Archive-Date: Sat, 03 Jan 2004 15:57:59 PST
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Date: Sat, 03 Jan 2004 18:57:38 -0500 (EST)
From: SallenNic-AT-aol.com
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Subject: No Subject
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Aidan Broadbridge, Graduate of Trinity College of Music, and Annette Cable, 
Graduate of Berea College, KY, were married in Berea on Monday December 22nd. 
It was a beautiful and very special service in Union Church, conducted by 
Pastor Kent Gilbert in front of a congregation of about a hundred.
    Afterwards, the Wedding Feast was held in the Folk Centre, and was 
followed by dancing, with a mix of Contra, Scottish Ceilidh and English Country 
Dances (the latter including the Dorset Triumph, traditional wedding dance). Music 
was provided by Al and Alice White and Elise Melbrood, with occasional visits 
to the platform by the two Broadbridge gentlemen!

Nicolas B., Lanark, Scotland
<A HREF="http://www.nicolasbroadbridge.com">http://www.nicolasbroadbridge.com
</A>
================================================================================
Archive-Date: Sat, 03 Jan 2004 16:40:55 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Sat, 03 Jan 2004 20:37:54 -0400
From: John Wood <johnwood-AT-accesscable.net>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: No Subject [2]
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
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References: <111.2cc6177b.2d28b0f2-AT-aol.com>

Congratulations to the Bridal pair and to you for
inheriting a daughter-in-law!

Happy playing and dancing to you all.

Sincere regards, John
Bedford, Nova Scotia

Subject: No Subject


> Aidan Broadbridge, Graduate of Trinity College of Music, and Annette
Cable,
> Graduate of Berea College, KY, were married in Berea on Monday December
22nd.
> It was a beautiful and very special service in Union Church, conducted by
> Pastor Kent Gilbert in front of a congregation of about a hundred.
>     Afterwards, the Wedding Feast was held in the Folk Centre, and was
> followed by dancing, with a mix of Contra, Scottish Ceilidh and English
Country
> Dances (the latter including the Dorset Triumph, traditional wedding
dance). Music
> was provided by Al and Alice White and Elise Melbrood, with occasional
visits
> to the platform by the two Broadbridge gentlemen!

================================================================================
Archive-Date: Sun, 04 Jan 2004 07:40:14 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Sun, 04 Jan 2004 10:38:35 -0500
From: martha c davey <marthacd-AT-juno.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: What's the Deal with the Fair Quaker?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040104.103838.-156163.0.marthacd-AT-juno.com>
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 In New York, I began dancing around the time the PB book came out and I 
hadn't danced Fair Quaker of Deal in the KH version, only the PB version.
I learned the KH version a few years ago and I didn't like it as well.
To understand why, one must experience the woman's part as
both versions feel essentially the same for the men.
The man in first position essentially sets, turns single and casts.
The pleasure is in winding and unwinding- turning single
to the right, then casting to the left.

In the PB version, where this is done by the first corners,
both gender roles get to do this. In addition the inactive
corners curl up or down the inside of the set while the
active corners cast and have an extra eye contact opportunity.
 
In the KH version, the woman in 1st corner position sets,
turns single, then leads up. The woman in 2nd corner position
waits, then casts; neither are as satisfying as in the PB and
the flirt opportunity is missing for the 2nd corner positions.

The PB book was compiled/interpreted by two women who
probably made an aesthetic choice.

Be well!
Martha


Tom Roby wrote:
Date: Wed, 31 Dec 2003 17:35:30 -0800


  A fellow caller pointed out to me that the versions of *Fair Quaker 
 of  Deal* in Kentish Hops (Second picking) and The Playford Ball 
 differ,  even though the latter lists the former as the modern source. 
The 
 major difference is in the A's, where PB has the  corners casting into 
their neighbors places after setting and turning single WHILE KH (2P) has

the top couple casting down.  KH clearly agrees with the original 
facsimile quoted in PB.  

So I'm wondering if anyone can shed any light on the modern history 
of  this dance.  PB generally seems to be codifying the common practice 
 of  at least some "villages".  What has the general practice been in 
 your  area?  
 
 Best wishes to everyone for a New Year filled with dance!
 
                                      Tom 
 Tom Roby                                      
> 


Be well!
Martha
================================================================================
Archive-Date: Mon, 05 Jan 2004 11:49:19 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 05 Jan 2004 11:49:02 -0800 (PST)
From: Barbara Ruth <barbararuth-AT-rocketmail.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Shoe Thoughts
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040105194902.53563.qmail-AT-web13603.mail.yahoo.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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--- Dan Pearl <daniel_pearl-AT-YAHOO.COM> wrote:
> Shower Caps with elastic brims.  VERY compact.  "FREE!" from the
> toiletries at hotels.  If you need something more robust to stand
> up to urban streets, maybe a heavier duty cap would do the job.
> 
> Or rubbers. I like that idea!

Aha - a great marketing campaign: "Safe Shoes!"



=====
It is in the nature of tyranny to deride the will of the people as the voice of the mob, and to denounce the cry for freedom as the roar of anarchy.
 --William Safire,  1989

__________________________________
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================================================================================
Archive-Date: Mon, 05 Jan 2004 13:22:48 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 05 Jan 2004 16:22:15 -0500 (EST)
From: Dfhart24-AT-aol.com
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Shoe Thoughts
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <1a4.1e7d2dab.2d2b2f87-AT-aol.com>
MIME-Version: 1.0
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In a message dated 1/5/2004 3:05:36 PM Eastern Standard Time, 
barbararuth-AT-ROCKETMAIL.COM writes:
If you need something more robust to stand
> up to urban streets, maybe a heavier duty cap would do the job.
> 
> Or rubbers. I like that idea!

Aha - a great marketing campaign: "Safe Shoes!"
Oh yah-- "Safe Steps"

or, killing two birds with one stone:  "Wear your rubbers; take safe steps."

Deborah

--Boundary_(ID_XBWwiUQ5JGSm3swF+xMb2A)
Content-type: text/html; charset=US-ASCII
Content-transfer-encoding: 7BIT

<HTML><HEAD>
<META charset=UTF-8 http-equiv=Content-Type content="text/html; charset=utf-8">
<META content="MSHTML 6.00.2800.1106" name=GENERATOR></HEAD>
<BODY style="FONT-SIZE: 10pt; FONT-FAMILY: Arial; BACKGROUND-COLOR: #ffffff">
<DIV>
<DIV>In a message dated 1/5/2004 3:05:36 PM Eastern Standard Time, barbararuth-AT-ROCKETMAIL.COM writes:</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><FONT face=Arial>If you need something more robust to stand<BR>&gt; up to urban streets, maybe a heavier duty cap would do the job.<BR>&gt; <BR>&gt; Or rubbers. I like that idea!<BR><BR>Aha - a great marketing campaign: "Safe Shoes!"</FONT></BLOCKQUOTE></DIV>
<DIV>Oh yah-- "Safe Steps"</DIV>
<DIV>&nbsp;</DIV>
<DIV>or, killing two birds with one stone:&nbsp; "Wear your rubbers; take safe steps."</DIV>
<DIV>&nbsp;</DIV>
<DIV>Deborah</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV></BODY></HTML>

--Boundary_(ID_XBWwiUQ5JGSm3swF+xMb2A)--
================================================================================
Archive-Date: Tue, 06 Jan 2004 00:28:23 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 06 Jan 2004 03:30:05 -0500
From: jbgrun <jbgrun-AT-berk.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Shoe Thoughts
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
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Dfhart24-AT-AOL.COM

take safe steps

as in the complex early dance, STEP SAFELY?

Judy G

================================================================================
Archive-Date: Tue, 06 Jan 2004 20:31:55 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 06 Jan 2004 23:02:09 -0500
From: Gene Murrow <gmurrow-AT-juno.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: RE: Companions by Vic Skowronski
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040106.230215.-229701.11.gmurrow-AT-juno.com>
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Just had a look at this site, which has Victor's final version of the
dance and wording as it was worked out at the Open Mic session at
Pinewoods English Week last summer. 

For those who'd like to try this great new dance but have not seen or
done it, there might be a bit of confusion in the B1.  Where it instructs
the 1st corner people to finish the chevron by backing into neighbor's
place, he means backing _across_ the set, not along the line...  This
flows directly into the half-pousette (clockwise, with partner).  

Hoping this prevents some possible confusion,

Gene

On Sat, 27 Dec 2003 17:34:29 -0800 Alan Ackerman
<alan.ackerman-AT-EARTHLINK.NET> writes:
> >----- Original Message -----
> >From: M.G. Mudrey, Jr. <mgmudrey-AT-MHTC.NET>
> >
> ><<Tom Roby has posed the Music and Directions for Victor's dances 
> with
> >Victor's permission
> >
> >http://seki.mcs.csuhayward.edu/~troby/Skowronski/companions.pdf
> >>>
> >

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Archive-Date: Wed, 07 Jan 2004 16:19:40 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Wed, 07 Jan 2004 19:19:05 -0500 (EST)
From: SallenNic-AT-aol.com
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Fair Quaker of Deal
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
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<<Tom Roby wrote:
Date: Wed, 31 Dec 2003 17:35:30 -0800


  A fellow caller pointed out to me that the versions of *Fair Quaker 
 of  Deal* in Kentish Hops (Second picking) and The Playford Ball 
 differ,  even though the latter lists the former as the modern source. 
The 
 major difference is in the A's, where PB has the  corners casting into 
their neighbors places after setting and turning single WHILE KH (2P) has

the top couple casting down.  KH clearly agrees with the original 
facsimile quoted in PB.  

So I'm wondering if anyone can shed any light on the modern history 
of  this dance.  PB generally seems to be codifying the common practice 
 of  at least some "villages".  What has the general practice been in 
 your  area?  
 
 Best wishes to everyone for a New Year filled with dance!
 
                                      Tom >>
I have always used Pat Shaw's transcription of this dance, which I learnt at 
The Round in Cambridge in 1960 (only discovering it was Pat's interpretation 
year's later!), and this is the version I published in the Booklet of our 
recording 'Pat Shaw's Playford'. 
    I cannot see any reason for the 1st CORNERS to cast, reading the 
original, which seems very clear in the A music.
    The difference between KH and Pat is in the B music: I seriously believe 
Pat's to be the logical transcription.


Nicolas B., Lanark, Scotland
<A HREF="http://www.nicolasbroadbridge.com">http://www.nicolasbroadbridge.com
</A>
================================================================================
Archive-Date: Wed, 07 Jan 2004 19:20:50 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Wed, 07 Jan 2004 22:20:27 -0500 (EST)
From: CPChurchOffice-AT-aol.com
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: ECD in Japan?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
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Hello dancers,
I have just helped three young ladies from Japan to become enamored with ECD 
while they were visiting Maryland. I was under the faint impression that I had 
heard it is popular in Japan but I can't remember where I received that 
impression and my search for a Japanese ECD group has proven futile thus far. I am 
hopeful that this posting will find a connection for them.
Many thanks, in advance.

Margaret Talbot
================================================================================
Archive-Date: Thu, 08 Jan 2004 00:01:13 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Thu, 08 Jan 2004 00:02:50 -0800
From: Sharon Green <mls-AT-panix.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: ECD in Japan?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <5.2.0.9.0.20040107233939.0696d360-AT-popserver.panix.com>
MIME-Version: 1.0
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At 10:20 PM 1/7/2004 -0500, you wrote:
>Hello dancers,
>I have just helped three young ladies from Japan to become enamored with ECD
>while they were visiting Maryland. I was under the faint impression that I 
>had
>heard it is popular in Japan but I can't remember where I received that
>impression and my search for a Japanese ECD group has proven futile thus 
>far. I am
>hopeful that this posting will find a connection for them.

Mr. Hiroyuki Ikema, who visited the San Francisco Bay Area last June to 
attend the Flying Romanos weekend, has been working to popularize English 
country dancing in Japan.  Ikema-san can be reached by mail as follows:
Hiroyuki Ikema
Aobadai 1-11-4-12-308
Aoba-ku Yokohama
Japan
I hope your new dancers enjoy meeting Ikema-san and dancing with him.  We 
certainly did!
Cheers,
Sharon Green 


================================================================================
Archive-Date: Thu, 08 Jan 2004 07:35:10 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Thu, 08 Jan 2004 15:33:31 +0000 (GMT)
From: allisonthompson-AT-juno.com
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: ECD in Japan?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040108.073346.25056.1526594-AT-webmail20.nyc.untd.com>
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I'm not sure about ECD, but Scottish is big in Tokyo--sopme years ago my chum was a member of the SBBC (pronounced ess b b shee, standing for Scottish Blue Bell Club) & when I went to visit her I was privileged to dance a couple of times with them--great fun!--and even attend a ball. I lugged a ball gown & ghillies around Japan for 3 weeks! The ball started at 3 pm, broke for a nasty, western style dinner with white soup & salad with french dressing, resumed and then ended at 9 so that we could all take baths before they closed at 10. Then we sat around in a small room on the floor & drank beer. If your young friends want a contact person for SCD, let me know off line.

