Archive-Date: Thu, 01 Sep 2005 12:02:51 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu From: Russiababy-AT-aol.com Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: Date: Thu, 1 Sep 2005 15:02:16 EDT Subject: [ECD] Music St. in New Orleans To: ECD-AT-ssrl04.slac.stanford.edu MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="-----------------------------1125601336" -------------------------------1125601336 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Does anyone know whether Daron Douglas and her husband are all right? Their home is on Music Street in New Orleans. Nikki -------------------------------1125601336 Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable

Does anyone know whether Daron Douglas and her husband are all right?&n= bsp;=20 Their home is on Music Street in New Orleans.

Nikki

-------------------------------1125601336-- ================================================================================ Archive-Date: Thu, 01 Sep 2005 13:00:29 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Content-Transfer-Encoding: quoted-printable Content-Type: text/plain MIME-Version: 1.0 From: jack-AT-greenmanreview.com Reply-To: ECD-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Date: Thu, 01 Sep 2005 15:00:07 -0500 Subject: Re: [ECD] Music St. in New Orleans Message-ID: <20050901200007.C8B07EE256-AT-ws6-1.us4.outblaze.com> > Does anyone know whether Daron Douglas and her husband are all right? T= heir > home is on Music Street in New Orleans. No one is OK if they're in NO right now. Haven't you been hearing what's go= ing on? Just hope they got out before KAtrina struck. ================================================================================ Archive-Date: Thu, 01 Sep 2005 13:14:33 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <6.1.2.0.2.20050901161117.01e92c68-AT-192.168.1.2> Date: Thu, 01 Sep 2005 16:13:54 -0400 To: ecd-AT-ssrl04.slac.stanford.edu From: office-AT-cdss.org Reply-To: ECD-AT-playford.slac.stanford.edu Subject: [ECD] ED Leaders Workshop at Pinewoods MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="=====================_27303875==.ALT" --=====================_27303875==.ALT Content-Type: text/plain; charset="us-ascii"; format=flowed Dear Friends, Several people have asked us about Daron Douglas in New Orleans -- yes, she is safe from Hurricane Katrina and is staying with a friend in Georgia. (Her husband is out of danger too.) Caroline Batson on behalf of the CDSS Staff Caroline Batson Country Dance and Song Society, PO Box 338, Haydenville, MA 01039 413-268-7426 x 101 Country Dance and Song Society, PO Box 338, Haydenville, MA 01039 413-268-7426 x 101 --=====================_27303875==.ALT Content-Type: text/html; charset="us-ascii" Dear Friends,

Several people have asked us about Daron Douglas in New Orleans -- yes, she is safe from Hurricane Katrina and is staying with a friend in Georgia. (Her husband is out of danger too.)

Caroline Batson on behalf of the CDSS Staff

Caroline Batson
Country Dance and Song Society, PO Box 338, Haydenville, MA 01039
413-268-7426 x 101

Country Dance and Song Society, PO Box 338, Haydenville, MA 01039
413-268-7426 x 101

--=====================_27303875==.ALT-- ================================================================================ Archive-Date: Thu, 01 Sep 2005 13:18:48 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 (Apple Message framework v619) References: <20050901200007.C8B07EE256-AT-ws6-1.us4.outblaze.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Message-ID: Content-Transfer-Encoding: 7bit From: Maryn McKenna Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: [ECD] Music St. in New Orleans Date: Thu, 1 Sep 2005 16:19:44 -0400 To: ECD-AT-ssrl04.slac.stanford.edu I don't know where Music St. is, but: Some parts of the city, including some streets in the French Qtr, are above water; i heard this today from a Times-Picayune reporter who lives there (but has been evacuated to Baton Rouge, where they are putting out the paper). His house, and the house of one of our editors who just moved from there, are intact and dry. however they've been told looters are moving in their direction (after shooting at the medevac copters. wtf??). fwiw, a quick Google will reveal tons of new blogs soliciting/offering info on survivors. maryn On Sep 1, 2005, at 4:00 PM, jack-AT-greenmanreview.com wrote: > >> Does anyone know whether Daron Douglas and her husband are all right? >> Their >> home is on Music Street in New Orleans. > > No one is OK if they're in NO right now. Haven't you been hearing > what's going on? > > Just hope they got out before KAtrina struck. > > -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- M.A.J. McKenna, science/medical writer The Atlanta Journal-Constitution 72 Marietta St. NW, 6th flr, Atlanta GA 30303 USA 404.526.5987 desk - 404.285.1175 mobile -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ================================================================================ Archive-Date: Thu, 01 Sep 2005 13:40:01 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 1 Sep 2005 16:35:49 -0400 From: Susan Murrow <75272.730-AT-compuserve.com> Reply-To: ECD-AT-playford.slac.stanford.edu Subject: [ECD] Music St. in New Orleans To: "INTERNET:ECD-AT-ssrl04.slac.stanford.edu" Message-ID: <200509011639_MC3-1-A8EF-529D-AT-compuserve.com> MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Hi, Nikki -- Just a quick reply to allay your anxiety and tell you that Daron and Mark are safe, away from the storm --she's in Georgia and he's in India. Let's hope their home survives! All good wishes, Susan -------- Message text written by INTERNET:ECD-AT-ssrl04.slac.stanford.edu >Does anyone know whether Daron Douglas and her husband are all right? Their home is on Music Street in New Orleans. Nikki < ================================================================================ Archive-Date: Thu, 01 Sep 2005 13:43:24 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu From: Russiababy-AT-aol.com Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <19e.3ad9a643.3048c1d4-AT-aol.com> Date: Thu, 1 Sep 2005 16:43:00 EDT Subject: Re: [ECD] Music St. in New Orleans To: ECD-AT-ssrl04.slac.stanford.edu MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="-----------------------------1125607380" -------------------------------1125607380 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 9/1/2005 3:40:55 PM Central Daylight Time, 75272.730-AT-COMPUSERVE.COM writes: Hi, Nikki -- Just a quick reply to allay your anxiety and tell you that Daron and Mark are safe, away from the storm --she's in Georgia and he's in India. Let's hope their home survives! All good wishes, Susan -------- Thank you , Susan. Thank goodness for that news. Nikki -------------------------------1125607380 Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable

In a message dated 9/1/2005 3:40:55 PM Central Daylight Time,=20 75272.730-AT-COMPUSERVE.COM writes:

<= FONT=20 style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 size= =3D2>Hi,=20 Nikki --

Just a quick reply to allay your anxiety and tell you that= =20 Daron and Mark
are safe, away from the storm --she's in Georgia and he'= s in=20 India. Let's
hope their home survives!

All good=20 wishes,
Susan
--------

Thank you , Susan. Thank goodness for that news.

