or Wiltshire (where I was/am living), or just about anywhere over the UK where it has been performed? In similar vein, recent emails covered the issue of Northumbrian dances or Northumbria dance style. This included aspects such as turning out in stars or clapping in stars. Whilst there may be some consistency NOW, this was never the case. If you look at Cecil Sharp and Maud Karples field notes (Q1 C20) you will see that whether to turn out in stars, clapping etc, were consistent for all dances in a particular village, but differed from village to village. As far as I can work out this was true across all of the North of England (Northumberland, Cumberland, Durham etc). As previously responded by Ron, Clopton Bridge is by John Chapman. Twelve Reel is by Pat Shaw and is published in Callers Choice 1 The Willow Tree (also known as Rippon Junction Shunt) was written by Hugh Rippon in 1968. It was published in English Dance and Song and re-published in Dances for a Party in 1969. The idea for the dance came from a well-known Dutch folk dance and is said to be "suitable for adults or children and in any event should not be taken too seriously". There is an alternative version of the C1 movement (source unknown) called Squeezing the Toothpaste. To do this have the circle made in the middle by the active couples rotate slowly to the left as people are winding their way through. The title describes the result most accurately :) Michael Barraclough http://www.mab.tgis.co.uk -----Original Message----- From: Anthony J. Bearon [mailto:ajbearon-AT- chiark.greenend.org.uk] Sent: 29 April 2002 00:33 To: ECeilidh Cc: Rachel Bearon Subject: dance sources Hi (this is Rachel not Anthony - please reply to me directly), I'm going to be doing a 'ceilidh workshop' here in Seattle next weekend at an English dance weekend. Does anyone know where the dance the boston tea party came from? Out of interest, the other dances I'm planning to call, and where I think they're from (but please correct me) are Galopede - Trad. (but where from in England?) Clopton Bridge - Hugh Rippon? Willow tree - Hugh Rippon 12 reel - Pat Shaw Rachel Problems with ECeilidh? Visit http://www.netservs.com/ec/faq.html --- Incoming mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.350 / Virus Database: 196 - Release Date: 17/04/02 ================================================================================ Archive-Date: Mon, 29 Apr 2002 08:21:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Apr 2002 08:21:01 -0700 (PDT) From: Giovanni De Reply-To: ECD-AT- playford.slac.stanford.edu Subject: playford ball, 21 september, Los Angeles (California) To: ecdlist ecdlist Message-ID: <20020429152101.77705.qmail-AT- web11207.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Good day all. the South Bay English Country Dance branch of the California Dance Cooperative is pleased to announce the second annual Los Angeles Playford Ball to take place on saturday, 21 september 2002 at the Women's Club in Orange (CA) details, staff, dance programs, times, dance instructions, driving directions and registration form are available at: http://www.geocities.com/sbecd/playford/playford_front.html If you have further questions, or wish a paper copy of the flier, please e-mail (off the list) to sbecd-AT- yahoo.com. Happy dancing. Giovanni De Amici ===== for information about English Country Dance in and around Los Angeles, please check our web page at: www.geocities.com/sbecd __________________________________________________ Do You Yahoo!? Yahoo! Health - your guide to health and wellness http://health.yahoo.com ================================================================================ Archive-Date: Mon, 29 Apr 2002 11:42:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Apr 2002 11:42:26 -0700 From: "Klein, Anita" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: playford ball, 21 september, Los Angeles (California) To: "'ECD-AT- PLAYFORD.SLAC.STANFORD.EDU'" Message-ID: <7F0B0267D3BAD211A1A30010E37C16770759DB48-AT- nt44.alza.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_aQoNCm7Rp22i4eI+1rnwyQ)" 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_aQoNCm7Rp22i4eI+1rnwyQ) Content-type: text/plain Content-transfer-encoding: 7BIT Will you be sending dance instructions on casette again this year? -----Original Message----- From: Giovanni De [mailto:sbecd-AT- yahoo.com] Sent: Monday, April 29, 2002 8:21 AM To: ecdlist ecdlist Subject: playford ball, 21 september, Los Angeles (California) Good day all. the South Bay English Country Dance branch of the California Dance Cooperative is pleased to announce the second annual Los Angeles Playford Ball to take place on saturday, 21 september 2002 at the Women's Club in Orange (CA) details, staff, dance programs, times, dance instructions, driving directions and registration form are available at: http://www.geocities.com/sbecd/playford/playford_front.html If you have further questions, or wish a paper copy of the flier, please e-mail (off the list) to sbecd-AT- yahoo.com. Happy dancing. Giovanni De Amici ===== for information about English Country Dance in and around Los Angeles, please check our web page at: www.geocities.com/sbecd __________________________________________________ Do You Yahoo!? Yahoo! Health - your guide to health and wellness http://health.yahoo.com --Boundary_(ID_aQoNCm7Rp22i4eI+1rnwyQ) Content-type: text/html Content-transfer-encoding: 7BIT RE: playford ball, 21 september, Los Angeles (California)