Allison Thompson
================================================================================
Archive-Date: Fri, 09 Jan 2004 10:24:00 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Fri, 09 Jan 2004 10:23:32 -0800 (PST)
From: Mike White <dangnabbit_2-AT-yahoo.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: RE: Companions by Vic Skowronski
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040109182332.7091.qmail-AT-web13606.mail.yahoo.com>
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We did this dance in Cincinnati last night.  The dance
met with high acclaim here as well and requests were
made to do the dance again at our next meeting.  

We had 8 couples doing the dance and we discovered
quickly that the change in movements from being a
first couple to a second couple were quite daunting. 
I will need to work out a way to get everyone familiar
with all of the movements without dragging out the
walk through.  

Our biggest trouble with the instructions from the web
site was the description of getting to the line of
four to begin the hey.  Once that problem was figured
out, the rest of the dance was entirely wonderful.

All agreed it was a unique and different piece of
choreography that was very, very pleasing.

One of our musicians is a renaissance music enthusiast
and she noted that a recording she has of that tune
was played at a slow, stately pace.  What was the
intended speed for the tune when the dance was
written?

Mike White
Cincinnati English Country Dancers



--- Gene Murrow <gmurrow-AT-JUNO.COM> wrote:
> Just had a look at this site, which has Victor's
> final version of the
> dance and wording as it was worked out at the Open
> Mic session at
> Pinewoods English Week last summer. 
> 
> For those who'd like to try this great new dance but
> have not seen or
> done it, there might be a bit of confusion in the
> B1.  Where it instructs
> the 1st corner people to finish the chevron by
> backing into neighbor's
> place, he means backing _across_ the set, not along
> the line...  This
> flows directly into the half-pousette (clockwise,
> with partner).  
> 
> Hoping this prevents some possible confusion,
> 
> Gene
> 
> On Sat, 27 Dec 2003 17:34:29 -0800 Alan Ackerman
> <alan.ackerman-AT-EARTHLINK.NET> writes:
> > >----- Original Message -----
> > >From: M.G. Mudrey, Jr. <mgmudrey-AT-MHTC.NET>
> > >
> > ><<Tom Roby has posed the Music and Directions for
> Victor's dances 
> > with
> > >Victor's permission
> > >
> >
>
>http://seki.mcs.csuhayward.edu/~troby/Skowronski/companions.pdf
> > >>>
> > >
> 
>
-------------------------------------------------------------------------
> --
> Permanent address: <gmurrow-AT-post.harvard.edu> - for
> your Address book
> ISP of the moment: <gmurrow-AT-juno.com>         -
> "Reply" button
> destination


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================================================================================
Archive-Date: Fri, 09 Jan 2004 14:05:31 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Fri, 09 Jan 2004 17:05:01 -0500
From: Frederic Emigh <frederic.emigh-AT-verizon.net>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Companions by Vic Skowronski (the music thereof)
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <BC248FBD.8243%frederic.emigh-AT-verizon.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
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Mike White wrote:
> One of our musicians is a renaissance music enthusiast and she noted that a
> recording she has of that tune was played at a slow, stately pace. What was
> the intended speed for the tune when the dance was written?

I don't know the original intention for mode of playing, and did not
recognize Susato's Ronde II as it was played when I first encountered
Companions in Boston.   I had heard recordings of it before indeed as
stately, if not downright sombre.  It took Sharon Green's prompting on this
list for me to recognize the tune.  The Boston dance musicians played it
faster, with more energy and drive - in a manner perfect for the mood and
movement of Companions.  Because that way of playing worked so well, I would
guess that such was the original intention of the dance composer.   It also
occurs to me that 'A Trip to Killburn' might work almost as well for the
dance.   Haven't tried to match 'Trip' to 'Companions' dance directions yet,
however, to confirm.

Fred Emigh
Montpelier, Vermont

================================================================================
Archive-Date: Fri, 09 Jan 2004 17:53:41 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Fri, 09 Jan 2004 20:00:35 -0500
From: Gene Murrow <gmurrow-AT-juno.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Companions by Vic Skowronski (the music thereof)
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040109.200041.-229701.14.gmurrow-AT-juno.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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On Fri, 09 Jan 2004 17:05:01 -0500 Frederic Emigh
<frederic.emigh-AT-VERIZON.NET> writes:
> Mike White wrote:
> > One of our musicians is a renaissance music enthusiast and she 
> noted that a
> > recording she has of that tune was played at a slow, stately pace. 
> What was
> > the intended speed for the tune when the dance was written?
> 
> I don't know the original intention for mode of playing, and did 
> not
> recognize Susato's Ronde II as it was played when I first 
> encountered
> Companions in Boston.   I had heard recordings of it before indeed 
> as
> stately, if not downright sombre.  

Susato used the word "ronde" to indicate a dance in the round or circle
dance, i.e. a French bransle.  Generally, those dances were pretty
lively, with vigorous stepping and sometimes miming actions.   But all
generalizations are false :-)  of course.  My hunch is that the famous
recording in question reflects some non-dance considerations of the tempo
(see last paragraph), and that a quick tempo suitable for Companions may
be closer to the intent of the 16th-century composer and consumers of the
original dance tune.

When Victor brought the dance to the Pinewoods workshop, he had the
slower tempo in mind!  The opening sequence's similarity to Nat'l.
Kynaston's now popular "Softly Good Tummas" prompted me to suggest a
similarly quick tempo.  Victor and we guinea pigs preferred it that way,
so that's where we left it.

Jonathan Jensen and I had a discussion about the harmonies in Susato for
these rondes.  In Susato, the harmonic changes are quick, on the
quarter-note (crotchet), suggesting a slower tempo (sounds like we're
going 'round in circles, eh?).  But these are Susato's _arrangements_ of
popular dance tunes, intended for consort playing by amateurs... they
were not professional "fake books" for the working bandsman, who would
have known all those tunes by memory no doubt.  So the paradox is... the
original dance tune, for a bransle, probably went at a fast tempo.  But
if one plays from Susato's 4-part arrangements, the tempo probably should
be on the slow side (as recorded).  My conclusion is that for Companions,
use just the melody, harmonize it as you like on the fly with drones and
simple changes on the half-note (minim) or measure as would have been
done in the 16th century, and let 'er rip.  As to whether bransle tunes
are right for longways dances... well that's a whole other bone to chew
on.

Gene
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================================================================================
Archive-Date: Fri, 09 Jan 2004 19:00:35 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Fri, 09 Jan 2004 22:00:20 -0500
From: Louis Vosteen <lvosteen1-AT-cox.net>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Companions by Vic Skowronski
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20A32852-4319-11D8-AFA8-0003936D91D2-AT-cox.net>
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=US-ASCII
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On Friday, January 9, 2004, at 01:23 PM, Mike White wrote:
> ...
>
> One of our musicians is a renaissance music enthusiast
> and she noted that a recording she has of that tune
> was played at a slow, stately pace.  What was the
> intended speed for the tune when the dance was
> written?
>
> Mike White
> Cincinnati English Country Dancers
>

Can you share with us what this recording was? I have one by the 
Canadian Brass that plays the music AABC and with lots of retards - not 
too suitable for dancing (or suited to the structure of "Companions").

Lou

================================================================================
Archive-Date: Sat, 10 Jan 2004 00:27:21 PST
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Date: Sat, 10 Jan 2004 02:25:03 -0600
From: Paul Stamler <pstamler-AT-pobox.com>
Subject: Whence came "Bare Necessities"?
To: ecd list <ECD-AT-SSRL04.SLAC.STANFORD.EDU>
Reply-To: ECD-AT-playford.slac.stanford.edu
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Hi folks:

Someone asked at the dance tonight, and I had no clue. Does anyone out there
know why Pat Shaw named his tune/dance "Bare Necessities"?

Peace,
Paul

"Never doubt that a small group of thoughtful, committed citizens can change
the world. Indeed, it's the only thing that ever has." -- Margaret Mead

================================================================================
Archive-Date: Sat, 10 Jan 2004 00:53:41 PST
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Date: Sat, 10 Jan 2004 03:53:18 -0500 (EST)
From: "Susan R. Lorand" <srl-AT-Princeton.EDU>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Whence came "Bare Necessities"?
To: ecd list <ECD-AT-SSRL04.SLAC.STANFORD.EDU>
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On Sat, 10 Jan 2004, Paul Stamler wrote:

> Hi folks:
>
> Someone asked at the dance tonight, and I had no clue. Does anyone out there
> know why Pat Shaw named his tune/dance "Bare Necessities"?

After a hardware store in Bare, England.

Cheers,

Susie Lorand
================================================================================
Archive-Date: Sat, 10 Jan 2004 05:59:59 PST
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Date: Sat, 10 Jan 2004 08:59:41 -0500
From: Tom Vincent <tomrvincent-AT-yahoo.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Companions by Vic Skowronski
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
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They may not be the best musicians, but they're hardly retards. :)

----- Original Message ----- 
From: "Louis Vosteen" <lvosteen1-AT-COX.NET>
To: <ECD-AT-ssrl04.slac.stanford.edu>
Sent: Friday, January 09, 2004 10:00 PM
Subject: Re: Companions by Vic Skowronski


> >
> 
> Can you share with us what this recording was? I have one by the 
> Canadian Brass that plays the music AABC and with lots of retards - not 
> too suitable for dancing (or suited to the structure of "Companions").
> 
> Lou
================================================================================
Archive-Date: Sat, 10 Jan 2004 06:51:19 PST
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Date: Sat, 10 Jan 2004 14:50:59 +0000
From: catiegeist-AT-att.net
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Subject: Re: Whence came "Bare Necessities"?
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I don't know where Pat Shaw got the name, but when I was in Atlanta in 
September for the ECD workshop weekend, I passed a strip club called "Bare 
Necessities" on my way to and from the church where the workshop and dances 
were held!

Catie Condran Geist, Palm Bay, Florida
================================================================================
Archive-Date: Sat, 10 Jan 2004 06:55:08 PST
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Date: Sat, 10 Jan 2004 09:54:43 -0500 (EST)
From: HARVBCOHEN-AT-aol.com
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Whence came "Bare Necessities"?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
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Pat had some friends who owned a hardware store in the town of Bare. I do not 
currently have access to my dance books, but I believe the original gives 
their name which I think starts with B. I also believe the store's name was 
Necessities and did not include Bare. Another reason for owning the original of the 
sources.

Harvey Cohen
================================================================================
Archive-Date: Sat, 10 Jan 2004 09:22:18 PST
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Date: Sat, 10 Jan 2004 09:23:42 -0800
From: Sharon Green <mls-AT-panix.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Whence came "Bare Necessities"?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
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At 09:54 AM 1/10/2004 -0500, Harvey wrote:
>Pat had some friends who owned a hardware store in the town of Bare. I do not
>currently have access to my dance books, but I believe the original gives
>their name which I think starts with B. I also believe the store's name was
>Necessities and did not include Bare. Another reason for owning the 
>original of the
>sources.

 From The Pat Shaw Collection, v.1

Composed in 1974 for Gladys and Joe Muschamp who live at Bare in 
Cheshire.  They run a hardware shop which Pat suggested should be called 
'Bare Necessities,' an idea that they readily accepted.  


================================================================================
Archive-Date: Sat, 10 Jan 2004 09:48:18 PST
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Date: Sat, 10 Jan 2004 12:48:59 -0500
From: "Michael J. O'Connor" <mjoconor-AT-erols.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Whence came "Bare Necessities"?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
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> I don't know where Pat Shaw got the name, but when I was in Atlanta in
> September for the ECD workshop weekend, I passed a strip club called "Bare
> Necessities" on my way to and from the church where the workshop and
dances
> were held!

Were they performing to ECD music?

================================================================================
Archive-Date: Sat, 10 Jan 2004 10:10:50 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Sat, 10 Jan 2004 13:10:27 -0500 (EST)
From: "Susan R. Lorand" <srl-AT-Princeton.EDU>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Pat Shaw sources (was Re: Whence came "Bare Necessities"?)
To: ECD mailing list <ECD-AT-SSRL04.SLAC.STANFORD.EDU>
Message-ID: <Pine.GSO.4.58.0401101227510.2107-AT-phoenix.Princeton.EDU>
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On Sat, 10 Jan 2004, Sharon Green wrote:

>  From The Pat Shaw Collection, v.1
>
> Composed in 1974 for Gladys and Joe Muschamp who live at Bare in
> Cheshire.  They run a hardware shop which Pat suggested should be called
> 'Bare Necessities,' an idea that they readily accepted.

According to vol. 2, in that same year he also wrote a rant for them (tune
& dance) entitled Muschamp's Maggot.  Has anyone on the list tried it?

I agree with Harvey about the value of having the sources.  Pat Shaw lived
from 1917 to 1977; this collection of his dances was compiled and edited
by Marjorie Fennessey and published in 1986 by Harry Styles (Carshalton,
Surrey, but the title page says London).

ISBNs:
vol. 1, 0-9509457-6-5
vol. 2, 0-9509457-7-3 (contains the beautiful 2nd tune for Margaret's
                       Waltz, i.e., Farewell to Devon)
vol. 3, 0-9509457-8-1 (includes a cumulative index)
3-volume set, 0-9509457-5-7

I know of two other Pat Shaw dance books: New Wine in Old Bottles (54
dances to Old Dutch tunes) and Pat Shaw's Pinewoods (originally two
volumes, Between Two Ponds and Among the Pines).