Nikki

-------------------------------1125607380-- ================================================================================ Archive-Date: Thu, 01 Sep 2005 13:47:47 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <20050901204725.71836.qmail-AT-web32406.mail.mud.yahoo.com> Date: Thu, 1 Sep 2005 13:47:25 -0700 (PDT) From: Graham Christian Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: [ECD] Music St. in New Orleans To: ECD-AT-ssrl04.slac.stanford.edu MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I have heard, from a source I consider reliable, that Daron is OK. Whether she and her husband are still within the environs of New Orleans, I do not know. Graham "Sphinx of black quartz, judge my vow." ================================================================================ Archive-Date: Thu, 01 Sep 2005 18:11:40 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 From: "allisonthompson-AT-juno.com" Reply-To: ECD-AT-playford.slac.stanford.edu Date: Fri, 2 Sep 2005 01:03:44 GMT To: ECD-AT-ssrl04.slac.stanford.edu Subject: [ECD] VOGUE! Content-Type: multipart/alternative;boundary="--__JWM__J446b.794bS.15fbM" Message-ID: <20050901.180932.860.256075-AT-webmail12.nyc.untd.com> ----__JWM__J446b.794bS.15fbM Content-Disposition: inline Content-Type: text/plain Yoo-hoo! Fashionisti! VOGUE! Have you all read your September issue of the U.S. Vogue--the 4-pound tome that the Regular Postal Delivery Carrier (also known in my house as Markwhycan'thegetherebeforethreeintheafternoontherecouldbeaCHECKinthatmail!) cannot carry over-the-shoulder in his RPDC Bag on his regular rounds, so that later in the day it has to be specially thrown up--I mean tossed up--onto the front porch by a no-doubt former major league baseball pitcher? Non? Pourquoi pas? Starting circa page 797 there's an article about the summer home and the summer fete of one Jasper Conran (I assume he is the son of the home furnishings king, but I don't really want to know). The article-writer gushes on about the beautiful Elizabethan manor house, the quaint antics of the locals--"one game is to let a pet hamster loose and bet on which little hamster house it will run to," as well as a Punch & Judy show (this writer is so debased that s/he has to describe it archly as: "You don't want to know (it's a puppet show where Judy gets battered with a truncheon))." The photo-spread shows an array of teacups laid out for afternoon tea, children playing with a hammock in a bosky dell, a bunch of well-dressed people staring morosely at some equally morose hamsters which are refusing to run to their Elizabethan hamster houses, young hunky Mr Conran, etc.-- and ... a morris side--"...a bunch of guys come [to the fete] in white pants and shirts, carrying sticks and wearing bells round their knees. These are morris dancers," gushes the writer. "The music consists of the bells jangling and the clashing of their thick sticks. It's fun! It's for charity" Everyone loves the fete, Conran says, and I believe him (I'm English)," he or she continues archly--it's so wonderful how strong medications can overcome the native English moroseness. (Perhaps the hamsters should get some.) The photo--which is a great one, and really good for publicity for the team--shows 5 men in teal or green vests and 2 in dark blue or green; all in white trousers; each carrying two long sticks (is this an 8-man Litchfield side? the house is in Sussex). The caption, which is set underneath a photo of a medieval stocks with children locked in it (perhaps rightfully) reads: "Above: Medieval stocks, one of the sideshow novelties. Left: morris dancers attach bells to their knees and dance in a circle." (Presumably another of the sideshow novelties--poor things, if all they do is dance around in a circle, perhaps they deserve this categorization.) VOGUE! Strike a pose! It would be mildly--and I stress mildly--interesting to know if the UK Vogue has this same photo spread & article, or, if there are variations, what they are. Perhaps this writer feels s/he needs to elucidate these quaint traditions particularly (and probably correctly) for the general US audience.... More to the point: We need some better ECD/morris/ trad PR materials! Come on, peoples! This isn't just faux-pagan baloney! Let's get off our 19th-century butts and get a better tag-line together! We need to develop a unified and modern story that will sell. (At least the Vogue writer didn't use the "F" word--(fertility rites)". I'm sure it was a close call, however, given those thick sticks.) See you on the red carpet! Allison Thompson ----__JWM__J446b.794bS.15fbM Content-Disposition: inline Content-Type: text/html

Yoo-hoo! Fashionisti!

VOGUE!

Have you all read your September issue of the U.S. Vogue--the 4-pound tome that the Regular Postal Delivery Carrier (also known in my house as Markwhycan'thegetherebeforethreeintheafternoontherecouldbeaCHECKinthatmail!) cannot carry over-the-shoulder in his RPDC Bag on his regular rounds, so that later in the day it has to be specially thrown up--I mean tossed up--onto the front porch by a no-doubt former major league baseball pitcher?

Non? Pourquoi pas?

Starting circa page 797 there's an article about the summer home and the summer fete of one Jasper Conran (I assume he is the son of the home furnishings king, but I don't really want to know). The article-writer gushes on about the beautiful Elizabethan manor house, the quaint antics of the locals--"one game is to let a pet hamster loose and bet on which little hamster house it will run to," as well as a Punch & Judy show (this writer is so debased that s/he has to describe it archly as: "You don't want to know (it's a puppet show where Judy gets battered with a truncheon))." The photo-spread shows an array of teacups laid out for afternoon tea, children playing with a hammock in a bosky dell, a bunch of well-dressed people staring morosely at some equally morose hamsters which are refusing to run to their Elizabethan hamster houses, young hunky Mr Conran, etc.--

and ...

a morris side--"...a bunch of guys come [to the fete] in white pants and shirts, carrying sticks and wearing bells round their knees. These are morris dancers," gushes the writer. "The music consists of the bells jangling and the clashing of their thick sticks. It's fun! It's for charity" Everyone loves the fete, Conran says, and I believe him (I'm English)," he or she continues archly--it's so wonderful how strong medications can overcome the native English moroseness. (Perhaps the hamsters should get some.)

The photo--which is a great one, and really good for publicity for the team--shows 5 men in teal or green vests and 2 in dark blue or green; all in white trousers; each carrying two long sticks (is this an 8-man Litchfield side? the house is in Sussex). The caption, which is set underneath a photo of a medieval stocks with children locked in it (perhaps rightfully) reads: "Above: Medieval stocks, one of the sideshow novelties. Left: morris dancers attach bells to their knees and dance in a circle." (Presumably another of the sideshow novelties--poor things, if all they do is dance around in a circle, perhaps they deserve this categorization.)

VOGUE! Strike a pose!

It would be mildly--and I stress mildly--interesting to know if the UK Vogue has this same photo spread & article, or, if there are variations, what they are. Perhaps this writer feels s/he needs to elucidate these quaint traditions particularly (and probably correctly) for the general US audience....

More to the point: We need some better ECD/morris/ trad PR materials! Come on, peoples! This isn't just faux-pagan baloney! Let's get off our 19th-century butts and get a better tag-line together! We need to develop a unified and modern story that will sell. (At least the Vogue writer didn't use the "F" word--(fertility rites)". I'm sure it was a close call, however, given those thick sticks.)

See you on the red carpet!

Allison Thompson

----__JWM__J446b.794bS.15fbM-- ================================================================================ Archive-Date: Fri, 02 Sep 2005 13:47:55 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Date: Fri, 2 Sep 2005 16:47:58 -0400 Subject: [ECD] similar tunes in a row -- how awful? Message-ID: <20050902.164801.-529075.1.FFuerst-AT-juno.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary=--__JNP_000_0c08.433a.6ec1 From: Fae Fuerst Reply-To: ECD-AT-playford.slac.stanford.edu This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ----__JNP_000_0c08.433a.6ec1 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit If anyone's home, I'd appreciate some opinions on this... How yucky is it to have two tunes next to each other that sound very similar? The tunes are the Moon and Seven Stars and Perpetual Motion. They start with almost the same notes and even the B parts are kind of similar, but if we can survive that, it would be better for the program in general. Thanks, Fae Fuerst ----__JNP_000_0c08.433a.6ec1 Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: quoted-printable

If anyone's home, I'd appreciate some opinions on this...

How yucky is it to have two tunes next to each other that sound very=20 similar? The tunes are the Moon and Seven Stars and Perpetual = Motion.=20 They start with almost the same notes and even the B parts are kind of= =20 similar, but if we can survive that, it would be better for the = program in=20 general.