Will you be sending dance instructions on casette again this year?

-----Original Message-----
From: Giovanni De [mailto:sbecd-AT- yahoo.com]
Sent: Monday, April 29, 2002 8:21 AM
To: ecdlist ecdlist
Subject: playford ball, 21 september, Los Angeles (California)

Good day all.

the South Bay English Country Dance branch
of the California Dance Cooperative

is pleased to announce the second annual
Los Angeles Playford Ball

to take place on saturday, 21 september 2002
at the Women's Club in Orange (CA)

details, staff, dance programs, times, dance
instructions, driving directions and registration form
are available at:
http://www.geocities.com/sbecd/playford/playford_front.html

If you have further questions, or wish a paper copy of
the flier, please e-mail (off the list) to
sbecd-AT- yahoo.com.

Happy dancing.
Giovanni De Amici

=====
for information about English Country Dance
in and around Los Angeles, please check our web
page at: www.geocities.com/sbecd

__________________________________________________
Do You Yahoo!?
Yahoo! Health - your guide to health and wellness
http://health.yahoo.com

--Boundary_(ID_aQoNCm7Rp22i4eI+1rnwyQ)-- ================================================================================ Archive-Date: Mon, 29 Apr 2002 20:29:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Apr 2002 20:32:27 -0700 From: Ric Goldman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Join us on May Day morning to dance up the sun (San Francisco Bay Area) To: dance-and-event-related-lists-AT- rgoldman.org Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Yes folks, it's that time again. All over the Bay Area, local Morris dancers will join with other Morris teams all around the world, gathering in darkness before dawn with their ribbons, bells, streamers, baldrics, instruments, pomp, circumstance, and all around good cheer to wake and dance up the sun on May Day morning, cajoling it to rise for another year. You too can be part of the tradition and part of the magic of English Morris dancing, a legacy thought to be hundreds of years old. Join us throughout the land in this wonderful ritual celebration. Oh, and it's free! This really works! The sun *does* come up, doesn't it? And now you know why! :-) There are lots of teams and celebrations all thru the San Francisco Bay Area and beyond. For the latest information on schedule, details, maps to the local May Day morning near you, and what this is all about, please see the webpage at http://rgoldman.org/morris/mayday.htm. These celebrations feature teams associated with the Bay Area Country Dance Society (BACDS). See the BACDS website at http://www.bacds.org, with additional (but unofficial) information at http://timelord01.home.sprynet.com/bacds and http://fussell.org/bacds. Hope to see you there... Thanx, Ric Goldman Faultline Morris FFL Morris (http://connect.to/ffl) ================================================================================ Archive-Date: Mon, 29 Apr 2002 23:43:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 29 Apr 2002 23:43:09 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Join us on May Day morning to dance up the sun To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020430064309.92799.qmail-AT- web20008.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Ric Goldman wrote: > Yes folks, it's that time again. All over the Bay Area, local > Morris dancers will join with other Morris teams all around the > world, gathering in darkness before dawn with their ribbons, > bells, streamers, baldrics, instruments, pomp, circumstance, > and all around good cheer to wake and dance up the sun on May > Day morning, cajoling it to rise for another year. <> Portland area Morris Dancers will be dancing at 5:00am at the Rose Test Garden in Washington Park (not at the original Rose Garden in Peninsula Park a block done the street from me.) ;-{( Means I'll have to get up a lot earlier... Andy __________________________________________________ Do You Yahoo!? Yahoo! Health - your guide to health and wellness http://health.yahoo.com ================================================================================ Archive-Date: Tue, 30 Apr 2002 01:00:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 08:57:10 +0100 From: Michael Barraclough Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Dance sources / three-twos To: allceilidh-AT- yahoogroups.com, ECD-AT- SSRL04.SLAC.STANFORD.EDU, eceilidh-AT- netservs.com Message-ID: <000201c1f01c$a1f31ee0$df43063e-AT- michael> MIME-Version: 1.0 Content-Type: text/plain; charset=Windows-1252 Content-Transfer-Encoding: 7BIT Actually, I don't think what I said needs to change what you do. It might, however, change what you "say" about your dances. Eg, instead of saying "Northumberland country dances are characterised by claps and turning out in stars" you might say "Northumberland dances have become (in the late C20) characterised by claps and turning out in stars". Nothing stays the same (but change is not necessarily good). How many people realise that the dip-and-dive figure in Cumberland Square Eight was never collected. Originally, it was a crossing over movement which was the equivalent of Waves of the Sea in Running Set (both have their origins in the Cotillions and Quadrilles of C18 French Ballroom). Michael Barraclough http://www.mab.tgis.co.uk MichaelBarraclough wrote: > recent emails covered the issue of Northumbrian dances > or Northumbria dance style. This included aspects such as turning out > in stars or clapping in stars. Whilst there may be some consistency > NOW, this was never the case. If you look at Cecil Sharp and Maud > Karples field notes (Q1 C20) you will see that whether to turn out in > stars, clapping etc, were consistent for