Bibliographically yours,

Susie Lorand, Princeton, NJ (procrastinating about going out into the cold)
================================================================================
Archive-Date: Sat, 10 Jan 2004 10:37:56 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Sat, 10 Jan 2004 13:37:33 -0500 (EST)
From: SallenNic-AT-aol.com
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Bare Necessities
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
CC: mk-AT-fennessy.fsnet.co.uk
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In a message dated 10/1/04 3:03:10 pm, system-AT-ssrl04.slac.stanford.edu writes:

<< Someone asked at the dance tonight, and I had no clue. Does anyone out 
there
know why Pat Shaw named his tune/dance "Bare Necessities"?

Peace,
Paul >>

Joe and Gladys Muschamp (pronounced "musham") lived at Bare, a suburb of 
Morecambe in Lancs. They made their house available to Pat Shaw as a staging post 
for overnights when he was travelling between London and Edinburgh.
    The Muschamps opened a hardware shop, and Pat suggested they call it 
"Bare necessities", a name they enthusiastically adopted.
    In 1974, as a gift for their hospitality, Pat composed a set of four 
dances which he gave the overall title "Muschamps' Mushrooms" for Joe and Gladys: 
the four dances in the set are Muschamp's Maggot, Bare Necessities, Gladys's 
Galop - or Gladsome Gladys, Joseph's Jig - or Jovial Joe. Numbers 1,3 and 4 are 
all available on our two Pat Shaw CDs "Long Live London" and "Walpole 
Cottage".
    The statement in the Pat Shaw Cllection that they lived at Bare in 
Cheshire is erroneous, and the only error I have ever found in Marjorie Fennessy's 
work!
    The Muschamps are both now dead, but the shop still trades under the name 
"Bare Necessities". 

Nicolas B., Lanark, Scotland
<A HREF="http://www.nicolasbroadbridge.com">http://www.nicolasbroadbridge.com
</A>
================================================================================
Archive-Date: Sat, 10 Jan 2004 10:57:45 PST
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Date: Sat, 10 Jan 2004 10:57:25 -0800 (PST)
From: Lyrl Ahern <lyrl-AT-yahoo.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Whence came "Bare Necessities"?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
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--- catiegeist-AT-ATT.NET wrote:
> ....when I was in Atlanta in September for the ECD
> workshop weekend, I passed a strip club called "Bare

> Necessities" on my way to and from the church where
> the workshop and dances were held!

There was an ad in a travel magazine for a beach camp
vacation for nudists. I cut it out and passed it on to
the band of the same name. 

Lyrl 





__________________________________
Do you Yahoo!?
Yahoo! Hotjobs: Enter the "Signing Bonus" Sweepstakes
http://hotjobs.sweepstakes.yahoo.com/signingbonus
================================================================================
Archive-Date: Sat, 10 Jan 2004 11:56:49 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Sat, 10 Jan 2004 19:56:16 +0000
From: Alan Corkett <alan-AT-bcorkett.freeserve.co.uk>
Subject: Re: Pat Shaw sources (was Re: Whence came "Bare Necessities"?)
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Reply-To: ECD-AT-playford.slac.stanford.edu
Message-ID: <001901c3d7b3$cf96f300$048b4e51-AT-default>
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Hi
Re the comment on Carshalton, Surrey and the title page saying London.

Where Harry Styles lives is locally known as Carshalton Beeches (the posh
end of Carshalton - used to be referred to as Wallington). Since the
introduction of the Greater London Council to enlarge London, this part of
Surrey was swallowed up into outer London as part of the London Borough of
Sutton, which it still is.

I think they still like to think of Carshalton as being Surrey postal area
but in fact it has a post code with the letters SM showing that it has
Streatham, London as its postal HQ.

Hope that helps

Alan Corkett
(Born in Carshalton 1936 now living in Somerset UK.)
-----Original Message-----
From: Susan R. Lorand <srl-AT-Princeton.EDU>
To: ECD mailing list <ECD-AT-ssrl04.slac.stanford.edu>
Date: 10 January 2004 18:22
Subject: Pat Shaw sources (was Re: Whence came "Bare Necessities"?)


On Sat, 10 Jan 2004, Sharon Green wrote:

>  From The Pat Shaw Collection, v.1
>
> Composed in 1974 for Gladys and Joe Muschamp who live at Bare in
> Cheshire.  They run a hardware shop which Pat suggested should be called
> 'Bare Necessities,' an idea that they readily accepted.

According to vol. 2, in that same year he also wrote a rant for them (tune
& dance) entitled Muschamp's Maggot.  Has anyone on the list tried it?

I agree with Harvey about the value of having the sources.  Pat Shaw lived
from 1917 to 1977; this collection of his dances was compiled and edited
by Marjorie Fennessey and published in 1986 by Harry Styles (Carshalton,
Surrey, but the title page says London).

ISBNs:
vol. 1, 0-9509457-6-5
vol. 2, 0-9509457-7-3 (contains the beautiful 2nd tune for Margaret's
                       Waltz, i.e., Farewell to Devon)
vol. 3, 0-9509457-8-1 (includes a cumulative index)
3-volume set, 0-9509457-5-7

I know of two other Pat Shaw dance books: New Wine in Old Bottles (54
dances to Old Dutch tunes) and Pat Shaw's Pinewoods (originally two
volumes, Between Two Ponds and Among the Pines).

Bibliographically yours,

Susie Lorand, Princeton, NJ (procrastinating about going out into the cold)


================================================================================
Archive-Date: Sat, 10 Jan 2004 12:13:50 PST
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Date: Sat, 10 Jan 2004 15:13:28 -0500 (EST)
From: Dfhart24-AT-aol.com
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Whence came "Bare Necessities"?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
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In a message dated 1/10/2004 1:04:04 PM Eastern Standard Time, 
mjoconor-AT-EROLS.COM writes:
> I don't know where Pat Shaw got the name, but when I was in Atlanta in
> September for the ECD workshop weekend, I passed a strip club called "Bare
> Necessities" on my way to and from the church where the workshop and
dances
> were held!

Were they performing to ECD music?
Perhaps Scottish:  "The Silver Tassie"

-Deborah

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<HTML><HEAD>
<META charset=UTF-8 http-equiv=Content-Type content="text/html; charset=utf-8">
<META content="MSHTML 6.00.2800.1106" name=GENERATOR></HEAD>
<BODY style="FONT-SIZE: 10pt; FONT-FAMILY: Arial; BACKGROUND-COLOR: #ffffff">
<DIV>
<DIV>In a message dated 1/10/2004 1:04:04 PM Eastern Standard Time, mjoconor-AT-EROLS.COM writes:</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><FONT face=Arial>&gt; I don't know where Pat Shaw got the name, but when I was in Atlanta in<BR>&gt; September for the ECD workshop weekend, I passed a strip club called "Bare<BR>&gt; Necessities" on my way to and from the church where the workshop and<BR>dances<BR>&gt; were held!<BR><BR>Were they performing to ECD music?</FONT></BLOCKQUOTE></DIV>
<DIV>Perhaps Scottish:&nbsp; "The Silver Tassie"</DIV>
<DIV>&nbsp;</DIV>
<DIV>-Deborah</DIV></BODY></HTML>

--Boundary_(ID_NTUjqUgOGx5GlYdT91ZjAg)--
================================================================================
Archive-Date: Sat, 10 Jan 2004 12:25:04 PST
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Date: Sat, 10 Jan 2004 15:24:43 -0500
From: Campbell Kaynor <Campbell.Kaynor-AT-biogenidec.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Morris News
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <OF0ABC2D0D.D9696871-ON85256E17.006FD34F-85256E17.00701222-AT-biogenidec.com>
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If any of you who are also Morris Dancers, you may have encountered Howie
Seidel.
(We honored Howard for 50 years of dance this year).

It with great sadness that I relay that our good and old
friend Howard Seidel passed away during the afternoon of
Monday January 5.
If you wish for more information, contact me off list.
Cammy

================================================================================
Archive-Date: Sat, 10 Jan 2004 15:08:08 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Sat, 10 Jan 2004 18:06:16 -0500
From: Deb Karl <debkarl-AT-wi.mit.edu>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: comments from Victor re Companions-dance & music
To: ECD list <ECD-AT-SSRL04.SLAC.STANFORD.EDU>
Message-ID: <40008567.3EB1D7F1-AT-wi.mit.edu>
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-------- Original Message --------
Subject: RE: [Fwd: Re: Companions by Vic Skowronski (the music thereof)]
Date: Sat, 10 Jan 2004 12:16:57 -0800
From: "Skowronski, Victor J." <victor.skowronski-AT-ngc.com>
To: 'Deb Karl' <debkarl-AT-wi.mit.edu>

Deb,

Thanks for passing this on. 

Gene is correct about what happened at Pinewoods and about my original
intent that Companions be done at a slower tempo. I had changed my mind
about the tempo before Pinewoods, however. The first time that we tried
Companions at Second Saturday, Ken Allen played at the faster tempo. I
remember thinking "Wow, that's great!" and since then I have thought
that it
should be played at a faster tempo. I did not do that at Pinewoods
because I
am a lousy caller and did not communicate my intent to the band (I was also
concentrating on teaching the dance, and did not notice the slower tempo
until Gene pointed it out.)

You may want to pass that on to the reflector so that Ken gets some credit
for the idea of the faster tempo.

As far as recordings go, the Canadian Brass have recorded Ronde II at the
slower tempo on their CD "Renaissance Men." I also have another
recording of
a brass quintet at the slower tempo. This appears to be the standard in
classical music circles. I do wonder what the Canadian Brass would do if
they ever heard the faster tempo. It could become a jazz piece very easily.

What happened with Ronde II is similar to what I think happened to The Cutty
Wren, the tune for Rafe's Waltz. When I finally saw the words, I thought
that this was a song that you sang in a tavern after you have had one too
many. Ralph Vaughn Williams saw the tune differently, however, and that was
what I was reacting to when I wrote Rafe's Waltz.

Victor
================================================================================
Archive-Date: Sun, 11 Jan 2004 07:27:15 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Sun, 11 Jan 2004 10:22:52 -0500
From: nonesuch-AT-si.umich.edu
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Whence came "Bare Necessities"?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <1073834572.40016a4c8231b-AT-krusty.si.umich.edu>
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References: <00A2BB99.008E763F.5-AT-playford.slac.stanford.edu>

Lyrl remarked
 
> --- catiegeist-AT-ATT.NET wrote:
> > ....when I was in Atlanta in September for the ECD
> > workshop weekend, I passed a strip club called "Bare
> 
> > Necessities" on my way to and from the church where
> > the workshop and dances were held!
> 
> There was an ad in a travel magazine for a beach camp
> vacation for nudists. I cut it out and passed it on to
> the band of the same name. 
> 
> Lyrl 

Also a bath-stuff store (eight bazillion kinds of soap and shower caps
with quotes from Voltaire on them, you know the kind of place) on Castro
St. in San Francisco.  This is beginning to sound like a photo-op, to me.

And, while I'm on the air....Hi everybody, I've changed my email
address.  The old one <Tideswell-AT-aol.com> is about to be released to the
secular arm, so please update your address books to show me at
<Nonesuch-AT-umich.edu>

But just to be absolutely clear, that does *not* mean that I'm attending
grad school in Shirley and Howard's bus!

Cheers

Nilos
================================================================================
Archive-Date: Sun, 11 Jan 2004 10:05:32 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Sun, 11 Jan 2004 10:05:11 -0800 (PST)
From: SUSAN <susantiq-AT-prodigy.net>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: RE: Whence Came "Bare Necessities"?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040111180511.20522.qmail-AT-web80211.mail.yahoo.com>
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...Not to mention a Canadian dog food bearing ("dogged by"?) this name. Hmmm. 
 
Are there connections here? As in, scantily clad or sky-clad vacationers, basking in aromatic, beach-side hot tubs, with well-fed Labrador retrievers dining nearby from doggy dishes from the hardware store, all to the accompaniment of the BNs, playing their signature tune...(have to get ECD content in somewhere, you know...).
 
Now, THERE'S a photo-op!
 
Susan Booker
 


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<DIV>
<DIV>...Not to mention a Canadian dog food&nbsp;bearing ("dogged by"?)&nbsp;this name. Hmmm. </DIV>
<DIV>&nbsp;</DIV>
<DIV>Are there connections here? As in, scantily clad or sky-clad vacationers, basking in aromatic, beach-side hot tubs, with well-fed Labrador retrievers dining nearby from doggy dishes from the hardware store, all to the accompaniment of the BNs, playing their signature tune...(have to get ECD content in somewhere, you know...).</DIV>
<DIV>&nbsp;</DIV>
<DIV>Now,&nbsp;THERE'S a photo-op!</DIV>
<DIV>&nbsp;</DIV>
<DIV>Susan Booker</DIV>
<DIV>&nbsp;</DIV></DIV>

--Boundary_(ID_fRayMu1M8zp4DnAh4nl3gg)--
================================================================================
Archive-Date: Sun, 11 Jan 2004 21:05:23 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Sun, 11 Jan 2004 22:54:57 -0500
From: Gene Murrow <gmurrow-AT-juno.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: arrangements for English Dance music
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040111.225507.-229701.17.gmurrow-AT-juno.com>
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Tom's recent post re:Companions reminded me of his earlier response to
something I had written and the unfinished reply sitting in my "drafts"
folder.  The immodesty of my thinking that anyone might care to read my
tardy reply is outweighed by my desire to avoid the impression of
rudeness by not writing anything.  So here goes...