Thanks,

Fae Fuerst

----__JNP_000_0c08.433a.6ec1-- ================================================================================ Archive-Date: Fri, 02 Sep 2005 14:24:21 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 Message-ID: References: <20050902.164801.-529075.1.FFuerst-AT-juno.com> Date: Fri, 2 Sep 2005 17:23:56 -0400 To: ECD-AT-ssrl04.slac.stanford.edu From: "Emily L. Ferguson" Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: [ECD] similar tunes in a row -- how awful? Content-Type: text/plain; charset="us-ascii" ; format="flowed" They sound most similar when they're in the same key. Play the second tune in a key far away from the one of the first. If the tune's in A, play the next tune in F or even G. If the tune's in D, play the next tune in C or Bb. If the tune's minor, play the next tune in the parallel major. Avoid the dominant, the subdominant and the relative major. People hear those as nearly the same as the first tune's key. -- Emily L. Ferguson mailto:elf-AT-cape.com 508-563-6822 New England landscapes, wooden boats and races, press photography http://www.vsu.cape.com/~elf/ ================================================================================ Archive-Date: Fri, 02 Sep 2005 14:51:16 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: From: "Orly Krasner" Reply-To: ECD-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Subject: Re: [ECD] similar tunes in a row -- how awful? Date: Fri, 02 Sep 2005 21:50:50 +0000 MIME-Version: 1.0 Content-Type: text/plain; format=flowed Emily makes a good point. Another suggestion: can you make a virtue out of necessity and point out the similarity? Tell people to notice what the similarities and differences are and how these things affect the choreography and the feel of the dance. I guess it's the professor in me--never miss an instructional opportunity. --Orly Krasner (aka "the Goddess" who hopes to see some of you at the Amherst dance this weekend, or Brattleboro. . . .) ================================================================================ Archive-Date: Fri, 02 Sep 2005 15:07:26 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <20050902220703.26445.qmail-AT-web32704.mail.mud.yahoo.com> Date: Fri, 2 Sep 2005 15:07:03 -0700 (PDT) From: melissa weisshaus Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: [ECD] similar tunes in a row -- how awful? To: ECD-AT-ssrl04.slac.stanford.edu MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit > Another suggestion: can you make a virtue out of necessity > and point out the similarity? Tell people to notice what the > similarities and differences are and how these things affect > the choreography and the feel of the dance. I guess it's the > professor in me--never miss an instructional opportunity. what a great suggestion! i was thinking about the difference between people like me, who would definitely notice the similarities between the tunes but not know what to make of it (do i get frustrated? or amused? or something else?), and then others, who might not notice the similarities so much and thus wouldn't care and might be confused by the reactions of those of us who do notice. your idea does something for everyone: it gives people in the first category something to do with what they've noticed, and lets the others become aware of the situation. melissa __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ================================================================================ Archive-Date: Fri, 02 Sep 2005 15:22:28 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Subject: Re: [ECD] similar tunes in a row -- how awful? MIME-Version: 1.0 Message-ID: From: Campbell Kaynor Reply-To: ECD-AT-playford.slac.stanford.edu Date: Fri, 2 Sep 2005 18:21:59 -0400 Content-Type: multipart/alternative; boundary="=_alternative 007B0E8285257070_=" This is a multipart message in MIME format. --=_alternative 007B0E8285257070_= Content-Type: text/plain; charset="US-ASCII" Hi Fae, I am unfamiliar with the dance(s) done to these tunes but in a general sense -- Depending on the skill of the choreographer, for dances written to go with a specific tune it may be difficult to find a second that portrays the dance as well as the original unless they are very similar. It is not impossible and it can be quite fun to search for such alternates but until they have been located, I prefer to stick to the one tune or alternate with a similar one that tells the same story. For dances written without a specific tune in mind and that are of a more generic format, alternate tunes that are very different in character can fit the dance as nicely as the first tune and can even alter the character of the dance so much that it feels like a different dance even though the figures and steps are the same; 2 for the price of 1! I use this tactic as a matter of course with many of the contras and often try to maximize the contrast. How yucky is it? Again it depends on the purpose. If it is to give the dancers an extra boost with a new tune to dance to, a very similar tune will go unnoticed by the average non-musician so you should find something not so similar. If there is a key change that may be the only thing they notice but it may also be sufficient for the boost you seek. In fact, we musicians sometimes play the SAME tune in different keys for just such an effect. If the purpose is to give the musicians a break from monotony, it hardly matters whether the dancers notice the difference as long as the musicians are happy with the medley. If two tunes are similar enough that neither musicians nor dancers gain from the switch, changing hardly serves any purpose at all and I would consider simply playing with the "better" of the two. An example is the Irish Jig that I use for Dargason. I don't even bother with the original tune. The alternate fits the dance fine (with minor adjustments for numbers of dancers etc) and the two are similar enough there seems to be no point to playing them as a medley. Speaking about both ECD and contra (though I rarely select medleys for the former) when building a medley I try to ensure there is some sort of contrast but also something to tie them together. I rarely play alternate tunes that are in the same key but they usually have similar "motion." I usually go up in pitch (last note of first tune to first strong beat note of 2nd tune). I often play alternates that are in different meter (e.g., 2/4 versus 6/8). I usually select tunes with the same structure if that structure has relevance to the dance. For example the "Horse with a Heart" that David Millstone suggested for Haste to the Wedding is not one that I would have selected because although it has similar flow and character, it lacks the clapping feature that really sets that dance apart from others. (On the other hand I trust him that it made a fine alternate once the dancers had learned the dance and there are probably ways the musicians can put the claps into the Horse with a Heart). Of course there are numerous exceptions to these generalizations. Cammy Fae Fuerst Sent by: owner-ecd-AT-ssrl04.slac.stanford.edu 09/02/05 04:47 PM Please respond to ECD-AT-ssrl04.slac.stanford.edu Message Size: 4.0 KB To ECD-AT-ssrl04.slac.stanford.edu cc Subject [ECD] similar tunes in a row -- how awful? If anyone's home, I'd appreciate some opinions on this... How yucky is it to have two tunes next to each other that sound very similar? The tunes are the Moon and Seven Stars and Perpetual Motion. They start with almost the same notes and even the B parts are kind of similar, but if we can survive that, it would be better for the program in general. Thanks, Fae Fuerst --=_alternative 007B0E8285257070_= Content-Type: text/html; charset="US-ASCII"
Hi Fae,
I am unfamiliar with the dance(s) done to these tunes but in a general sense --

Depending on the skill of the choreographer, for dances written to go with a specific tune it may be difficult to find a second that portrays the dance as well as the original unless they are very similar. It is not impossible and it can be quite fun to search for such alternates but until they have been located, I prefer to stick to the one tune or alternate with a similar one that tells the same story.

For dances written without a specific tune in mind and that are of a more generic format, alternate tunes that are very different in character can fit the dance as nicely as the first tune and can even alter the character of the dance so much that it feels like a different dance even though the figures and steps are the same; 2 for the price of 1! I use this tactic as a matter of course with many of the contras and often try to maximize the contrast.

How yucky is it?
Again it depends on the purpose. If it is to give the dancers an extra boost with a new tune to dance to, a very similar tune will go unnoticed by the average non-musician so you should find something not so similar. If there is a key change that may be the only thing they notice but it may also be sufficient for the boost you seek. In fact, we musicians sometimes play the SAME tune in different keys for just such an effect.
If the purpose is to give the musicians a break from monotony, it hardly matters whether the dancers notice the difference as long as the musicians are happy with the medley.
If two tunes are similar enough that neither musicians nor dancers gain from the switch, changing hardly serves any purpose at all and I would consider simply playing with the "better" of the two. An example is the Irish Jig that I use for Dargason. I don't even bother with the original tune. The alternate fits the dance fine (with minor adjustments for numbers of dancers etc) and the two are similar enough there seems to be no point to playing them as a medley.

Speaking about both ECD and contra (though I rarely select medleys for the former) when building a medley I try to ensure there is some sort of contrast but also something to tie them together. I rarely play alternate tunes that are in the same key but they usually have similar "motion." I usually go up in pitch (last note of first tune to first strong beat note of 2nd tune). I often play alternates that are in different meter (e.g., 2/4 versus 6/8). I usually select tunes with the same structure if that structure has relevance to the dance. For example the "Horse with a Heart" that David Millstone suggested for Haste to the Wedding is not one that I would have selected because although it has similar flow and character, it lacks the clapping feature that really sets that dance apart from others. (On the other hand I trust him that it made a fine alternate once the dancers had learned the dance and there are probably ways the musicians can put the claps into the Horse with a Heart).

Of course there are numerous exceptions to these generalizations.

Cammy

Fae Fuerst <ffuerst-AT-JUNO.COM>
Sent by: owner-ecd-AT-ssrl04.slac.stanford.edu

09/02/05 04:47 PM

Please respond to
ECD-AT-ssrl04.slac.stanford.edu

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Subject	[ECD] similar tunes in a row -- how awful?

If anyone's home, I'd appreciate some opinions on this...

How yucky is it to have two tunes next to each other that sound very similar? The tunes are the Moon and Seven Stars and Perpetual Motion. They start with almost the same notes and even the B parts are kind of similar, but if we can survive that, it would be better for the program in general.