all dances in a particular > village, but differed from village to village. As far as I can work > out this was true across all of the North of England (Northumberland, > Cumberland, Durham etc). > Noel Jackson wrote: Interesting stuff ...which means that bands like ours have to make a concious decisions on whether to go with the historical detail or adopt (and hence reinforce) the currently accepted norm. Its not a trivial decision to make. I THINK that what we do is recognize that ours is an unbroken oral tradition, so what we do now is every bit as "valid" as anything collected by Sharp/Karpeles/Kenedy etc.Where we might go aginst type is if we discovered something that had obviously died out but which was worth reviving. I can't thinkof anything that fits the bill at the moment except perhaps the Military Twostep, which was popular until just after the last war but doesn't seem to have been danced at ceilidhs uphere for decades. ================================================================================ Archive-Date: Tue, 30 Apr 2002 01:59:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 03:56:39 -0500 From: Charlene Charette Reply-To: ECD-AT- playford.slac.stanford.edu Subject: dance in Hawaii? To: English Country Dance List Message-ID: <3CCE5C47.27A880FE-AT- flash.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT My husband and I will be in Hawaii next month. Any dance-related happenings? We'll be on Oahu May 23-25 and Maui May 25-28. Thanks, --Charlene -- When aiming for the common denominator, be prepared for the occasional division by zero. ================================================================================ Archive-Date: Tue, 30 Apr 2002 03:03:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 11:03:08 +0100 From: Michael Barraclough Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: [allceilidh] RE: Dance sources / three-twos To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, eceilidh-AT- netservs.com, allceilidh-AT- yahoogroups.com Message-ID: <200204301003.LAA25889-AT- galahad.tgis.co.uk> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Whoops - my error, too early in the morning to be doing email! When I said "dip-and-dive figure in Cumberland Square Eight" I should have said "dip-and-dive figure in La Russe". Thanks to Roger for spotting my error. Michael Barraclough http://www.mab.tgis.co.uk On Tuesday, April 30, 2002 at 09:07:21 AM, allceilidh-AT- yahoogroups.com wrote: > I'm not sure if I'm being stupid here but I'm sure I've never done a > dip-and-dive figure in Cumberland Square Eight. Did you mean another figure > or another dance or another published version I've not run across? (lots of > choice there) > > Roger > > -------------------------------------------------------------------- > Nothing stays the same (but change is not necessarily good). How many > people realise that the dip-and-dive figure in Cumberland Square Eight > was never collected. Originally, it was a crossing over movement which > was the equivalent of Waves of the Sea in Running Set (both have their > origins in the Cotillions and Quadrilles of C18 French Ballroom). > -- ================================================================================ Archive-Date: Tue, 30 Apr 2002 03:16:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 03:14:15 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: RE: [allceilidh] RE: Dance sources / three-twos To: Michael Barraclough CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU, eceilidh-AT- netservs.com, allceilidh-AT- yahoogroups.com Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01KH5RGO9SEK8YBPB3-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Michael Barraclough wrote: > Whoops - my error, too early in the morning to be doing email! When I said >"dip-and-dive figure in Cumberland Square Eight" I should have said >"dip-and-dive figure in La Russe". Thanks to Roger for spotting my error. I did wonder about that. I've always called the La Russe figure "drawers", because of the extremely close resemblance to the drawers figure in quadrilles. (According to CDM, it is the "La Russe Quadrille.") What puzzles me is "La Poule Quadrille", IIRC, which is in CDM, and seems to be based on some instance of the music for the La Poule figure, but I don't think the figure is La Poule - it's too late at night for me to look it up now. -- 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, 30 Apr 2002 03:32:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 03:31:57 -0700 (PDT) From: Davenport-Senuta Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Hartford(Ct) Ball Review To: ECD Chat Message-ID: <20020430103157.39581.qmail-AT- web13402.mail.yahoo.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_njA+5TYxNdh/CXa9ZN4DXQ)" --Boundary_(ID_njA+5TYxNdh/CXa9ZN4DXQ) Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT The First Saturday English Country Dance (May 4) at Munson Library in South Amherst, Ma will be a Hartford Ball (West Hartford, Ct) Review. The dance is from 8pm to 10:30. Music will be beautifully played by Pat McPherson, Ruth Hazzard and David Kaynor. There is still limited room for couples at the Hartford Ball. The Ball is held in a wonderful hall in the center of West Hartford, Ct. on Saturday May 11. The evening dance will be gently prompted and the music will be by Norb Spencer, Roberta Sutter and Amy Cann. Please contact me at dancerhiker-AT- yahoo.com if you would like more information about either dance. Helen Davenport- Dance Mistress & Director of Reel Nutmeg --------------------------------- Do You Yahoo!? Yahoo! Health - your guide to health and wellness --Boundary_(ID_njA+5TYxNdh/CXa9ZN4DXQ) Content-type: text/html; charset=us-ascii Content-transfer-encoding: 7BIT