On Thu, 18 Dec 2003 07:45:50 -0800 (PST) Tom Vincent
<tomrvincent-AT-yahoo.com> writes:
> Gene, I don't see how you can compare one contemporary
> interpretation to another and say one is more
> 'authentic' than another.
> 
> Until we steal a Time Machine from Area 51 (please
> stop in 11/2000 and fix Florida first!), we'll never
> know what inflections, tempo, improvisations, or
> 'lifts and lilts', if any, period musicians used.  
> 
> And that doesn't account for culture, setting, season,
> training or mood differences.  
> 
> A performance of a tune by a quartet in Germany for a
> summer wedding in a garden probably was completely
> different than the same piece done by a small
> orchestra in England for a winter's feast at a Duke's
> palace.
> 
> Just as looking at a 17th century recipe gives you
> nothing about measurements, times or temperatures,
> looking at 17th century sheet music gives you nothing
> about tempo, accents or mood.  We'll never know the
> variances an individual piece went through.
> 
> Shouldn't it just be satisfying enough that people are
> doing them -at all- as well as with a sincere pleasure
> in appreciating history?
> 
> Tom Vincent
> 
Tom raises several of the important questions that dog efforts at
authentic or historically informed re-creation of music and dance from
centuries ago, and that we've discussed occasionally in this forum.

But just because we don't know _everything_, doesn't mean we don't know
_something_ (sorry if this sounds like Donald Rumsfield).  We _do_ know
how 17th- and 18th-century century composers arranged dance tunes (nearly
all Baroque composers wrote dance suites), and we have some pretty
detailed choreographies and descriptions of Baroque dance.  The
arrangements (harmonies, counterpoint, written-out ornamentation, even
orchestrations) and the steps match each other, but they don't match the
way we dance "Playford" or "historical-style" country dances now.

Presumably, anyone attempting to reproduce 17th century style is working
from the available evidence, which means the written arrangements and
choreographies that have survived.  That's a noble endeavor when applied
to music _and_ dance together.  We did that at Amherst Assembly for a
week in 1996-- learned the historical steps from Dorrie Olsson, Kitty
Keller and others, and did country dances with those steps to harpsichord
accompaniment by Jacqueline Schwab.  Very worthwhile and indeed a
"sincere pleasure."

What I said in my post was that I was skeptical of attempts to reproduce
the style of 17th- and 18th-century dance music for today's social
English country dance events.  It has a deadening effect on the dance,
accentuating even more the dreaded "Playford plod," something we can do
without, IMHO.  I also said that the style the best current ECD musicians
have evolved works better for "how we dance now" than historically
informed re-creations of 17th century style.  I did not say that any
particular interpretation was more authentic than any other (I think you
misquoted me, Tom).  Indeed, what the folks I mentioned do isn't
authentic (in its historical sense) at all, and they'd be the first to
admit it. 

[sliding his soapbox out from under his desk and erecting his flame
shields...] I think that one of the most unfortunate influences on the
ECD revival was the attention to historical re-creation which absorbed
many teachers and dancers in the mid-1970's.  Suddenly the focus shifted
from learning the spirited style of dance invented and promoted by Sharp
and his followers as appropriate for 20th-century social dancers, to
discussions of thorny points of interpretation, working out alternative
or new interpretations of country dances and walking through the patterns
on the dance floor, and generally unsuccessful attempts by amateurs to
learn Baroque style.  It was a change from "dancing" to "dances." Many
people, especially young people, lost interest, and it's from that point
that I mark the graying and slowing of ECD.  The genre had already lost
the vigor it once had in the 17th & 18th centuries based on the Baroque
style, and now it lost the new vigor it had in the 20th century based on
the revival style.  That's what's behind my curmudgeonly(?) objection to
applying 17th/18th-century musical styles to today's social ECD.  We need
more energy in much of our dancing, not less...  and, once again, music
played in 17th/18th-century styles for 21st-century dancers is
enervating, not invigorating.

Gene 
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Archive-Date: Mon, 12 Jan 2004 05:55:38 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 05:55:17 -0800 (PST)
From: Tom Vincent <tomrvincent-AT-yahoo.com>
Subject: Re: Whence came "Bare Necessities"?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Reply-To: ECD-AT-playford.slac.stanford.edu
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I heard of a strip club that was doing Shakespeare in
the nude to get around local laws that prohibited
nudity on stage unless it was in a theatrical
performance.  

Perhaps that's an untapped market for ECD as well. ;>

--- "Michael J. O'Connor" <mjoconor-AT-EROLS.COM> wrote:
> > I don't know where Pat Shaw got the name, but when
> I was in Atlanta in
> > September for the ECD workshop weekend, I passed a
> strip club called "Bare
> > Necessities" on my way to and from the church
> where the workshop and
> dances
> > were held!
> 
> Were they performing to ECD music?
> 


=====
Tom Vincent

"Death has a tendency to encourage a depressing view of war." 
-- Secretary of State Donald Rumsfeld, when questioned as to why the Pentagon refuses to provide kill figures for enemy combatants. 

http://www.deanforamerica.com

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Archive-Date: Mon, 12 Jan 2004 08:53:16 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 10:50:53 -0600
From: Paul Stamler <pstamler-AT-pobox.com>
Subject: Re: Whence came "Bare Necessities"?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Reply-To: ECD-AT-playford.slac.stanford.edu
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----- Original Message -----
From: Tom Vincent <tomrvincent-AT-YAHOO.COM>

<<I heard of a strip club that was doing Shakespeare in
the nude to get around local laws that prohibited
nudity on stage unless it was in a theatrical
performance.  >>

I imagine they must have stuck to the history plays and the tragedies; all
the comedies seem to involve cross-dressing, and with no clothes...

Peace,
Paul (once more unto the breeches, dear friends)


================================================================================
Archive-Date: Mon, 12 Jan 2004 09:59:29 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 09:59:07 -0800 (PST)
From: Tom Vincent <tomrvincent-AT-yahoo.com>
Subject: Re: Whence came "Bare Necessities"?
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Reply-To: ECD-AT-playford.slac.stanford.edu
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Other good ECD for a strip club:

- Gathering Peascods
- Johney Cock Thy Beaver
- Red and All Red
- The Pleasures of the Town
- The Lasses of Portsmouth
- A School for Scandal
- Once a Night
- Sally in Our Alley
- Kit Cat Club
- Juice of Barly
- The Old Batchelor
- Man was for Woman Made
- Measured Obsession
- Cold and Raw
- The Fit's Come on me Now
- Hey Boys, Up go We
- Scotch Measure
- Marriage Hater
- Hey Ho for my Honey
- The Belles of New York
- Lady's Breast Knot
- Soldier's Joy
- Drive the Cold Winter Away
- Up Tails All

--- Dfhart24-AT-AOL.COM wrote:
> In a message dated 1/10/2004 1:04:04 PM Eastern
> Standard Time, 
> mjoconor-AT-EROLS.COM writes:
> > I don't know where Pat Shaw got the name, but when
> I was in Atlanta in
> > September for the ECD workshop weekend, I passed a
> strip club called "Bare
> > Necessities" on my way to and from the church
> where the workshop and
> dances
> > were held!
> 
> Were they performing to ECD music?
> Perhaps Scottish:  "The Silver Tassie"
> 
> -Deborah
> 


=====
Tom Vincent

"Death has a tendency to encourage a depressing view of war." 
-- Secretary of State Donald Rumsfeld, when questioned as to why the Pentagon refuses to provide kill figures for enemy combatants. 

http://www.deanforamerica.com

__________________________________
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Archive-Date: Mon, 12 Jan 2004 11:21:31 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 14:21:05 -0500
From: Campbell Kaynor <Campbell.Kaynor-AT-biogenidec.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Fw: arrangements for English Dance music
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <OFE8166177.19B1276C-ON85256E19.004EEFAE-85256E19.006A404E-AT-biogenidec.com>
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Despite the fact I'm sure it will be viewed as contentious, here is how I
respond to Gene Murrow's recent posting on the topic:

"...and we have some pretty detailed choreographies and descriptions of
Baroque dance."

Yes, but 99.9% of it having to do with the social dance of the elite.

"The arrangements (harmonies, counterpoint, written-out ornamentation, even
orchestrations) and the steps match each other, but they don't match the
way we dance "Playford" or "historical-style" country dances now."

I presume you are speaking of the "we" = CDS/CDSS/EFDSS ECD? Hopefully
there is some healthy variety in the field!

"Presumably, anyone attempting to reproduce 17th century style is working
from the available evidence, which means the written arrangements and
choreographies that have survived."

There are some among us who distrust the limited resources that have
survived through time and feel that interpretations based upon such
evidence are GUARANTEED to be far from the standard practices. From those
resources, we gain hints of what to look for, but:
1) the anecdotes are as likely to describe what a particular writer felt
"ought" to be the standard as they are to be representative. For example,
if there is an editorial in a newspaper from colonial America stating that
it is wrong to dance on Sundays, I believe that it is more likely that
dancing was happening on Sundays than that it was not. Even the "how-to"
treatises on playing the recorder, on improvising counterpoint, on proper
etiquette, etc... tend to be written by authors who wish to leave their
mark or win acclaim.
2) Most often the accounts we DO have that are more believable (e.g., a
letter from Shropshire describing oddities in the style of ECD that was
published in the EFDSS journal sticks out in my mind) are written by
outsiders or travellers who viewed the activities as a curiosity and
present a very biased perspective through the eyes of a stranger to the
genre.
3) I am convinced that ECD was far more dialectic throughout history than
it is in our modern society (with our far more cosmopolitan tendencies).
Therefore most detailed descriptions of actual country dancing incorporate
dialectic anomalies and if interpreted as generalities can lead to some
very distorted conclusions. It would be as if I were to claim to be
instructing Swedish dance when 90% of my experience in Sweden was in a 3
village radius. (I am awfully careful to at least qualify my instructions
as being derived from Western Dalarna and anyone who has experience with
Swedish dancing in a more general way will tell you that my style points
are very peculiar).

Fortunately we have many more resources than those you mentioned. The
greatest of these are the intuitions of musicians and dancers. The
resources you mentioned are only meaningful if combined with a heavy dose
of sensitivity to what the music says about the choreography and what the
choreography says about the music. (I believe that Cecil Sharp would
probably agree with me on this since he seemed to rely on a fair amount of
intuition himself).

All the rest of what you say about the "deadening effect" and the
unfortunate shift from the inspiration of C# in the mid-70s are as you say
- "IMHO." I suspect that my opinions are the opposite of yours on some of
those points.
One thing is certain - my love of the Playford Dances arose in the mid '70s
exactly BECAUSE I was fortunate enough to meet up with a number of
individuals who were brave enough to challenge the dogma of the previous 70
years. Along with most of us contradancers, I had spent several years
detesting ECD as it had been evolving from the beginning of the 20th
century. We groaned when a contra caller inserted ECD in the night's
repertoire, and there was very little overlap between the contra-goers and
the EC dancers. Since the early '80s, I have been leading evenings of
combined ECD/Contra on a regular basis and for the most part they do not
draw separate clientele, but have served to broaden the tastes of those who
felt they preferred one over the other. This is not what I would call
"graying or slowing" but rather a broadening of the dancer base.

So there's MY soapbox!
Cheers,
Cammy

================================================================================
Archive-Date: Mon, 12 Jan 2004 11:23:58 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 19:31:48 +0000 (GMT)
From: mab-AT-tgis.co.uk
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Whence came
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
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At Mon, 12 Jan 2004 09:59:07 -0800 (PST), Tom Vincent
<tomrvincent-AT-yahoo.com> wrote:
> Other good ECD for a strip club:
> 
> - Gathering Peascods
> - Johney Cock Thy Beaver
> - Red and All Red
> - The Pleasures of the Town
> - The Lasses of Portsmouth
> - A School for Scandal
> - Once a Night
> - Sally in Our Alley
> - Kit Cat Club
> - Juice of Barly
> - The Old Batchelor
> - Man was for Woman Made
> - Measured Obsession
> - Cold and Raw
> - The Fit's Come on me Now
> - Hey Boys, Up go We
> - Scotch Measure
> - Marriage Hater
> - Hey Ho for my Honey
> - The Belles of New York
> - Lady's Breast Knot
> - Soldier's Joy
> - Drive the Cold Winter Away
> - Up Tails All
> 
> --- Dfhart24-AT-AOL.COM wrote:
>> In a message dated 1/10/2004 1:04:04 PM Eastern
>> Standard Time, 
>> mjoconor-AT-EROLS.COM writes:
>> > I don't know where Pat Shaw got the name, but when
>> I was in Atlanta in
>> > September for the ECD workshop weekend, I passed a
>> strip club called "Bare
>> > Necessities" on my way to and from the church
>> where the workshop and
>> dances
>> > were held!
>> How about

Green Stockings
Parson Upon Dorothy (Gay strip club, Dorothy is C17 slang for homosexual)
Joans Placket (Placket was C17 slang for a prostitute)
Night Piece
Bobbing Joe
Woodycock
Fain I would
Passionate Lover (alternative title for Lavena)
Petticoat Wag
Cuckolds All Arow
Lady Lie Near Me
Under and Over
What You Please
Lady in the Dark
Sweet Kate
Catching of Fleas
Ladies Delight
Hey Boys Up Go We
All Together One After Another]
As Quick As You Please
Black Mary's Hole
Bonny Lass
Fickle Polly
Boys and Girls Come Out to Play
Bump Her Belly
Maidens Blush
Harlequin in the Mud (Nude wrestling?)
Wanton Bess
Cock and Bull
Complete Willy
Devil in the Bush

That's probably more than enough for now, but I'm only 1/3 of the way
through the Playford titles!