Thanks,

Fae Fuerst
--=_alternative 007B0E8285257070_=-- ================================================================================ Archive-Date: Fri, 02 Sep 2005 15:33:07 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Date: Fri, 2 Sep 2005 18:32:03 -0400 Subject: Re: [ECD] similar tunes in a row -- how awful? Message-ID: <20050902.183206.-459367.2.FFuerst-AT-juno.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary=--__JNP_000_4925.04b9.02ef From: Fae Fuerst Reply-To: ECD-AT-playford.slac.stanford.edu This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ----__JNP_000_4925.04b9.02ef Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi Cammy, I'm talking about two separate dances with similar tunes, unfortunately one right after another in a program. Not change tunes. Hope you have an opinion on this as well! I can send you the tunes if you'd like to take a look. Fae On Fri, 2 Sep 2005 18:21:59 -0400 Campbell Kaynor writes: Hi Fae, I am unfamiliar with the dance(s) done to these tunes but in a general sense -- Depending on the skill of the choreographer, for dances written to go with a specific tune it may be difficult to find a second that portrays the dance as well as the original unless they are very similar. It is not impossible and it can be quite fun to search for such alternates but until they have been located, I prefer to stick to the one tune or alternate with a similar one that tells the same story. For dances written without a specific tune in mind and that are of a more generic format, alternate tunes that are very different in character can fit the dance as nicely as the first tune and can even alter the character of the dance so much that it feels like a different dance even though the figures and steps are the same; 2 for the price of 1! I use this tactic as a matter of course with many of the contras and often try to maximize the contrast. How yucky is it? Again it depends on the purpose. If it is to give the dancers an extra boost with a new tune to dance to, a very similar tune will go unnoticed by the average non-musician so you should find something not so similar. If there is a key change that may be the only thing they notice but it may also be sufficient for the boost you seek. In fact, we musicians sometimes play the SAME tune in different keys for just such an effect. If the purpose is to give the musicians a break from monotony, it hardly matters whether the dancers notice the difference as long as the musicians are happy with the medley. If two tunes are similar enough that neither musicians nor dancers gain from the switch, changing hardly serves any purpose at all and I would consider simply playing with the "better" of the two. An example is the Irish Jig that I use for Dargason. I don't even bother with the original tune. The alternate fits the dance fine (with minor adjustments for numbers of dancers etc) and the two are similar enough there seems to be no point to playing them as a medley. Speaking about both ECD and contra (though I rarely select medleys for the former) when building a medley I try to ensure there is some sort of contrast but also something to tie them together. I rarely play alternate tunes that are in the same key but they usually have similar "motion." I usually go up in pitch (last note of first tune to first strong beat note of 2nd tune). I often play alternates that are in different meter (e.g., 2/4 versus 6/8). I usually select tunes with the same structure if that structure has relevance to the dance. For example the "Horse with a Heart" that David Millstone suggested for Haste to the Wedding is not one that I would have selected because although it has similar flow and character, it lacks the clapping feature that really sets that dance apart from others. (On the other hand I trust him that it made a fine alternate once the dancers had learned the dance and there are probably ways the musicians can put the claps into the Horse with a Heart). Of course there are numerous exceptions to these generalizations. Cammy Fae Fuerst Sent by: owner-ecd-AT-ssrl04.slac.stanford.edu 09/02/05 04:47 PM Please respond to ECD-AT-ssrl04.slac.stanford.edu Message Size: 4.0 KB ToECD-AT-ssrl04.slac.stanford.edu cc Subject[ECD] similar tunes in a row -- how awful? If anyone's home, I'd appreciate some opinions on this... How yucky is it to have two tunes next to each other that sound very similar? The tunes are the Moon and Seven Stars and Perpetual Motion. They start with almost the same notes and even the B parts are kind of similar, but if we can survive that, it would be better for the program in general. Thanks, Fae Fuerst ----__JNP_000_4925.04b9.02ef Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: quoted-printable

Hi Cammy,

I'm talking about two separate dances with similar tunes, = unfortunately one=20 right after another in a program. Not change tunes.

Hope you have an opinion on this as well! I can send you the tunes if = you'd=20 like to take a look.

Fae

On Fri, 2 Sep 2005 18:21:59 -0400 Campbell Kaynor <Campbell.Kaynor-AT-BIOGENIDEC.= COM>=20 writes:

Hi Fae,
I am unfamiliar with the dance(s) done to these tunes but in a = general=20 sense --

Depending on the= skill of=20 the choreographer, for dances written to go with a specific tune it may = be=20 difficult to find a second that portrays the dance as well as the = original=20 unless they are very similar. It is not impossible and it can be quite = fun to=20 search for such alternates but until they have been located, I prefer to = stick=20 to the one tune or alternate with a similar one that tells the same story= .=20

For dances written = without a=20 specific tune in mind and that are of a more generic format, alternate = tunes=20 that are very different in character can fit the dance as nicely as the = first=20 tune and can even alter the character of the dance so much that it feels = like=20 a different dance even though the figures and steps are the same; 2 for = the=20 price of 1! I use this tactic as a matter of course with many of the = contras=20 and often try to maximize the contrast.

How yucky is it?
= Again it=20 depends on the purpose. If it is to give the dancers an extra boost with = a new=20 tune to dance to, a very similar tune will go unnoticed by the average=20 non-musician so you should find something not so similar. If there is a = key=20 change that may be the only thing they notice but it may also be = sufficient=20 for the boost you seek. In fact, we musicians sometimes play the SAME = tune in=20 different keys for just such an effect.
If the purpose is to give the musicians a break from monotony, = it=20 hardly matters whether the dancers notice the difference as long as the=20 musicians are happy with the medley.
If two tunes are similar enough that neither musicians nor = dancers gain=20 from the switch, changing hardly serves any purpose at all and I would=20 consider simply playing with the "better" of the two. An example is the = Irish=20 Jig that I use for Dargason. I don't even bother with the original tune. = The=20 alternate fits the dance fine (with minor adjustments for numbers of = dancers=20 etc) and the two are similar enough there seems to be no point to playing= them=20 as a medley.

Speaking = about both=20 ECD and contra (though I rarely select medleys for the former) when = building a=20 medley I try to ensure there is some sort of contrast but also something = to=20 tie them together. I rarely play alternate tunes that are in the same key= but=20 they usually have similar "motion." I usually go up in pitch (last note = of=20 first tune to first strong beat note of 2nd tune). I often play = alternates=20 that are in different meter (e.g., 2/4 versus 6/8). I usually select = tunes=20 with the same structure if that structure has relevance to the dance. For= =20 example the "Horse with a Heart<= FONT=20 face=3Dsans-serif size=3D2>" that David Millstone suggested for Haste to = the=20 Wedding is not one that I would have selected because although it has = similar=20 flow and character, it lacks the clapping feature that really sets that = dance=20 apart from others. (On the other hand I trust him that it made a fine=20 alternate once the dancers had learned the dance and there are probably = ways=20 the musicians can put the claps into the Horse with a Heart).=20

Of course there are = numerous=20 exceptions to these generalizations.

Cammy

Fae Fuerst=20 <ffuerst-AT-JUNO.COM>
Sent by: owner-ecd-AT-ssrl04.slac.stanford.edu=20
09/02/05 04:47 PM=20 <= /TABLE>
Message Size: 4.0 KB

Please = respond=20 to
ECD-AT-ssrl04.slac.stanford.edu

To=
ECD-AT-ssrl04.slac.stanford.edu=20

cc=

Subject
[ECD] similar tunes in a = row --=20 how awful?

<= FONT size=3D3>If=20 anyone's home, I'd appreciate some opinions on this...

How yucky is it to have two = tunes next=20 to each other that sound very similar? The tunes are the Moon and Seven = Stars=20 and Perpetual Motion. They start with almost the same notes and even the = B=20 parts are kind of similar, but if we can survive that, it would be better= for=20 the program in general.

Thanks,

Fae=20 Fuerst

----__JNP_000_4925.04b9.02ef-- ================================================================================ Archive-Date: Fri, 02 Sep 2005 15:36:15 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Subject: Re: [ECD] similar tunes in a row -- how awful? MIME-Version: 1.0 Message-ID: From: Campbell Kaynor Reply-To: ECD-AT-playford.slac.stanford.edu Date: Fri, 2 Sep 2005 18:35:50 -0400 Content-Type: multipart/alternative; boundary="=_alternative 007C535885257070_=" This is a multipart message in MIME format. --=_alternative 007C535885257070_= Content-Type: text/plain; charset="US-ASCII" I agree with Emily's suggestion to change key. However, I don't buy the " Avoid the dominant, the subdominant and the relative major. People hear those as nearly the same as the first tune's key." 2 examples: For Picking up Sticks, I typically play Picking Up Sticks (G), Kitty McGee (D), and Lavena (A) and I doubt there is a dancer who does not observe the switches. For Nonesuch I often switch to A La Mode de France which is in the relative major and again I think it has a profound effect on the majority of dancers. Cammy --=_alternative 007C535885257070_= Content-Type: text/html; charset="US-ASCII"
I agree with Emily's suggestion to change key. However, I don't buy the "Avoid the dominant, the subdominant and the relative major. People hear those as nearly the same as the first tune's key."