The First Saturday English Country Dance (May 4) at Munson Library in South Amherst, Ma will be a Hartford Ball (West Hartford, Ct) Review. The dance is from 8pm to 10:30. Music will be beautifully played by Pat McPherson, Ruth Hazzard and David Kaynor.

There is still limited room for couples at the Hartford Ball. The Ball is held in a wonderful hall in the center of West Hartford, Ct. on Saturday May 11. The evening dance will be gently prompted and the music will be by Norb Spencer, Roberta Sutter and Amy Cann.

Please contact me at dancerhiker-AT- yahoo.com if you would like more information about either dance. Helen Davenport- Dance Mistress & Director of Reel Nutmeg

Do You Yahoo!?
Yahoo! Health - your guide to health and wellness --Boundary_(ID_njA+5TYxNdh/CXa9ZN4DXQ)-- ================================================================================ Archive-Date: Tue, 30 Apr 2002 07:28:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 09:28:07 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dance in Hawaii? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200204301428.g3UES8703435-AT- staff2.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Charlene Charette writes: > > My husband and I will be in Hawaii next month. Any dance-related > happenings? We'll be on Oahu May 23-25 and Maui May 25-28. The web page for the Honolulu contra group is at "http://www.sls.hawaii.edu/bley-vroman/contra/". They say there is no regular ECD there, but there are links to other possibilities. I danced at one of the Saturday contra dances two years ago when I was there for my brother's wedding and had a good time. Good luck on finding something that coincides with your trip. Jonathan ================================================================================ Archive-Date: Tue, 30 Apr 2002 07:30:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 09:30:26 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: [allceilidh] RE: Dance sources / three-twos To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200204301430.g3UEUQ204560-AT- staff2.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Michael Barraclough writes: > > Whoops - my error, too early in the morning to be doing email! When I said "dip-and-dive figure in Cumberland Square Eight" I should have said "dip-and-dive figure in La Russe". Thanks to Roger for spotting my error. Now that you have gotten us all interested, can you give the instructions for this missing figure and where it fits into the dance? Jonathan ================================================================================ Archive-Date: Tue, 30 Apr 2002 07:41:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 10:41:52 -0400 From: rabrown-AT- nyseg.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ECD Near South Bend Indiana? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Does anyone know of any English Country dancing classes or groups near South Bend, Indiana (about 1.5-2 hours east of Chicago)? Richard Brown Conklin, NY ================================================================================ Archive-Date: Tue, 30 Apr 2002 08:04:30 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 10:04:23 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD Near South Bend Indiana? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200204301504.g3UF4Nr18335-AT- staff2.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT rabrown-AT- nyseg.com writes: > > Does anyone know of any English Country dancing classes or groups near > South Bend, Indiana (about 1.5-2 hours east of Chicago)? As far as I know there is no ECD anywhere in Indiana. You will probably need to travel to Michigan, Illinois or Ohio. We've had some people from Indianapolis, Bloomington and elsewhere attend some of our dances here in east central Illinois, so there are interested dancers around, but so far there hasn't been any indications of anyone starting a regular dance, though some of them have talked about trying to do so. 