Michael Barraclough
http://www.michaelbarraclough.com

>> Were they performing to ECD music?
>> Perhaps Scottish:  "The Silver Tassie"
>> 
>> -Deborah
>> 
> 
> 
> =====
> Tom Vincent
> 
> "Death has a tendency to encourage a depressing view of war." 
> -- Secretary of State Donald Rumsfeld, when questioned as to why the 
> +Pentagon refuses 
> +to provide kill figures for enemy combatants. 
> 
> http://www.deanforamerica.com
> 
> __________________________________
> Do you Yahoo!?
> Yahoo! Hotjobs: Enter the "Signing Bonus" Sweepstakes
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>
================================================================================
Archive-Date: Mon, 12 Jan 2004 11:58:36 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 11:58:13 -0800 (PST)
From: Barbara Ruth <barbararuth-AT-rocketmail.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Next year NOMAD dates
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040112195813.34837.qmail-AT-web13608.mail.yahoo.com>
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The NOMAD Organizing Committee is now reviewing potential dates for
next fall.  Would those of you knowing about geographically near
events taking place in October or November please let me know.  Reply
on-list if events would be of interest to the rest of the group,
otherwise private response.

Thanks.

=====
It is in the nature of tyranny to deride the will of the people as the voice of the mob, and to denounce the cry for freedom as the roar of anarchy.
 --William Safire,  1989

__________________________________
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Archive-Date: Mon, 12 Jan 2004 13:04:19 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 15:34:53 -0500
From: Gene Murrow <gmurrow-AT-juno.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Fw: arrangements for English Dance music
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040112.153457.-289475.1.gmurrow-AT-juno.com>
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On Mon, 12 Jan 2004 14:21:05 -0500 Campbell Kaynor
<Campbell.Kaynor-AT-BIOGENIDEC.COM> writes:
> 
> Despite the fact I'm sure it will be viewed as contentious...

Not contentious to me!  We all learn by grappling with these issues and
with differing perspectives.

Actually, I think we are in agreement on some basic issues; differences
are on the surface and arise from some misinformation and
misinterpretation, viz:


>"...and we have some pretty detailed choreographies and descriptions 
> of Baroque dance."
> 
> Yes, but 99.9% of it having to do with the social dance of the 
> elite.

Not so.  The bulk of the documentation concerns theatrical dance; there
is precious little on the social dance (aside from Playford's maddeningly
incomplete aides memoires).  The biggest lacunae are in descriptions of
the actual steps used in the social dance, of which we know little.

More importantly, the dances I think we're all talking about (Childgrove,
Juice of Barley, Prince William, etc., etc.) WERE the social dance of the
elite!  You don't think the villagers out in the provinces were doing
those dances (let alone Siege of Limerick or Argeers), do you?
> 
> "The arrangements (harmonies, counterpoint, written-out 
> ornamentation, even orchestrations) and the steps match each other, but
they don't match the way we dance "Playford" or "historical-style"
country dances now."
> 
> I presume you are speaking of the "we" = CDS/CDSS/EFDSS ECD? 
> Hopefully there is some healthy variety in the field!

No, I'm speaking about all 21st century "Playford" or "historical" ECD
done as social or folk dance (i.e. everyone but the Baroque dance
companies and others attempting actual recreations)..  I'd be absolutely
amazed if you or any of the groups you lead dance in anything resembling
the style that the tunes and arrangements were written for-- a "social
elite" that spent considerable time at dancing lessons learning the
proper style.
> 
> "Presumably, anyone attempting to reproduce 17th century style is 
> working from the available evidence, which means the written
arrangements 
> and choreographies that have survived."
> 
> There are some among us who distrust the limited resources that 
> have survived through time and feel that interpretations based upon
such
> evidence are GUARANTEED to be far from the standard practices. From 
> those resources, we gain hints of what to look for, but:
> 1) the anecdotes are as likely to describe what a particular writer 
> felt
> "ought" to be the standard as they are to be representative. For 
> example,
> if there is an editorial in a newspaper from colonial America 
> stating that
> it is wrong to dance on Sundays, I believe that it is more likely 
> that
> dancing was happening on Sundays than that it was not. Even the 
> "how-to"
> treatises on playing the recorder, on improvising counterpoint, on 
> proper
> etiquette, etc... tend to be written by authors who wish to leave 
> their
> mark or win acclaim.

Boy, this is thin ice!  There's some truth to what you say, but I'm not
ready to throw out lots of careful and honest contemporary documentation.
 I am very familiar with the recorder treatises you mention, and there is
often great pains taken to distinguish between description, prescription,
and the ideal.  The extensive documentation of ECD by Andre Lorain,
dispatched from France in the late 1680's, suffers from the sins you
mention, but others seem straightforward enough.

> ...
> 3) I am convinced that ECD was far more dialectic throughout history 
> than it is in our modern society (with our far more cosmopolitan 
> tendencies)...

What do you mean by "dialectic" in this context?  

> ...Fortunately we have many more resources than those you mentioned. 
> The greatest of these are the intuitions of musicians and dancers. 
> THe resources you mentioned are only meaningful if combined with a
heavy 
> dose of sensitivity to what the music says about the choreography and 
> what the choreography says about the music. (I believe that Cecil Sharp

> would probably agree with me on this since he seemed to rely on a fair 
> amount of intuition himself).

Exactly what I'm trying to say.  Let the intuitions of musicians and
dancers, enjoying this material NOW, guide what we do.  Attempts to
re-create "authentic" 17th/18th-century style, which is where this thread
started, cause problems!  And let's not kid ourselves into thinking that
the intuitions of 21st century musicians and dancers had much in common
with the intuitions of 17th century musicians and dancers.  OTOH, running
on pure intuition, with no knowledge of the roots of this material, will
get one into equally dangerous waters.
> 
> All the rest of what you say about the "deadening effect" and the
> unfortunate shift from the inspiration of C# in the mid-70s are as 
> you say - "IMHO." I suspect that my opinions are the opposite of yours
on 
> some of those points.

Actually, I think we agree.  I didn't disparage all challenges to the C.
Sharp/EFDSS/CDSS "canon," many of which did occur in the 1970's, and
which opened new vistas for us (including opportunities to write new
dances in the genre, or that "allowed" Dudley Laufman to include ECD at
his contra dance evenings. Another challenge which I think was very
healthy was the non-EFDSS/CDSS dancing done at the Renaissance Faires in
CA and later elsewhere.  When I first participated in a Ren Faire in CA
in 1972, the country dancing looked NOTHING like what I had learned in
CDSS circles, but it was great, and fun to do, and right for the
setting.)  My critical comments were directed solely at the efforts at
"historical accuracy."

> ...Since the early '80s, I have been leading evenings of combined
ECD/Contra on a regular basis and for the most part they do not draw
separate clientele, but have served to broaden the tastes of those who
felt they preferred one over the other. This is not what I would call
"graying or slowing" but rather a broadening of the dancer base.

This is what I and I think many others would like to see more of!  And
I'd bet that you're not attracting all those dancers with studied
attempts to re-create 17th century dance style!!
> 
> So there's MY soapbox!

Fair enough... thanks!

Gene
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Archive-Date: Mon, 12 Jan 2004 13:15:23 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 13:16:56 -0800
From: Sharon Green <mls-AT-panix.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Next year NOMAD dates
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <5.2.0.9.0.20040112131415.029b8cb0-AT-popserver.panix.com>
MIME-Version: 1.0
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California's not geographically near, but I'm MCing the BACDS Fall Ball on 
November 20, 2004, and I hope that won't conflict with NOMAD, because I 
_love_ calling at NOMAD!
Frequently flying,
Sharon


At 11:58 AM 1/12/2004 -0800, you wrote:
>The NOMAD Organizing Committee is now reviewing potential dates for
>next fall.  Would those of you knowing about geographically near
>events taking place in October or November please let me know.  Reply
>on-list if events would be of interest to the rest of the group,
>otherwise private response.
>
>Thanks.
>
>=====
>It is in the nature of tyranny to deride the will of the people as the 
>voice of the mob, and to denounce the cry for freedom as the roar of anarchy.
>  --William Safire,  1989
>
>__________________________________
>Do you Yahoo!?
>Yahoo! Hotjobs: Enter the "Signing Bonus" Sweepstakes
>http://hotjobs.sweepstakes.yahoo.com/signingbonus


================================================================================
Archive-Date: Mon, 12 Jan 2004 13:37:35 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 16:37:14 -0500 (EST)
From: Terence Gaffney <gaff-AT-neu.edu>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Next year NOMAD dates
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.OSF.4.03.10401121635001.6909-100000-AT-research.neu.edu>
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Here in Boston we are hoping to have our "Fall Favorites" dance on
Saturday October 30. The dance features all four members of "Bare
Necessities"--this is the dance where you get to vote on the program if
you register in advance.  
Best,
 Terry


================================================================================
Archive-Date: Mon, 12 Jan 2004 13:44:42 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 16:44:17 -0500 (EST)
From: "Susan R. Lorand" <srl-AT-Princeton.EDU>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Next year NOMAD dates
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.GSO.4.58.0401121636210.13818-AT-phoenix.Princeton.EDU>
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References: <20040112195813.34837.qmail-AT-web13608.mail.yahoo.com>

On Mon, 12 Jan 2004, Barbara Ruth wrote:

> The NOMAD Organizing Committee is now reviewing potential dates for
> next fall.  Would those of you knowing about geographically near
> events taking place in October or November please let me know.  Reply
> on-list if events would be of interest to the rest of the group,
> otherwise private response.

I selfishly hope that NOMAD will avoid the weekends of...

October 30-31 (Rum & Onions will be Saturday Oct 30 - costumed contra
dancing in Princeton, NJ, with a 35-piece band - no ECD content)

and

November 12-14 (Head for the Hills, the Princeton Country Dancers'
friendly and affordable weekend in the Poconos, *includes ECD* as well
as contra & various other sorts of dance, music, song, revelry...)

...since I greatly enjoyed attending NOMAD for the first time in 2003,
when it conflicted with neither of the above!

Cheers,

Susie Lorand
================================================================================
Archive-Date: Mon, 12 Jan 2004 14:00:27 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 21:58:24 +0000 (GMT)
From: dcculb-AT-juno.com
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Whence came
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040112.135838.10660.1794819-AT-webmail04.lax.untd.com>
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On Mon, 12 Jan 2004 19:31:48 +0000 (GMT) mab-AT-TGIS.CO.UK writes:
> 
> 
> 
> At Mon, 12 Jan 2004 09:59:07 -0800 (PST), Tom Vincent
> <tomrvincent-AT-yahoo.com> wrote:
> > Other good ECD for a strip club:
> > 
> > - Gathering Peascods
> > - Johney Cock Thy Beaver
> > - Red and All Red
> > - The Pleasures of the Town
> > - The Lasses of Portsmouth
> > - A School for Scandal
> > - Once a Night
> > - Sally in Our Alley
> > - Kit Cat Club
> > - Juice of Barly
> > - The Old Batchelor
> > - Man was for Woman Made
> > - Measured Obsession
> > - Cold and Raw
> > - The Fit's Come on me Now
> > - Hey Boys, Up go We
> > - Scotch Measure
> > - Marriage Hater
> > - Hey Ho for my Honey
> > - The Belles of New York
> > - Lady's Breast Knot
> > - Soldier's Joy
> > - Drive the Cold Winter Away
> > - Up Tails All
> 
> Green Stockings
> Parson Upon Dorothy (Gay strip club, Dorothy is C17 slang for 
> homosexual)
> Joans Placket (Placket was C17 slang for a prostitute)
> Night Piece
> Bobbing Joe
> Woodycock
> Fain I would
> Passionate Lover (alternative title for Lavena)
> Petticoat Wag
> Cuckolds All Arow
> Lady Lie Near Me
> Under and Over
> What You Please
> Lady in the Dark
> Sweet Kate
> Catching of Fleas
> Ladies Delight
> Hey Boys Up Go We
> All Together One After Another]
> As Quick As You Please
> Black Mary's Hole
> Bonny Lass
> Fickle Polly
> Boys and Girls Come Out to Play
> Bump Her Belly
> Maidens Blush
> Harlequin in the Mud (Nude wrestling?)
> Wanton Bess
> Cock and Bull
> Complete Willy
> Devil in the Bush
> 
> That's probably more than enough for now, but I'm only 1/3 of the 
> way
> through the Playford titles!