2 examples:
For Picking up Sticks, I typically play Picking Up Sticks (G), Kitty McGee (D), and Lavena (A) and I doubt there is a dancer who does not observe the switches.
For Nonesuch I often switch to A La Mode de France which is in the relative major and again I think it has a profound effect on the majority of dancers.

Cammy --=_alternative 007C535885257070_=-- ================================================================================ Archive-Date: Fri, 02 Sep 2005 15:44:19 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Subject: Re: [ECD] similar tunes in a row -- how awful? MIME-Version: 1.0 Message-ID: From: Campbell Kaynor Reply-To: ECD-AT-playford.slac.stanford.edu Date: Fri, 2 Sep 2005 18:43:55 -0400 Content-Type: multipart/alternative; boundary="=_alternative 007D108E85257070_=" This is a multipart message in MIME format. --=_alternative 007D108E85257070_= Content-Type: text/plain; charset="US-ASCII" OOps - forget all that about change tunes. Are the dances as similar in choreography as the tunes are melodically? If so I would not put them adjacent in the program. If not, I liked the suggestion that one might specifically draw people's attention to the fact that although these tunes are very similar, the dances have striking differences that demonstrate how skilled choreographers can devise find alternative ways to portray similar music. In my own selection of dance programs I tend to focus more on contrast in character of the dance than in key and character of the melody. If there is teaching involved, enough time passes between one dance and the next that most of the dancers will not get bored by similar tunes. Cammy --=_alternative 007D108E85257070_= Content-Type: text/html; charset="US-ASCII"
OOps - forget all that about change tunes.
Are the dances as similar in choreography as the tunes are melodically? If so I would not put them adjacent in the program. If not, I liked the suggestion that one might specifically draw people's attention to the fact that although these tunes are very similar, the dances have striking differences that demonstrate how skilled choreographers can devise find alternative ways to portray similar music.

In my own selection of dance programs I tend to focus more on contrast in character of the dance than in key and character of the melody. If there is teaching involved, enough time passes between one dance and the next that most of the dancers will not get bored by similar tunes.

Cammy --=_alternative 007D108E85257070_=-- ================================================================================ Archive-Date: Fri, 02 Sep 2005 15:48:48 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 Message-ID: References: Date: Fri, 2 Sep 2005 18:48:21 -0400 To: ECD-AT-ssrl04.slac.stanford.edu From: "Emily L. Ferguson" Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: [ECD] similar tunes in a row -- how awful? Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 6:35 PM -0400 9/2/05, Campbell Kaynor wrote: >I agree with Emily's suggestion to change key. However, I don't buy >the "Avoid the dominant, the subdominant and the relative major. > People >hear those as nearly the same as the first tune's key." That's the whole reason. She's not talking about change tunes. The rules are clearly more or less the opposite for change tunes. You need the change tunes to be in closely related keys to keep continuity in the dance. Fae may not know about how keys are related, however. -- Emily L. Ferguson mailto:elf-AT-cape.com 508-563-6822 New England landscapes, wooden boats and races, press photography http://www.vsu.cape.com/~elf/ ================================================================================ Archive-Date: Fri, 02 Sep 2005 15:50:46 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 Message-ID: References: Date: Fri, 2 Sep 2005 18:50:22 -0400 To: ECD-AT-ssrl04.slac.stanford.edu From: "Emily L. Ferguson" Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: [ECD] similar tunes in a row -- how awful? Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 6:43 PM -0400 9/2/05, Campbell Kaynor wrote: >If there is teaching involved, enough time passes between one dance >and the next that most of the dancers will not get bored by similar >tunes. > >Cammy If the whole evening is in D and G the dancers may not understand why they're getting bored it, but they sure dance like it. Try listening to a singer-songwriter who pitches ever one of his/her songs in his/her most comfortable key. -- Emily L. Ferguson mailto:elf-AT-cape.com 508-563-6822 New England landscapes, wooden boats and races, press photography http://www.vsu.cape.com/~elf/ ================================================================================ Archive-Date: Fri, 02 Sep 2005 16:34:20 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <13715781.1125704035713.JavaMail.root-AT-elwamui-karabash.atl.sa.earthlink.net> Date: Fri, 2 Sep 2005 16:33:55 -0700 (GMT-07:00) From: James Langdell Reply-To: ECD-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu, ECD-AT-ssrl04.slac.stanford.edu Subject: Re: [ECD] similar tunes in a row -- how awful? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit In my experience, a difference in meter and tempo provides a much more perceptable change and feeling of variety for dancers than difference of key. I'd encourage a program to keep a sequence of dances in the same key if each had a different rhythmic feel, but to change a group of dances with the same meter and tempo even if the keys were varied. --James Langdelll langdell-AT-earthlink.net Emily L. Ferguson wrote: > If the whole evening is in D and G the dancers may not understand why > they're getting bored it, but they sure dance like it. Try listening > to a singer-songwriter who pitches ever one of his/her songs in > his/her most comfortable key. -- ================================================================================ Archive-Date: Sat, 03 Sep 2005 08:51:58 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 03 Sep 2005 11:51:06 -0400 From: "Gene Murrow" Subject: Re: [ECD] similar tunes in a row -- how awful? To: Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <010401c5b09f$5c21e120$0200a8c0-AT-DELLLAPTOP> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=iso-8859-1; reply-type=original Content-Transfer-Encoding: 7bit References: <20050902.164801.-529075.1.FFuerst-AT-juno.com> Hi Fae, Perhaps not yucky, but not a good programming choice... The tunes are _very_ similar in their "affect"... sort of sauntering jigs. I think it would drag things down. Perpetual Motion is in Bb (at least the way John Stapledon published it), and Moon and Stars is in D, so at least they're not in the same key. The relationship between Bb Major and D major, two major keys a third apart, is an interesting one-- try it on the piano. That transition will provide some lift in a dance program (a trick stolen from Italian Renaissance composers who exploited that modulation for emotional effect). But it would fall flat in this case with those languid tunes. Another reason I'd stay away from that pairing is the dances themselves. I presume you're doing "Heather Towers" with Moon & Stars, and Tom Cook's "Perpetual Motion." They're both relatively unfamiliar, and Perpetual Motion can be a real challenge. I think you'd see a lot of plodding dancers, with concerned looks instead of smiles on their faces, by the time you plowed through those two. That's my 2 cents. Gene ----- Original Message ----- From: "Fae Fuerst" To: Sent: Friday, September 02, 2005 4:47 PM Subject: [ECD] similar tunes in a row -- how awful? > If anyone's home, I'd appreciate some opinions on this... > > How yucky is it to have two tunes next to each other that sound very > similar? The tunes are the Moon and Seven Stars and Perpetual Motion. > They start with almost the same notes and even the B parts are kind of > similar, but if we can survive that, it would be better for the program > in general. > > Thanks, > > Fae Fuerst ================================================================================ Archive-Date: Sat, 03 Sep 2005 10:23:02 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Date: Sat, 3 Sep 2005 13:23:00 -0400 Subject: Re: [ECD] similar tunes in a row -- and that's not all Message-ID: <20050903.132303.-439593.3.FFuerst-AT-juno.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary=--__JNP_000_6d0a.67a4.53ad From: Fae Fuerst Reply-To: ECD-AT-playford.slac.stanford.edu This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ----__JNP_000_6d0a.67a4.53ad Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Thanks, Gene! Maybe you (and others) can find a solution to this program's stubborn flaws -- besides the basic flaw that it's a whole evening of almost all unfamiliar dances! We've tackled these in the 2nd Friday advanced series pretty often, though that doesn't make them a great idea. Alice and Wibsey Roundabout are the only "relief" dances but several others are easy, and only Perpetual Motion is really hard. We're sending the directions around to the four callers and some other dancers, which will help on the floor, and carefully wording the announcements to alert people to the extra challenge. Still, it would be valid to question my sanity! It's ironic that I walked right into this trap with my eyes open, but here I am. Heather Towers -- Ray (tune of Moon and Seven Stars) Perpetual Motion -- Ruth Key to the Cellar -- Dan Vivaldi in Paradise -- Shirley Trip to San Jose -- Ruth (move to Mendo's spot if late) (move Mendo here if early, very unlikely) Alice -- Ruth or Ray -- break -- Mr. Legge's Initiation -- Ray Treasure of the Big Woods -- Ray Wibsey Roundabout -- Dan Mendocino Redwood -- Shirley (cut if late) Renewed Friendship -- Shirley Sunlight Through Draperies -- Dan (cut if late) I put the hardest dances (PM and VIP) in the first half on purpose, since our dancers seem to have more brainpower early on. The dances at the beginnings and near the end of each half have been areas of flux; I keep shifting them around but there's no ideal solution in sight. I like starting with Heather Towers because of the nice accessible jig -- more welcoming than the tunes for TSJ and Mendo, as far as I can tell (musically ignorant). I'd put a spacer between HT and PM, but that risks not getting to Alice, and we'll need Alice! I thought of putting Mr. Legge's first, but that seems like the last straw for the first half -- too fierce. It'd be nice to have Ray open the evening because he's a good emcee. I'd switch Mendo and Wibsey to put an energy peak a little later, but then there are two set dances in a row. (Our only set dances, another flaw!) It's particularly awkward to be hunting for couples when some people are going home early. See what I mean? Any advice would be much appreciated! Thanks, Fae P.S. The theme is "What We Learned On Our Summer Vacations" -- new favorites from Mendocino, Buffalo Gap, and Pinewoods, and others we particularly enjoyed, newly appreciated, understood better, saw for the first time...the list gets longer as I look for excuses to include dances! We have NO excuse for Renewed Friendship, except it will be fun and is a bit more familiar in Michigan. P.P.S. Maybe playing the original tune for Heather Towers the last time through will wipe people's musical memories! On Sat, 03 Sep 2005 11:51:06 -0400 "Gene Murrow" writes: > Hi Fae, > > Perhaps not yucky, but not a good programming choice... > > The tunes are _very_ similar in their "affect"... sort of sauntering > jigs. > I think it would drag things down. > > Perpetual Motion is in Bb (at least the way John Stapledon published > it), > and Moon and Stars is in D, so at least they're not in the same key. > The > relationship between Bb Major and D major, two major keys a third > apart, is > an interesting one-- try it on the piano. That transition will > provide some > lift in a dance program (a trick stolen from Italian Renaissance > composers > who exploited that modulation for emotional effect). But it would > fall flat > in this case with those languid tunes. > > Another reason I'd stay away from that pairing is the dances > themselves. I > presume you're doing "Heather Towers" with Moon & Stars, and Tom > Cook's > "Perpetual Motion." They're both relatively unfamiliar, and > Perpetual > Motion can be a real challenge. I think you'd see a lot of > plodding > dancers, with concerned looks instead of smiles on their faces, by > the time > you plowed through those two. > > That's my 2 cents. > > Gene > > ----- Original Message ----- > From: "Fae Fuerst" > To: > Sent: Friday, September 02, 2005 4:47 PM > Subject: [ECD] similar tunes in a row -- how awful? > > > > If anyone's home, I'd appreciate some opinions on this... > > > > How yucky is it to have two tunes next to each other that sound > very > > similar? The tunes are the Moon and Seven Stars and Perpetual > Motion. > > They start with almost the same notes and even the B parts are > kind of > > similar, but if we can survive that, it would be better for the > program > > in general. > > > > Thanks, > > > > Fae Fuerst > > > > ----__JNP_000_6d0a.67a4.53ad Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: quoted-printable