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, 30 Apr 2002 08:17:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 16:17:06 +0100 From: Michael Barraclough Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: [allceilidh] RE: Dance sources / three-twos To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200204301517.QAA04540-AT- galahad.tgis.co.uk> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Jonathon Its not a missing figure - the curent figure (dip-and-dive) has been substituted for the original figure (waves of the ocean/sea). Michael Barraclough http://www.mab.tgis.co.uk On Tuesday, April 30, 2002 at 09:30:26 AM, ECD-AT- SSRL04.SLAC.STANFORD.EDU wrote: > Michael Barraclough writes: > > > > Whoops - my error, too early in the morning to be doing email! When I said "dip-and-dive figure in Cumberland Square Eight" I should have said "dip-and-dive figure in La Russe". Thanks to Roger for spotting my error. > > Now that you have gotten us all interested, can you give the instructions > for this missing figure and where it fits into the dance? > > Jonathan > > -- ================================================================================ Archive-Date: Tue, 30 Apr 2002 10:10:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 12:56:18 -0400 From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Forthcoming Bare Necessities recordings To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20020430.130415.-805357.2.gmurrow-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Dear friends, Many dancers and musicians have been asking me about new Bare Necessities recordings in the Boston Centre series. Please allow me to use the convenience of our list to save me or the Boston Centre a lot of typing. Also, our plans may be of interest to many of you incorrigible dancers and devoted listeners :-) We have finished recording 3 (yes, three) new CD's, which will be released over the coming months. The first (Volume 6: "At the Ball"-- longways dances the BN's have played during their 20+ year tenure at the Philadelphia Ball) is the companion to Volume 5: "At Home" (set dances) released last fall. Volume 7 is a collection of dances requested by many of you. Volume 8 contains tunes the band especially wanted to record. The contents of all volumes follow. Thanks for your support for this on-going project! Gene Murrow Producer Volume 6: "At the Ball" Amarillis Anna Maria Bar a Bar Corelli's Maggot King of Poland Leather Lake House Mount Hills Mulberry Garden Never Love Thee More Northdown Waltz Prince George's Birthday Pursuit Red House Sadler's Wells Young Widow Volume 7: [requests] Albany Assembly Cupid's Garden Collier's Daughter Dover Pier Gigue for Genny Gypsy Round In the Fields of Frost and Snow Jaque Latin Midnight Ramble Mrs. Savage's Whim Ore Boggy Perpetual Motion Red and All Red Ramsgate Assembly When Laura Smiles Volume 8: [others the band wanted to do] Angels Unawares Beggar Boy Bonny Grey Eye'd Morn Cockle Shells Easter Tuesday Haymakers Muriel's Measure Night Cap, The Princess Rafe's Waltz Rufty Tufty Softly Good Tummas Turning of the Year ================================================================================ Archive-Date: Tue, 30 Apr 2002 10:34:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 13:32:12 -0400 (EDT) From: "Susan R. Lorand" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD Near South Bend Indiana? 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, 30 Apr 2002, Jonathan Sivier wrote: > rabrown-AT- nyseg.com writes: > > > > Does anyone know of any English Country dancing classes or groups near > > South Bend, Indiana (about 1.5-2 hours east of Chicago)? > > As far as I know there is no ECD anywhere in Indiana. You will probably > need to travel to Michigan, Illinois or Ohio. We've had some people from > Indianapolis, Bloomington and elsewhere attend some of our dances here in > east central Illinois, so there are interested dancers around, but so far > there hasn't been any indications of anyone starting a regular dance, > though some of them have talked about trying to do so. susan lee barton used to teach ECD (for phys ed credit!) at earlham college, in richmond, indiana, back in the mid-1980s. (that's where i got my first taste of ECD.) if she's still in richmond, i would ask her. richmond may be too far from south bend (it's 70 miles or so east of indianapolis, just inside the ohio border). susie lorand ================================================================================ Archive-Date: Tue, 30 Apr 2002 14:32:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 17:25:14 -0400 From: Campbell_Kaynor-AT- biogen.