Here's some more:

How Shall I Keep My Maidenhead
An Old Man is a Bed Full of Bones

Dawn Culbertson (Baltimore, MD)

________________________________________________________________
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================================================================================
Archive-Date: Mon, 12 Jan 2004 14:19:27 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 17:19:04 -0500
From: Susan <susan-AT-generalist.org>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Regency Dance Workshops Series - Connecticut
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
CC: susan-AT-generalist.org
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I haven't decided if Gene is meaning to be disapproving of what
I'm doing or not but it's not going to stop me.  :)

I will thus announce (only once) a new weekly series of
Regency dances - yes, weekly - in New Haven, Connecticut.
Six Mondays, starting, um, tonight (yes this is late; computer
trouble).  Dates are January 12, 19, 26 and February 2, 9, 16.
7:15-9:15.  $9 per person or $42 for the whole series.  The
last will be a brief review of what's been learned in the first
five followed by social Regency dancing.  This is intended as
an opportunity to really work on the steps and figures needed 
to dance early 19th-century country dances, quadrilles, reels,
and waltzes.  The technique for these is best learned over
time with regular practice.  To the best of my knowledge, a
series like this has not been tried in the northeastern U.S. 
before; don't know about elsewhere.

More information may be found at:

http://www.elegantarts.org/ctclasses.html

Dances, as usual, are researched and taught by yours truly; more
information about this can be found on our webpage,

http://www.elegantarts.org

Happy New years!

Susan
================================================================================
Archive-Date: Mon, 12 Jan 2004 17:28:34 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 20:27:59 -0500
From: Campbell Kaynor <Campbell.Kaynor-AT-biogenidec.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: More - arrangements for English Dance music
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <OFBF773F70.DF62DF70-ON85256E19.00829BE6-85256E1A.000801D7-AT-biogenidec.com>
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Dear Gene,
I think it is as you say - that we agree more than disagree. Perhaps I rely
more on intuition (shaped by studying cultural aesthetics) than actual
direct notations, in compiling my vision of what the earlier ECD might have
looked like, but I think we concur that both of these are important.

The theatrical dance is yet another genre in my view. It would be like
learning dancing from Revels or River Dance.
My main point is that nobody I know of writes "I went to the store for a
loaf of bread today" in their journal. Rather they write about the
note-worthy and perhaps extraordinary events of their day. If you tried to
construct a view of today's life from a few journals it would probably be
quite funny. The same is true of the written record of dance - even of
today's contemporary trends (and you would think that we might know better,
considering how we rue the paucity of reliable sources from history).

My only point about
> "The arrangements (harmonies, counterpoint, written-out
> ornamentation, even orchestrations) and the steps match each other, but
they don't match the way we dance "Playford" or "historical-style"
country dances now."
is that you make it sound as though there is one way that we dance Playford
now. Amongst the (at least dozens of) styles currently being danced in
social settings, surely some of them match the baroque arrangements fairly
well at times, even when they are not trying to emulate historical dancing.

On the point about many of the dances that are clearly written for an elite
clientele, you are correct - I make no attempt to get my "gang of peasants"
to dance them in an authetic aristocratic style. Instead we muddle through
(as a 17th century villager might have, if they encountered one of these at
the local shin-dig), in small ways feeling the grandeur of a more elegant
lifestyle and in large ways feeling the absence of a lifetime of training
in posture and movement. And of course we make use of the greater range of
movement our clothing allows so long as it fits the musical context (again
- something I'm sure villagers of yesteryear would have done).

I am not ready to "throw out lots of careful and honest contemporary
documentation" either. What I tried to convey is that this documentation
gives us clues, lets us know what to look for, but should not be used as
the foundation on which we build our vision of what was done because there
is no chance that it will be other than distorted. By combining it with
everything else we know and by listening to trained intuitions, then there
IS a chance that we might strike closer to the mark.

What I meant by dialectic is that this example of a letter from Shropshire
recounts in some detail the figures as done at a local social dance. The
same figures would likely have been done quite differently in other places
around the countryside. If one wishes to have a sense of the contemporary
style, one needs to have a sense of the breadth of stylistic variation and
not rely on accounts that document a local variant.

You say - "Let the intuitions of musicians and
dancers, enjoying this material NOW, guide what we do.  Attempts to
re-create "authentic" 17th/18th-century style, which is where this thread
started, cause problems!"
The thread started with a query from David Brown:
"... I have had the opportunity to try a bit of arranging, adding a 2nd
part and
active bass part to some of the dance tunes. I've been trying to write
these
parts in the style of the late Baroque and early Classical period.
I was wondering is anyone else has been doing this sort of thing? ..."
I did not interpret this to mean "authentic" but rather baroque/classical
s.l., employing the common principles of music composition and
improvisation that shaped the idioms of that era in our construction of
harmony lines today. I may have old-fashioned tastes, but I believe (as I
think David does) that even today it is possible to enjoy baroque music, to
feel compelled to move in relation to that music, and to savor even the
17th century dances themselves when done to instrumentation and styles that
are more baroque sounding than the Victorian music of Sharp and the (what
sounds to me like romantic-period-influenced) music of many of the hot ECD
bands of today.

Right now I am writing some dances to music by Telemann. These dances are
NOT intended for the social elite and they ARE intended to be enjoyed by
social dancers of all experience levels, drawing upon the figures and
styles that the people who come to my dances favor. Although I am not
qualified to play these melodies in an authentic baroque style (if anyone
is), I have no intention of playing them in the style that many other
country dance bands of our day employ! THAT would not suit the choreography
either.

Finally, I don't know if I agree that intuitions over the centuries are
miles apart. It seems to me that most things in life that we set about to
create or invent are not unique but hundreds of others in similar
circumstances have had the same inspiration. I'll stop because it would
take another chapter to explain what I'm getting at on this topic!!

Thanks for absorbing my comments so positively!
Cammy

================================================================================
Archive-Date: Mon, 12 Jan 2004 18:30:11 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 20:58:56 -0500
From: Gene Murrow <gmurrow-AT-juno.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Regency Dance Workshops Series - Connecticut
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040112.205903.-289475.3.gmurrow-AT-juno.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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On Mon, 12 Jan 2004 17:19:04 -0500 Susan <susan-AT-GENERALIST.ORG> writes:
> 
> I haven't decided if Gene is meaning to be disapproving of what
> I'm doing or not but it's not going to stop me.  :)

Uh-oh, now I'm in trouble...  I do not want to be in the position of
approving or disapproving anything; this is supposed to be fun!!

As it happens, I totally approve of what you do (and have participated,
as you know), because you are teaching dancing in historical style, based
on your own very considerable research and experience.  And your classes
do a lot of dancing in that style, not merely "marking" the patterns.  My
objection, going w-a-a-y back to the original posting on this thread, was
expending effort on 17th/18th-century technique/style of playing music
for ordinary ECD (MECD, that is) events.   What we should do is combine
those musicians who want to learn or experiment with that style with your
dancers.  You need the live music, they need to see dancers doing all
that fancy stepping, to see how the Baroque style and aesthetic fits
neatly with the steps!  Somebody should organize a weekend...

Gene  
> 
> I will thus announce (only once) a new weekly series of
> Regency dances - yes, weekly - in New Haven, Connecticut.
> Six Mondays, starting, um, tonight (yes this is late; computer
> trouble).  Dates are January 12, 19, 26 and February 2, 9, 16.
> 7:15-9:15.  $9 per person or $42 for the whole series.  The
> last will be a brief review of what's been learned in the first
> five followed by social Regency dancing.  This is intended as
> an opportunity to really work on the steps and figures needed 
> to dance early 19th-century country dances, quadrilles, reels,
> and waltzes.  The technique for these is best learned over
> time with regular practice.  To the best of my knowledge, a
> series like this has not been tried in the northeastern U.S. 
> before; don't know about elsewhere.
> 
> More information may be found at:
> 
> http://www.elegantarts.org/ctclasses.html
> 
> Dances, as usual, are researched and taught by yours truly; more
> information about this can be found on our webpage,
> 
> http://www.elegantarts.org
> 
> Happy New years!
> 
> Susan
> 
> 


-------------------------------------------------------------------------
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ISP of the moment: <gmurrow-AT-juno.com>         - "Reply" button
destination
================================================================================
Archive-Date: Mon, 12 Jan 2004 20:40:54 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Mon, 12 Jan 2004 23:38:24 -0500
From: Carl Friedman <carlfriedman-AT-alumni.williams.edu>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: NOMAD scheduling conflicts
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <529703BE-4582-11D8-AD83-000393C225F4-AT-alumni.williams.edu>
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Hi Barbara,

The Baltimore Playford Ball is tentatively scheduled for Saturday, 
October 16..

Carl

================================================================================
Archive-Date: Tue, 13 Jan 2004 01:05:02 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 13 Jan 2004 03:35:32 -0500
From: sol weber <solweber-AT-juno.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Pat Shaw permission
To: ecd-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040113.040256.-1094513.5.solweber-AT-juno.com>
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Hi    Someone asked me how to get permission to use a Pat Shaw
round (Duchess at Tea) in their upcoming Orff music book.  In the
past I got permission for my own book but no longer have the 
contacts.  Could someone give  me that info?  I'll pass it along.
Thanks.

Sol


Sol "Roundman" Weber  --- "So many rounds, so little time"
25-14  37 St,  Astoria NY 11103, 718-278-4389 (after 11am)
SINGERS & musicians, contact me for info on books, albums, 
& misc. fun items. solweber-AT-juno.com; web: roundz.tripod.com
================================================================================
Archive-Date: Tue, 13 Jan 2004 11:09:31 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 13 Jan 2004 11:09:04 -0800 (PST)
From: Barbara Ruth <barbararuth-AT-rocketmail.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Regency Dance Workshops Series - Connecticut
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040113190904.7566.qmail-AT-web13603.mail.yahoo.com>
MIME-Version: 1.0
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And having just attended the first session of this series, as well as
the recent Regency Assembly that Susan organized, I will add my
endorsement as well, and recommend that anyone within accessible
distance and at all interested in this era, or in learning more about
the roots of our contemporary ECD, should come.  Susan is an
excellent teacher and learning this stepping is fun. It will make you
a better dancer. Furthermore, it will open up a whole new world of
information about what people were doing in social dance during the
regency period, which will make it come more alive.  Just what
exactly were those Bennett sisters doing in the drawing room during
those evenings at home, and why was Lizzy so quick to turn down Mr.
Darcy's suggestion of doing a Scotch reel?  Come and learn.


--- Gene Murrow <gmurrow-AT-juno.com> wrote:
> On Mon, 12 Jan 2004 17:19:04 -0500 Susan <susan-AT-GENERALIST.ORG>
> writes:
> > 
> > I haven't decided if Gene is meaning to be disapproving of what
> > I'm doing or not but it's not going to stop me.  :)
> 
> As it happens, I totally approve of what you do (and have
> participated, as you know), because you are teaching dancing in 
> historical style, based
> on your own very considerable research and experience.  


> > I will thus announce (only once) a new weekly series of
> > Regency dances - yes, weekly - in New Haven, Connecticut.
> > Six Mondays, starting, um, tonight (yes this is late; computer
> > trouble).  Dates are January 12, 19, 26 and February 2, 9, 16.
> > 7:15-9:15.  $9 per person or $42 for the whole series.  > > More
information may be found at:
> > 
> > http://www.elegantarts.org/ctclasses.html
> > 
> > Dances, as usual, are researched and taught by yours truly; more
> > information about this can be found on our webpage,
> > 
> > http://www.elegantarts.org
> > 


=====
It is in the nature of tyranny to deride the will of the people as the voice of the mob, and to denounce the cry for freedom as the roar of anarchy.
 --William Safire,  1989

__________________________________
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================================================================================
Archive-Date: Tue, 13 Jan 2004 11:18:03 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 13 Jan 2004 11:17:41 -0800 (PST)
From: Barbara Ruth <barbararuth-AT-rocketmail.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Shoe Thoughts
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040113191741.9177.qmail-AT-web13609.mail.yahoo.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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--- Dfhart24-AT-AOL.COM wrote:
> In a message dated 1/5/2004 3:05:36 PM Eastern Standard Time, 
> barbararuth-AT-ROCKETMAIL.COM writes:
> If you need something more robust to stand
> > up to urban streets, maybe a heavier duty cap would do the job.
> > 
> > Or rubbers. I like that idea!
> 
> Aha - a great marketing campaign: "Safe Shoes!"
> Oh yah-- "Safe Steps"


How about "Safe Sox."