Thanks, Gene!

Maybe you (and others) can find a solution to this program's stubborn = flaws=20 -- besides the basic flaw that it's a whole evening of almost all=20 unfamiliar dances! We've tackled these in the 2nd Friday=20 advanced series pretty often, though that doesn't make them a great = idea.=20 Alice and Wibsey Roundabout are the only "relief" dances but several = others=20 are easy, and only Perpetual Motion is really hard. We're sending= the=20 directions around to the four callers and some other dancers, which will = help on=20 the floor, and carefully wording the announcements to alert people to the = extra=20 challenge. Still, it would be valid to question my sanity! It's ironic that= I=20 walked right into this trap with my eyes open, but here I am.

Heather Towers -- Ray (tune of Moon and Seven Stars)
Perpetual = Motion --=20 Ruth
Key to the Cellar -- Dan
Vivaldi in Paradise -- Shirley

Trip to San Jose -- Ruth (move to Mendo's spot if late)

(move Mendo here if early, very unlikely)
Alice -- Ruth or=20 Ray

-- break --
Mr. Legge's Initiation -- Ray

Treasure of the Big Woods -- Ray

Wibsey Roundabout -- Dan
Mendocino Redwood -- Shirley (cut if=20 late)
Renewed Friendship -- Shirley
Sunlight Through Draperies -- Dan= (cut=20 if late)

I put the hardest dances (PM and VIP) in the first half on purpose, = since=20 our dancers seem to have more brainpower early on. The dances at the = beginnings=20 and near the end of each half have been areas of flux; I keep shifting them= =20 around but there's no ideal solution in sight. I like starting with Heather= =20 Towers because of the nice accessible jig -- more welcoming than the tunes = for=20 TSJ and Mendo, as far as I can tell (musically ignorant). I'd put a = spacer=20 between HT and PM, but that risks not getting to Alice, and we'll need = Alice! I=20 thought of putting Mr. Legge's first, but that seems like the last = straw=20 for the first half -- too fierce. It'd be nice to have Ray open = the=20 evening because he's a good emcee.

I'd switch Mendo and Wibsey to put an energy peak a little later, but = then=20 there are two set dances in a row. (Our only set dances, another flaw!) It'= s=20 particularly awkward to be hunting for couples when some people are going = home=20 early.

See what I mean? Any advice would be much appreciated!

Thanks,

Fae

P.S. The theme is "What We Learned On Our Summer Vacations" -- = new=20 favorites from Mendocino, Buffalo Gap, and Pinewoods, and others we = particularly=20 enjoyed, newly appreciated, understood better, saw for the first time...the= list=20 gets longer as I look for excuses to include dances! We have NO excuse= for=20 Renewed Friendship, except it will be fun and is a bit more familiar = in=20 Michigan.

P.P.S. Maybe playing the original tune for Heather Towers the last = time=20 through will wipe people's musical memories!

On Sat, 03 Sep 2005 11:51:06 -0400 "Gene Murrow" <gmurrow-AT-VERIZON.NET> writes:
= > Hi=20 Fae,
>
> Perhaps not yucky, but not a good programming=20 choice...
>
> The tunes are _very_ similar in their "affect"..= .=20 sort of sauntering
> jigs.
> I think it would drag things=20 down.
>
> Perpetual Motion is in Bb (at least the way John=20 Stapledon published
> it),
> and Moon and Stars is in D, so at= =20 least they're not in the same key.
> The
> relationship= =20 between Bb Major and D major, two major keys a third
> apart, is
= >=20 an interesting one-- try it on the piano. That transition will
> = provide=20 some
> lift in a dance program (a trick stolen from Italian = Renaissance=20
> composers
> who exploited that modulation for emotional=20 effect). But it would
> fall flat
> in this case with = those=20 languid tunes.
>
> Another reason I'd stay away from that = pairing=20 is the dances
> themselves. I
> presume you're doing "= Heather=20 Towers" with Moon & Stars, and Tom
> Cook's
> "Perpetual=20 Motion." They're both relatively unfamiliar, and
>=20 Perpetual
> Motion can be a real challenge. I think you'd see a= lot=20 of
> plodding
> dancers, with concerned looks instead of = smiles on=20 their faces, by
> the time
> you plowed through those two.
= >=20
> That's my 2 cents.
>
> Gene
>
> -----=20 Original Message -----
> From: "Fae Fuerst" <ffuerst-AT-juno.com>
> To: <<= A=20 href=3D"mailto:ECD-AT-ssrl04.slac.stanford.edu">ECD-AT-ssrl04.slac.stanford.edu>
>=20 Sent: Friday, September 02, 2005 4:47 PM
> Subject: [ECD] similar = tunes in=20 a row -- how awful?
>
>
> > If anyone's home, I'd=20 appreciate some opinions on this...
> >
> > How yucky is = it to=20 have two tunes next to each other that sound
> very
> > = similar?=20 The tunes are the Moon and Seven Stars and Perpetual
> Motion.
&= gt;=20 > They start with almost the same notes and even the B parts are
>= ;=20 kind of
> > similar, but if we can survive that, it would be = better for=20 the
> program
> > in general.
> >
> >=20 Thanks,
> >
> > Fae Fuerst
>
>
>
= >=20