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: 5/1 in the Boston area To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT CMM dances on a hilltop overlooking the Atlantic in the Arnold Arboretum from Civil Twilight to sometime after dawn when we join the festivities on the banks of the Charles River that start around 5:30. The latter include the pole, social and ritual dance and song and processes gradually toward Harvard Square, Cambridge, USA. I received this from a team-mate and thought you all might appreciate the precision with which we calculate dawn. The only problem is that the way it is set forth, it sounds as if Civil Twilight and The Dawn would happen without the Morris! Jeremy wrote: Last night I promised to look into and propogate information on sunrise on May 1st... The U.S. Naval Observatory has a great site at which gives sun/moon rise/set time tables for your location. Note that all times are given in standard time, and we are currently on daylight savings time, so an adjustment is necessary. The site gives results for Boston (W071deg 05', N42deg 19'), Brookline (W071deg 08', N42deg 20'), and Cambridge (W071deg 07', N42deg 22'). It does not appear to include Jamaica Plain, and I did not look for other locations. May first readings for Boston, Brookline, and Cambridge all agree to the minute on both sunrise and the start of civil twilight (they also give nautical and astronomical twighlight times, moonrise & set, &tc, but I didn't bother to check these). They declare civil twilight to begin at 0409EST (5:09AM EDT) with sunrise at 0440EST (5:40AM EDT). Please note that they use the following definitions (taken from ): "Sunrise and sunset conventionally refer to the times when the upper edge of the disk of the Sun is on the horizon, considered unobstructed relative to the location of interest. Atmospheric conditions are assumed to be average, and the location is in a level region on the Earth's surface." "Civil twilight is defined to begin in the morning, and to end in the evening when the center of the Sun is geometrically 6 degrees below the horizon. This is the limit at which twilight illumination is sufficient, under good weather conditions, for terrestrial objects to be clearly distinguished; at the beginning of morning civil twilight, or end of evening civil twilight, the horizon is clearly defined and the brightest stars are visible under good atmospheric conditions in the absence of moonlight or other illumination. In the morning before the beginning of civil twilight and in the evening after the end of civil twilight, artificial illumination is normally required to carry on ordinary outdoor activities. Complete darkness, however, ends sometime prior to the beginning of morning civil twilight and begins sometime after the end of evening civil twilight." So it will be light long before official sunrise, particularly if we are on top of a hill. Enjoy, Jeremy PS Any ATMers who are in the Boston area for 5/1: To anyone with bells on, Every May Day I depart the dawn Fall-D-Rall, pick up my handy dandy pole with the legs that help it stand and go to some elementary school or other to run the students through their paces - dance a jig (to a tape recording of me playing the tune), teach em all Shepherd's Hey, and teach them a few of the Maypole ribbon dances. This is tiring work and it takes all morning for me to do all the classes, but it is a VERY fulfilling experience. Now what would make it REALLY REALLY SPECIAL this year is if some of you folks in kit wanted to drop by and spell me by dancing a Highland Mary then Process off. The Forestdale School is in Malden, on the way from Harvard Square to brunch at Peter and Cathy's in Melrose (5 minutes drive from the school). If anyone is interested in consummating their gift to the community on May Day by delivering 15 minutes of excitement to these children, contact me for specifics or just come. Happy May Day, Cammy ================================================================================ Archive-Date: Tue, 30 Apr 2002 19:19:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 30 Apr 2002 19:19:49 -0700 (PDT) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD Near South Bend Indiana? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20020501021949.89364.qmail-AT- web20009.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- rabrown-AT- nyseg.com wrote: > Does anyone know of any English Country dancing classes or > groups near South Bend, Indiana (about 1.5-2 hours east of > Chicago)? This site doesn't list any for South Bend, but I'm not sure how comprehensive the list is. I tried to change the contacts for a listing that I had put on there and they never changed it. Andy __________________________________________________ Do You Yahoo!? Yahoo! Health - your guide to health and wellness http://health.yahoo.com