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 fourso