=====
It is in the nature of tyranny to deride the will of the people as the voice of the mob, and to denounce the cry for freedom as the roar of anarchy.
 --William Safire,  1989

__________________________________
Do you Yahoo!?
Yahoo! Hotjobs: Enter the "Signing Bonus" Sweepstakes
http://hotjobs.sweepstakes.yahoo.com/signingbonus
================================================================================
Archive-Date: Tue, 13 Jan 2004 11:43:11 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 13 Jan 2004 14:42:37 -0500 (EST)
From: Dfhart24-AT-aol.com
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: More - arrangements for English Dance music
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <21.394db5d1.2d35a42d-AT-aol.com>
MIME-Version: 1.0
Content-Type: multipart/alternative; boundary="Boundary_(ID_6m8jXiXCqe/fXCsDC7yddQ)"


--Boundary_(ID_6m8jXiXCqe/fXCsDC7yddQ)
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In a message dated 1/12/2004 8:39:59 PM Eastern Standard Time, 
Campbell.Kaynor-AT-BIOGENIDEC.COM writes:
Right now I am writing some dances to music by Telemann. These dances are
NOT intended for the social elite and they ARE intended to be enjoyed by
social dancers of all experience levels, drawing upon the figures and
styles that the people who come to my dances favor. Although I am not
qualified to play these melodies in an authentic baroque style (if anyone
is), I have no intention of playing them in the style that many other
country dance bands of our day employ! THAT would not suit the choreography
either.
Hi Cammy,

I'm curious about just which Telemann compositions you are using since I play 
a good deal of Telemann on a regular basis (recorder/s, plus cello and 
harpsichord.)

I'd be very interested to learn what you come up with. 

It's often a hoot to stumble across a movement or piece that has long been 
familiar as an English Country Dance.  (Some of us have come to our involvement 
in Early Music by way of dance  :+)

Cheer,
Deborah

--Boundary_(ID_6m8jXiXCqe/fXCsDC7yddQ)
Content-type: text/html; charset=US-ASCII
Content-transfer-encoding: 7BIT

<HTML><HEAD>
<META charset=UTF-8 http-equiv=Content-Type content="text/html; charset=utf-8">
<META content="MSHTML 6.00.2800.1106" name=GENERATOR></HEAD>
<BODY style="FONT-SIZE: 10pt; FONT-FAMILY: Arial; BACKGROUND-COLOR: #ffffff">
<DIV>

<DIV>In a message dated 1/12/2004 8:39:59 PM Eastern Standard Time, Campbell.Kaynor-AT-BIOGENIDEC.COM writes:</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><FONT face=Arial>Right now I am writing some dances to music by Telemann. These dances are<BR>NOT intended for the social elite and they ARE intended to be enjoyed by<BR>social dancers of all experience levels, drawing upon the figures and<BR>styles that the people who come to my dances favor. Although I am not<BR>qualified to play these melodies in an authentic baroque style (if anyone<BR>is), I have no intention of playing them in the style that many other<BR>country dance bands of our day employ! THAT would not suit the choreography<BR>either.</FONT></BLOCKQUOTE></DIV>
<DIV>Hi Cammy,</DIV>
<DIV>&nbsp;</DIV>
<DIV>I'm curious about just which Telemann compositions you are using since I play a good deal of Telemann on a regular basis (recorder/s, plus cello and harpsichord.)</DIV>
<DIV>&nbsp;</DIV>
<DIV>I'd be very interested to learn what you come up with.&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>It's often a hoot to stumble across a movement or piece that has long been familiar as an English Country Dance.&nbsp; (Some of us have come to our involvement in Early Music by way of dance&nbsp; :+)</DIV>
<DIV>&nbsp;</DIV>
<DIV>Cheer,</DIV>
<DIV>Deborah</DIV></BODY></HTML>

--Boundary_(ID_6m8jXiXCqe/fXCsDC7yddQ)--
================================================================================
Archive-Date: Tue, 13 Jan 2004 13:21:39 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 13 Jan 2004 22:21:29 +0100
From: Antony Heywood <antony-AT-heywood.nl>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: RE: Pat Shaw permission
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <COEDLPPOGOEMEHCDMDFLEEHNCHAA.antony-AT-heywood.nl>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7BIT

Sol Weber wrote:

Hi    Someone asked me how to get permission to use a Pat Shaw
round (Duchess at Tea) in their upcoming Orff music book.  In the
past I got permission for my own book but no longer have the 
contacts.  Could someone give  me that info?  I'll pass it along.

Permission to publish a Pat Shaw composition needs to be sought from:
Christopher Shuldham-Shaw
Holly Cottage
Wiggaton
Ottery St Mary
Devon
U.K. EX11 1PY
Tel.: +44 1404 814931

Antony Heywood
================================================================================
Archive-Date: Tue, 13 Jan 2004 14:53:20 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 13 Jan 2004 17:53:02 -0500
From: Campbell Kaynor <Campbell.Kaynor-AT-biogenidec.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: More - arrangements for English Dance music
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <OFA9591F0D.E9473E26-ON85256E1A.007A7170-85256E1A.007DA832-AT-biogenidec.com>
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I am at work so I can't give you the details right away, but I'll get them
to you eventually. I have a collection of Telemann minuets etc... that are
all or mostly in 3/4 (alto and continuo), many of which seem to be begging
for dance accompaniment. There are several likely suspects in a several
other collections I have (not all Telemann) and I have recently been
playing around with several movements of the Suite in Am. If I decide to
actually complete any of these, I will probably rework the Suite for a
small ensemble as an orchestra would be a little unwieldy at the usual
dance hall.
I have also been chomping on some of the Fitzwilliam Virginal book and
other early English stuff.

By the way, in the absence of an orchestra for the suite, I usually play
the 1st Violin melody when the recorder has long stretches of rests and the
movement that springs to mind right now is one such. (I am typing this off
the top of my head so don't hold me to it. On Alto, I modify the tune
slightly to get around the low Es). I'll send the Pdf to you off-list.
CK


================================================================================
Archive-Date: Tue, 13 Jan 2004 14:55:56 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 13 Jan 2004 17:55:31 -0500
From: SFORDNYC-AT-aol.com
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Subject: Re: More - arrangements for English Dance music
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================================================================================
Archive-Date: Tue, 13 Jan 2004 15:15:35 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 13 Jan 2004 18:15:07 -0500
From: SFORDNYC-AT-aol.com
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: More - arrangements for English Dance music
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
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In a message dated 1/12/2004 8:27:59 PM Eastern Standard Time, Campbell.Kaynor-AT-BIOGENIDEC.COM writes:

> I have no intention of playing them in the style that many other
> country dance bands of our day employ! THAT would not suit 
> the choreography
> either.

Umm, and what is that?  Is there a fixed musical country dance band performance style?  If so, can you describe it?  Can anyone?  What musical style would suit the choreography of these dances that you've set to Teleman?  You don't feel "qualified" to perform in an "authentic Baroque style" (whatever that is) yet you don't want it played in modern "country dance band style" (which is...?).  What instruments do you feel would be appropriate?  What do you intend to tell your musicians about how you want the music played?  I'm not being snooty or elitist.  I'm really curious. 

BTW, I would be willing to bet that the harpsichord was used extremely infrequently, if at all, to accompany dances in the 17th and 18th C.  Not in a chamber ensemble.  Possibly as continue in a larger ensemble.  First, it doesn't make enough noise to carry.  Second, it's not portable.  Finally, from hacking out tunes so I can learn the dances, most of the Playford melodies are not idiomatic for the keyboard -- they don't finger well at all.  In my opinion they are mostly fiddle tunes -- or for wind instrument.  

Now you realize, this is purely my opinion, based on some empirical experience and other accumulated knowledge.  I could be convinced otherwise (depending on who was doing the convincing).  I am not trying to stamp out anyone else's creativity or musical exploration.  I've heard the Broadside Band, and I think they're great.  I'm dubious as to whether such a group would have existed for dances in Playford time.  But I'm not losing sleep over it.

Suzanne

================================================================================
Archive-Date: Tue, 13 Jan 2004 15:17:46 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 13 Jan 2004 18:17:27 -0500
From: Campbell Kaynor <Campbell.Kaynor-AT-biogenidec.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Telemann
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <OF7619C6EF.A26B77A2-ON85256E1A.007F30D9-85256E1A.007FE44A-AT-biogenidec.com>
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My Telemann post was meant for Deborah - not list at large - sorry.

I agree with Suzanne about the breadth of potentially acceptable
interpretations of baroque melodies. That is part of why I think one should
not characterize a baroque style as unsuitable for today's dancers. The
other part being the variety that exists in the styles of dancing prevalent
today. It seems to me that one would have to select a fairly narrow
interpretation of "baroque music" and an equally narrow sample of how
today's dancers like to dance before one could make that generalization.

CK

================================================================================
Archive-Date: Tue, 13 Jan 2004 16:06:02 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 13 Jan 2004 19:09:14 -0500
From: Stephanie Smith <dancesmith-AT-verizon.net>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: versions of Volpony
To: ECD-List <ECD-AT-SSRL04.SLAC.STANFORD.EDU>
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I'm going to be teaching Volpony at this week's Glen Echo, MD dance.  
I've discovered several different versions of the dance, including 
listmember Nicolas Broadbridge's version as well as Tom Cook's and 
Christine Helwig's.  I would be interested to hear from those who teach 
it or who have danced it if you have a version preference and why.  I 
remember dancing it at Pinewoods with Gene Murrow teaching, but do not 
remember the version.

All commentary welcome!

On another subject, the Washington Spring Ball  (May 15, 2004) program 
will include Victor Skowronski's "Companions."  He has been visiting our 
dance periodically while being in the area for his job, and I taught the 
dance in September.  Our local dancers really like it.  We obtained 
chords for the music from Jacqueline Schwab, and the comments about the 
dance on the list have been very helpful.

Thanks.

Stephanie Smith
Bethesda, MD


================================================================================
Archive-Date: Tue, 13 Jan 2004 18:12:49 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 13 Jan 2004 21:12:27 -0500
From: Joyce Crouch <joycecrouch-AT-pobox.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: versions of Volpony
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <BC2A0FBB.4891%joycecrouch-AT-pobox.com>
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> I've discovered several different versions of the dance, including
> listmember Nicolas Broadbridge's version as well as Tom Cook's and
> Christine Helwig's.

To add to your collection, Philippe Callens included his interpretation of
Volpony in his book of original and interpreted dances entitled "Belgian
Boutades."  Check it out if you can.

Volpony is a lovely minuet tune, one of many treasures from Henry Purcell.

Joyce Crouch
Amherst MA USA


================================================================================
Archive-Date: Tue, 13 Jan 2004 18:24:32 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 13 Jan 2004 21:24:14 -0500
From: Joyce Crouch <joycecrouch-AT-pobox.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Next year NOMAD dates
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <BC2A127E.4892%joycecrouch-AT-pobox.com>
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October 16-17, 2004, will be a special weekend of ECD in Amherst MA, with
Scott Higgs leading a Saturday evening dance open to all and a Sunday
afternoon Advanced Dance for experienced dancers who are completely familiar
with basic ECD figures.

In November 2004, the Brattleboro (VT) Playford Ball will be on Saturday,
Nov 20.

Good luck avoiding all the geographically-near conflicts, and thanks for
checking.  I hope to be at NOMAD again next year.

Joyce Crouch
Amherst MA USA



================================================================================
Archive-Date: Tue, 13 Jan 2004 18:39:22 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Tue, 13 Jan 2004 18:39:00 -0800 (PST)
From: Graham Christian <bray1699-AT-yahoo.com>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: versions of Volpony
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040114023900.30322.qmail-AT-web20602.mail.yahoo.com>
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Stephanie:
I have a new interpretation of Volpony, with which I
am quite happy. 
I have not published it as yet, but if you are
attending the upcoming New Haven Ball, we will be
dancing it there; or you can send to me for a copy.
Best,
Graham

=====
Graham Christian
"They love dance well that will dance among thorns."

__________________________________
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================================================================================
Archive-Date: Tue, 13 Jan 2004 22:00:58 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Wed, 14 Jan 2004 05:58:37 +0000 (GMT)
From: dcculb-AT-juno.com
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: More - arrangements for English Dance music
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <20040113.215935.10660.1827449-AT-webmail04.lax.untd.com>
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On Tue, 13 Jan 2004 14:42:37 -0500 (EST) Dfhart24-AT-AOL.COM writes:
> In a message dated 1/12/2004 8:39:59 PM Eastern Standard Time, 
> Campbell.Kaynor-AT-BIOGENIDEC.COM writes:
> Hi Cammy,
> 
> I'm curious about just which Telemann compositions you are using 
> since I play 
> a good deal of Telemann on a regular basis (recorder/s, plus cello 
> and 
> harpsichord.)
> 
> I'd be very interested to learn what you come up with. 

I've loved Telemann's music for years and have played & studied his recorder sonatas as well. A lof of his stuff seems very danceable, yet I've never heard of anyone setting any English dance to his music. So I'm curious too.

Dawn Culbertson
Baltimore, MD


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================================================================================
Archive-Date: Wed, 14 Jan 2004 08:13:32 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Wed, 14 Jan 2004 11:13:05 -0500
From: SFORDNYC-AT-aol.com
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: More - arrangements for English Dance music
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <23BA044C.115DF97D.0078596C-AT-aol.com>
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Now that choreographers have mined Purcell, O'Carolan, Handel, etc., maybe they'll turn their attention to other later Baroque composers.  There's no reason why Telemann wouldn't work -- if the melody and length of phrase seemed suitable or could be adapted in some way.