----__JNP_000_6d0a.67a4.53ad-- ================================================================================ Archive-Date: Sat, 03 Sep 2005 10:44:28 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 03 Sep 2005 13:44:02 -0400 From: "Gene Murrow" Subject: Re: [ECD] similar tunes in a row -- and that's not all To: Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <018501c5b0af$14690740$0200a8c0-AT-DELLLAPTOP> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=iso-8859-1; reply-type=original Content-Transfer-Encoding: 7bit References: <20050903.132303.-439593.3.FFuerst-AT-juno.com> Fae et. al., Some quick fixes ... Put Wibsey second. It's pretty well known, and the lively jig will get folks moving. (Boy, starting with HT without its original tunes, then PM will require two espresso shots). Move Perpetual Motion further down and put a non-jig third. Vivaldi is not a hard dance-- it's the tune that's a monster! So you can move it to the 2nd half. You're right, this is one brain cramp of a program :-) Have fun, Gene ----- Original Message ----- From: "Fae Fuerst" To: Sent: Saturday, September 03, 2005 1:23 PM Subject: Re: [ECD] similar tunes in a row -- and that's not all > Thanks, Gene! > > Maybe you (and others) can find a solution to this program's stubborn > flaws -- besides the basic flaw that it's a whole evening of almost all > unfamiliar dances! ================================================================================ Archive-Date: Sat, 03 Sep 2005 10:50:26 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <008201c5b0af$aba96d20$e78c4a0c-AT-compaq14453453> From: "Paul Stamler" Reply-To: ECD-AT-playford.slac.stanford.edu To: References: <20050903.132303.-439593.3.FFuerst-AT-juno.com> Subject: Re: [ECD] similar tunes in a row -- and that's not all Date: Sat, 3 Sep 2005 12:48:15 -0500 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Fae Fuerst" <> Whoa -- that is one challenging program. I question the placement of Perpetual Motion second on the program -- having the hardest dance second-up doesn't really allow people to get warmed up adequately, physically and mentally, and the latecomers aren't warmed up at all. I'd swap it with, perhaps, Treasure of the Big Woods if that's not a screamingly hard dance and inappropriate tune for the spot. Or Alice. My experience has been that good spots for the hardest dance of the night are right before the break, when people are really up and rolling and no one has left yet, or one notch down after the break, with the immediately-post-break dance being a relatively easy high-energy dance to wake people up. Peace, Paul ================================================================================ Archive-Date: Sat, 03 Sep 2005 11:16:07 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <20050903181544.47488.qmail-AT-web32406.mail.mud.yahoo.com> Date: Sat, 3 Sep 2005 11:15:44 -0700 (PDT) From: Graham Christian Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: [ECD] similar tunes in a row -- and that's not all To: ECD-AT-ssrl04.slac.stanford.edu MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Fae: Yikes! Are you irrevocably committed to this program? You've set yourself at least two challenges: FOUR callers (many style & phrasing differences for dancers to absorb); MANY new/hardish dances. I think the "Summer Vacation" theme is a charming one--but myself, I'd distribute it across the program. That is, make about *half* the dances match that theme, as a thread that unites the evening. Otherwise, I'd be quite concerned that you'll get a lot of COMM. NOT READY looks out of your dancers' eyes; or, to put it in something like Bruce Hamilton's terms, you and the other callers will spend too much of your "capital" with the dancers. --- Fae Fuerst wrote: > Thanks, Gene! > > Maybe you (and others) can find a solution to this program's stubborn > flaws -- besides the basic flaw that it's a whole evening of almost all > unfamiliar dances! We've tackled these in the 2nd Friday advanced series > pretty often, though that doesn't make them a great idea. Alice and > Wibsey Roundabout are the only "relief" dances but several others are > easy, and only Perpetual Motion is really hard. We're sending the > directions around to the four callers and some other dancers, which will > help on the floor, and carefully wording the announcements to alert > people to the extra challenge. Still, it would be valid to question my > sanity! It's ironic that I walked right into this trap with my eyes open, > but here I am. > > Heather Towers -- Ray (tune of Moon and Seven Stars) > Perpetual Motion -- Ruth > Key to the Cellar -- Dan > Vivaldi in Paradise -- Shirley > Trip to San Jose -- Ruth (move to Mendo's spot if late) > (move Mendo here if early, very unlikely) > Alice -- Ruth or Ray > -- break -- > Mr. Legge's Initiation -- Ray > Treasure of the Big Woods -- Ray > Wibsey Roundabout -- Dan > Mendocino Redwood -- Shirley (cut if late) > Renewed Friendship -- Shirley > Sunlight Through Draperies -- Dan (cut if late) > > I put the hardest dances (PM and VIP) in the first half on purpose, since > our dancers seem to have more brainpower early on. The dances at the > beginnings and near the end of each half have been areas of flux; I keep > shifting them around but there's no ideal solution in sight. I like > starting with Heather Towers because of the nice accessible jig -- more > welcoming than the tunes for TSJ and Mendo, as far as I can tell > (musically ignorant). I'd put a spacer between HT and PM, but that risks > not getting to Alice, and we'll need Alice! I thought of putting Mr. > Legge's first, but that seems like the last straw for the first half -- > too fierce. It'd be nice to have Ray open the evening because he's a good > emcee. > > I'd switch Mendo and Wibsey to put an energy peak a little later, but > then there are two set dances in a row. (Our only set dances, another > flaw!) It's particularly awkward to be hunting for couples when some > people are going home early. > > See what I mean? Any advice would be much appreciated! > > Thanks, > > Fae > > P.S. The theme is "What We Learned On Our Summer Vacations" -- new > favorites from Mendocino, Buffalo Gap, and Pinewoods, and others we > particularly enjoyed, newly appreciated, understood better, saw for the > first time...the list gets longer as I look for excuses to include > dances! We have NO excuse for Renewed Friendship, except it will be fun > and is a bit more familiar in Michigan. > > P.P.S. Maybe playing the original tune for Heather Towers the last time > through will wipe people's musical memories! > > > On Sat, 03 Sep 2005 11:51:06 -0400 "Gene Murrow" > writes: > > Hi Fae, > > > > Perhaps not yucky, but not a good programming choice... > > > > The tunes are _very_ similar in their "affect"... sort of sauntering > > jigs. > > I think it would drag things down. > > > > Perpetual Motion is in Bb (at least the way John Stapledon published > > it), > > and Moon and Stars is in D, so at least they're not in the same key. > > The > > relationship between Bb Major and D major, two major keys a third > > apart, is > > an interesting one-- try it on the piano. That transition will > > provide some > > lift in a dance program (a trick stolen from Italian Renaissance > > composers > > who exploited that modulation for emotional effect). But it would > > fall flat > > in this case with those languid tunes. > > > > Another reason I'd stay away from that pairing is the dances > > themselves. I > > presume you're doing "Heather Towers" with Moon & Stars, and Tom > > Cook's > > "Perpetual Motion." They're both relatively unfamiliar, and > > Perpetual > > Motion can be a real challenge. I think you'd see a lot of > > plodding > > dancers, with concerned looks instead of smiles on their faces, by > > the time > > you plowed through those two. > > > > That's my 2 cents. > > > > Gene > > > > ----- Original Message ----- > > From: "Fae Fuerst" > > To: > > Sent: Friday, September 02, 2005 4:47 PM > > Subject: [ECD] similar tunes in a row -- how awful? > > > > > > > If anyone's home, I'd appreciate some opinions on this... > > > > > > How yucky is it to have two tunes next to each other that sound > > very > > > similar? The tunes are the Moon and Seven Stars and Perpetual > > Motion. > > > They start with almost the same notes and even the B parts are > > kind of > > > similar, but if we can survive that, it would be better for the > > program > > > in general. > > > > > > Thanks, > > > > > > Fae Fuerst > > > > > > > > Graham "Sphinx of black quartz, judge my vow." ================================================================================ Archive-Date: Sat, 03 Sep 2005 12:18:36 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Date: Sat, 3 Sep 2005 15:19:14 -0400 Subject: Re: [ECD] similar tunes in a row -- and that's not all Message-ID: <20050903.151917.