Suzanne


================================================================================
Archive-Date: Wed, 14 Jan 2004 09:32:39 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Wed, 14 Jan 2004 09:32:16 -0800
From: Jon Berger <jberger-AT-sbcglobal.net>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: More - arrangements for English Dance music
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <40057D20.9000200-AT-sbcglobal.net>
MIME-Version: 1.0
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SFORDNYC-AT-AOL.COM wrote:
> Now that choreographers have mined Purcell, O'Carolan, Handel, etc., maybe they'll turn their attention to other later Baroque composers.  There's no reason why Telemann wouldn't work -- if the melody and length of phrase seemed suitable or could be adapted in some way.

Someone should write a canon-type dance, a la John Tallis's Canon, to one 
of the Kanonische Sonaten.  Those are big fun to play.

-- 
Jon Berger
http://pages.sbcglobal.net/jberger

================================================================================
Archive-Date: Wed, 14 Jan 2004 10:26:07 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Wed, 14 Jan 2004 13:25:25 -0500 (EST)
From: Dfhart24-AT-aol.com
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Telemann stripped
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <171.289f06b9.2d36e395-AT-aol.com>
MIME-Version: 1.0
Content-Type: multipart/alternative; boundary="Boundary_(ID_wRv8oCxhaAMP8IFgrcP9vg)"


--Boundary_(ID_wRv8oCxhaAMP8IFgrcP9vg)
Content-type: text/plain; charset=US-ASCII
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In a message dated 1/14/2004 12:59:33 PM Eastern Standard Time, 
jberger-AT-SBCGLOBAL.NET writes:
> Now that choreographers have mined Purcell, O'Carolan, Handel, etc., maybe 
they'll turn their attention to other later Baroque composers.  There's no 
reason why Telemann wouldn't work -- if the melody and length of phrase seemed 
suitable or could be adapted in some way.

Someone should write a canon-type dance, a la John Tallis's Canon, to one 
of the Kanonische Sonaten.  Those are big fun to play.
Great fun, indeed.  I'm thinking those might be a bit overwhelming for a 
dance number, though there are plenty of other Telemann pieces/movements that 
would be fine.  Stripped down Telemann without all the [superfluous for ECD] 
ornamentation, that is.  Bare essentials, if not necessities.

If we are promoting here, I'd like to offer up Marin Marais for 
consideration-- especially pieces from his Suite in g minor-- which, in fact, is full of 
dance-entitled movements.

Cheer,
Deborah

--Boundary_(ID_wRv8oCxhaAMP8IFgrcP9vg)
Content-type: text/html; charset=US-ASCII
Content-transfer-encoding: 7BIT

<HTML><HEAD>
<META charset=UTF-8 http-equiv=Content-Type content="text/html; charset=utf-8">
<META content="MSHTML 6.00.2800.1106" name=GENERATOR></HEAD>
<BODY style="FONT-SIZE: 10pt; FONT-FAMILY: Arial; BACKGROUND-COLOR: #ffffff">
<DIV>
<DIV>In a message dated 1/14/2004 12:59:33 PM Eastern Standard Time, jberger-AT-SBCGLOBAL.NET writes:</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><FONT face=Arial>&gt; Now that choreographers have mined Purcell, O'Carolan, Handel, etc., maybe they'll turn their attention to other later Baroque composers.&nbsp; There's no reason why Telemann wouldn't work -- if the melody and length of phrase seemed suitable or could be adapted in some way.<BR><BR>Someone should write a canon-type dance, a la John Tallis's Canon, to one <BR>of the Kanonische Sonaten.&nbsp; Those are big fun to play.</FONT></BLOCKQUOTE></DIV>
<DIV>Great fun, indeed.&nbsp; I'm thinking those might be a bit overwhelming for a dance number, though there are plenty of other Telemann pieces/movements&nbsp;that would be fine.&nbsp; Stripped down Telemann without all the [superfluous for ECD] ornamentation, that is.&nbsp; Bare essentials, if not necessities.</DIV>
<DIV>&nbsp;</DIV>
<DIV>If we are&nbsp;promoting&nbsp;here, I'd like to&nbsp;offer up&nbsp;Marin Marais for consideration-- especially pieces from his Suite in g minor-- which, in fact, is full of&nbsp;dance-entitled movements.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Cheer,</DIV>
<DIV>Deborah</DIV></BODY></HTML>

--Boundary_(ID_wRv8oCxhaAMP8IFgrcP9vg)--
================================================================================
Archive-Date: Wed, 14 Jan 2004 10:45:01 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Wed, 14 Jan 2004 10:44:37 -0800
From: Jon Berger <jberger-AT-sbcglobal.net>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: Re: Telemann stripped
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
Message-ID: <40058E15.6010705-AT-sbcglobal.net>
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=us-ascii
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References: <171.289f06b9.2d36e395-AT-aol.com>



Dfhart24-AT-aol.com wrote:
> In a message dated 1/14/2004 12:59:33 PM Eastern Standard Time, 
> jberger-AT-SBCGLOBAL.NET writes:
> 
>      > Now that choreographers have mined Purcell, O'Carolan, Handel,
>     etc., maybe they'll turn their attention to other later Baroque
>     composers.  There's no reason why Telemann wouldn't work -- if the
>     melody and length of phrase seemed suitable or could be adapted in
>     some way.
> 
>     Someone should write a canon-type dance, a la John Tallis's Canon,
>     to one
>     of the Kanonische Sonaten.  Those are big fun to play.
> 
> Great fun, indeed.  I'm thinking those might be a bit overwhelming for a 
> dance number, though there are plenty of other Telemann 
> pieces/movements that would be fine. 

I think it could work.  Not an entire movement, of course, any more than 
"Handel With Care" is done to the entire movement from "Water Music."  But 
I could certainly see adapting a couple of passages for dancing.

If anyone would like to have a shot at writing one of these canonic dances 
(admittedly a pretty daunting task), I'd be glad to volunteer to try doing 
an appropriate musical arrangement.

-- 
Jon Berger
http://pages.sbcglobal.net/jberger

================================================================================
Archive-Date: Wed, 14 Jan 2004 11:54:36 PST
Sender: owner-ecd-AT-playford.slac.stanford.edu
Date: Wed, 14 Jan 2004 20:59:46 +0100
From: Simone Verheyen <simoneverheyen-AT-pi.be>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: RE: Telemann stripped
To: ECD-AT-SSRL04.SLAC.STANFORD.EDU
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Hi everybody,

someone wrote :
  > Now that choreographers have mined Purcell, O'Carolan, Handel, etc.,
maybe they'll turn their attention to other later Baroque composers.
There's no reason why Telemann wouldn't work -- if the melody and length of
phrase seemed suitable or could be adapted in some way.

  This is my [Simone Verheyen] answer.

  Philippe Callens wrote a dance entitled "Alice".  It's set to "Siciliano"
from Concerto for oboe d'amore and string orchestra in A major, by Georg
Philipp Telemann (TWV 51).
  Nice piece of music, nice dance.

  Interested ?  Let me know.

  Simone

  simoneverheyen-AT-pi.be

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<DIV><SPAN class=990534719-14012004>Hi everybody,</SPAN></DIV>
<DIV><SPAN class=990534719-14012004></SPAN>&nbsp;</DIV>
<DIV><SPAN class=990534719-14012004>someone wrote :</SPAN></DIV>
<BLOCKQUOTE dir=ltr style="MARGIN-RIGHT: 0px">
  <DIV class=OutlookMessageHeader dir=ltr align=left>&gt; Now that 
  choreographers have mined Purcell, O'Carolan, Handel, etc., maybe they'll turn 
  their attention to other later Baroque composers.&nbsp; There's no reason why 
  Telemann wouldn't work -- if the melody and length of phrase seemed suitable 
  or could be adapted in some way.<BR><SPAN 
  class=990534719-14012004></SPAN></DIV>
  <DIV class=OutlookMessageHeader dir=ltr align=left><SPAN 
  class=990534719-14012004>This is my </SPAN><SPAN 
  class=990534719-14012004>[Simone Verheyen] answer.</SPAN></DIV>
  <DIV class=OutlookMessageHeader dir=ltr align=left><SPAN 
  class=990534719-14012004></SPAN>&nbsp;</DIV>
  <DIV class=OutlookMessageHeader dir=ltr align=left><SPAN 
  class=990534719-14012004>Philippe Callens wrote a dance entitled 
  "Alice".&nbsp;&nbsp;It's set to "Siciliano" from&nbsp;Concerto for oboe 
  d'amore and string orchestra in A major, by Georg Philipp Telemann (TWV 
  51).</SPAN></DIV>
  <DIV class=OutlookMessageHeader dir=ltr align=left><SPAN 
  class=990534719-14012004>Nice piece of music, nice dance.&nbsp; </SPAN></DIV>
  <DIV class=OutlookMessageHeader dir=ltr align=left><SPAN 
  class=990534719-14012004></SPAN>&nbsp;</DIV>
  <DIV class=OutlookMessageHeader dir=ltr align=left><SPAN 
  class=990534719-14012004>Interested ?&nbsp; Let me 
  know.&nbsp;&nbsp;</SPAN></DIV>
  <DIV class=OutlookMessageHeader dir=ltr align=left><SPAN 
  class=990534719-14012004></SPAN>&nbsp;</DIV>
  <DIV class=OutlookMessageHeader dir=ltr align=left><SPAN 
  class=990534719-14012004>Simone</SPAN></DIV>
  <DIV class=OutlookMessageHeader dir=ltr align=left><SPAN 
  class=990534719-14012004></SPAN>&nbsp;</DIV>
  <DIV class=OutlookMessageHeader dir=ltr align=left><SPAN 
  class=990534719-14012004>simoneverheyen-AT-pi.be</SPAN></DIV></BLOCKQUOTE></BODY></HTML>

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Archive-Date: Wed, 14 Jan 2004 12:15:39 PST
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Date: Wed, 14 Jan 2004 15:14:55 -0500 (EST)
From: Dfhart24-AT-aol.com
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Subject: Re: Telemann stripped
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I've rarely met a Siciliano I didn't like and don't see "Alice" in the 
Phillipe collections I have, so I would be interested to see/play this.  Is this a 
new dance?

Deborah

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<DIV>I've rarely met a Siciliano I didn't like and don't see "Alice" in the Phillipe collections I have, so I would be interested to see/play this.&nbsp; Is this a new dance?</DIV>
<DIV>&nbsp;</DIV>
<DIV>Deborah</DIV></BODY></HTML>

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Archive-Date: Wed, 14 Jan 2004 12:46:25 PST
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Date: Wed, 14 Jan 2004 15:46:06 -0500
From: Joyce Crouch <joycecrouch-AT-pobox.com>
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Subject: Re: Telemann stripped
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Deborah and all,

>If we are promoting here, I'd like to offer up Marin Marais for consideration--
especially pieces >from his Suite in g minor-- which, in fact, is full of
dance-entitled movements.

Gary Roodman's 3-cpl longways dance "Kneeland Romp" (in Calculated Figures,
publ 1987) is set to the tune "Le  Basque" by Marais.  (Or is it La? there
seems to be some confusion)  Delightful!

Joyce Crouch
Amherst MA USA


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Archive-Date: Wed, 14 Jan 2004 13:37:44 PST
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Date: Wed, 14 Jan 2004 16:37:17 -0500
From: Stephanie Smith <dancesmith-AT-verizon.net>
Reply-To: ECD-AT-playford.slac.stanford.edu
Subject: RE: Telemann stripped
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And we are doing "Alice" tonight at the Glen Echo, MD dance with the honoree present!  It is a lovely and easy dance that works well with people new to ECD.

Stephanie Smith
Bethesda, MD

> From: Simone Verheyen <simoneverheyen-AT-PI.BE>
> Date: 2004/01/14 Wed PM 02:59:46 EST
> To: ECD-AT-ssrl04.slac.stanford.edu
> Subject: RE: Telemann stripped
> 
> Hi everybody,
> 
> someone wrote :
>   > Now that choreographers have mined Purcell, O'Carolan, Handel, etc.,
> maybe they'll turn their attention to other later Baroque composers.
> There's no reason why Telemann wouldn't work -- if the melody and length of
> phrase seemed suitable or could be adapted in some way.
> 
>   This is my [Simone Verheyen] answer.
> 
>   Philippe Callens wrote a dance entitled "Alice".  It's set to "Siciliano"
> from Concerto for oboe d'amore and string orchestra in A major, by Georg
> Philipp Telemann (TWV 51).
>   Nice piece of music, nice dance.
> 
>   Interested ?  Let me know.
> 
>   Simone
> 
>   simoneverheyen-AT-pi.be
> 
> 

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Date: Wed, 14 Jan 2004 18:34:17 -0500
From: Deb Karl <debkarl-AT-wi.mit.edu>
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Subject: Re: Telemann stripped
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References: <LPBBLJBHNCEFOEMJDEALOEHJDIAA.simoneverheyen-AT-pi.be>

Simone wrote:
Philippe Callens wrote a dance entitled "Alice".  It's set to
"Siciliano" from Concerto