-439593.6.FFuerst-AT-juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit From: Fae Fuerst Reply-To: ECD-AT-playford.slac.stanford.edu Thanks all, this is good advice! Leaving aside for the moment the question of whether we should scrap half the program six days before the dance, is this (below) an improvement? As I look back over other challenging evenings filled with new choreography, we've always managed to do six dances (or more) before the 9:30 break, so I'll try not to worry about that. I had VIP fourth to give the musicians time to warm up -- is third okay? Trip to SJ, if I remember it right, is simple in effect if not on paper. We still have the potential of having two set dances in a row if we run late, but will get a nice boost from the familiar Wibsey near the end. I was surprised when VIP seemed very manageable at Buffalo Gap; I remembered the version we danced last year at Pinewoods (with mirror heys and probably some other differences) and that seemed hard. I'm not sure what the effect of having callers do two in a row will be; I was trying to avoid that to give them a rest. And yes, we'll pass out caffeine mints at the break -- maybe at the door as well! Heather Towers -- Ray Trip to San Jose -- Ruth Vivaldi in Paradise -- Shirley Key to the Cellar -- Dan Perpetual Motion -- Ruth (Mendo here if early) Alice -- Ruth or Ray -- break -- Mr. Legge's Initiation -- Ray Treasure of the Big Woods -- Ray Renewed Friendship -- Shirley Mendocino Redwood -- Shirley (cut if late) Wibsey Roundabout -- Dan Sunlight Through Draperies -- Dan (cut if late) Thanks! More please... Fae Fuerst On Sat, 3 Sep 2005 11:15:44 -0700 (PDT) Graham Christian writes: > Fae: > Yikes! Are you irrevocably committed to this program? > You've set yourself at least two challenges: > FOUR callers (many style & phrasing differences for dancers to > absorb); MANY new/hardish dances. > I think the "Summer Vacation" theme is a charming one--but myself, > I'd distribute it across the program. That is, make about *half* the > dances match that theme, as a thread that unites the > evening. Otherwise, I'd be quite concerned that you'll get a lot of > COMM. NOT READY looks out of your dancers' eyes; or, to put > it in something like Bruce Hamilton's terms, you and the other > callers will spend too much of your "capital" with the dancers. > On Sat, 3 Sep 2005 12:48:15 -0500 "Paul Stamler" writes: > Whoa -- that is one challenging program. I question the placement > of Perpetual Motion second on the program -- having the hardest dance > second-up doesn't really allow people to get warmed up adequately, > physically and mentally, and the latecomers aren't warmed up at all. > I'd swap it with, perhaps, Treasure of the Big Woods if that's not a > screamingly hard dance and inappropriate tune for the spot. Or Alice. > My experience has been that good spots for the hardest dance of > the night are right before the break, when people are really up and > rolling and no one has left yet, or one notch > down after the break, with the immediately-post-break dance being a > relatively easy high-energy dance to wake people up. > > Peace, > Paul > On Sat, 03 Sep 2005 13:44:02 -0400 "Gene Murrow" writes: > Fae et. al., > > Some quick fixes ... > > Put Wibsey second. It's pretty well known, and the lively jig will > get folks moving. (Boy, starting with HT without its original tunes, > then PM will require two espresso shots). Move Perpetual > Motion further down and put a non-jig third. > Vivaldi is not a hard dance-- it's the tune that's a > monster! So you can move it to the 2nd half. > > You're right, this is one brain cramp of a program :-) > > Have fun, > > Gene ================================================================================ Archive-Date: Sat, 03 Sep 2005 13:53:12 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 From: "allisonthompson-AT-juno.com" Reply-To: ECD-AT-playford.slac.stanford.edu Date: Sat, 3 Sep 2005 20:50:28 GMT To: ECD-AT-ssrl04.slac.stanford.edu Subject: Re: [ECD] similar tunes in a row -- and that's not all Content-Type: multipart/alternative;boundary="--__JWM__J446b.794bS.15fbM" Message-ID: <20050903.135126.28139.280308-AT-webmail38.nyc.untd.com> ----__JWM__J446b.794bS.15fbM Content-Disposition: inline Content-Type: text/plain I'd concur with Graham's comments below--in my dance notebooks I always keep writing the mystic phrase, KISS--and then I always regret it when I don't take my own advice. It's nice to have new material, but the purpose of the evening is to have fun, not to kill brain cells. Allison Thompson Keep It Simple, Stupid! -- Graham Christian wrote: Fae: Yikes! Are you irrevocably committed to this program? You've set yourself at least two challenges: FOUR callers (many style & phrasing differences for dancers to absorb); MANY new/hardish dances. I think the "Summer Vacation" theme is a charming one--but myself, I'd distribute it across the program. That is, make about *half* the dances match that theme, as a thread that unites the evening. Otherwise, I'd be quite concerned that you'll get a lot of COMM. NOT READY looks out of your dancers' eyes; or, to put it in something like Bruce Hamilton's terms, you and the other callers will spend too much of your "capital" with the dancers. --- Fae Fuerst wrote: > Thanks, Gene! > > Maybe you (and others) can find a solution to this program's stubborn > flaws -- besides the basic flaw that it's a whole evening of almost all > unfamiliar dances! We've tackled these in the 2nd Friday advanced series > pretty often, though that doesn't make them a great idea. Alice and > Wibsey Roundabout are the only "relief" dances but several others are > easy, and only Perpetual Motion is really hard. We're sending the > directions around to the four callers and some other dancers, which will > help on the floor, and carefully wording the announcements to alert > people to the extra challenge. Still, it would be valid to question my > sanity! It's ironic that I walked right into this trap with my eyes open, > but here I am. > > Heather Towers -- Ray (tune of Moon and Seven Stars) > Perpetual Motion -- Ruth > Key to the Cellar -- Dan > Vivaldi in Paradise -- Shirley > Trip to San Jose -- Ruth (move to Mendo's spot if late) > (move Mendo here if early, very unlikely) > Alice -- Ruth or Ray > -- break -- > Mr. Legge's Initiation -- Ray > Treasure of the Big Woods -- Ray > Wibsey Roundabout -- Dan > Mendocino Redwood -- Shirley (cut if late) > Renewed Friendship -- Shirley > Sunlight Through Draperies -- Dan (cut if late) > > I put the hardest dances (PM and VIP) in the first half on purpose, since > our dancers seem to have more brainpower early on. The dances at the > beginnings and near the end of each half have been areas of flux; I keep > shifting them around but there's no ideal solution in sight. I like > starting with Heather Towers because of the nice accessible jig -- more > welcoming than the tunes for TSJ and Mendo, as far as I can tell > (musically ignorant). I'd put a spacer between HT and PM, but that risks > not getting to Alice, and we'll need Alice! I thought of putting Mr. > Legge's first, but that seems like the last straw for the first half -- > too fierce. It'd be nice to have Ray open the evening because he's a good > emcee. > > I'd switch Mendo and Wibsey to put an energy peak a little later, but > then there are two set dances in a row. (Our only set dances, another > flaw!) It's particularly awkward to be hunting for couples when some > people are going home early. > > See what I mean? Any advice would be much appreciated! > > Thanks, > > Fae > > P.S. The theme is "What We Learned On Our Summer Vacations" -- new > favorites from Mendocino, Buffalo Gap, and Pinewoods, and others we > particularly enjoyed, newly appreciated, understood better, saw for the > first time...the list gets longer as I look for excuses to include > dances! We have NO excuse for Renewed Friendship, except it will be fun > and is a bit more familiar in Michigan. > > P.P.S. Maybe playing the original tune for Heather Towers the last time > through will wipe people's musical memories! > > > On Sat, 03 Sep 2005 11:51:06 -0400 "Gene Murrow" > writes: > > Hi Fae, > > > > Perhaps not yucky, but not a good programming choice... > > > > The tunes are _very_ similar in their "affect"... sort of sauntering > > jigs. > > I think it would drag things down. > > > > Perpetual Motion is in Bb (at least the way John Stapledon published > > it), > > and Moon and Stars is in D, so at least they're not in the same key. > > The > > relationship between Bb Major and D major, two major keys a third > > apart, is > > an interesting one-- try it on the piano. That transition will > > provide some > > lift in a dance program (a trick stolen from Italian Renaissance > > composers > > who exploited that modulation for emotional effect). But it would > > fall flat > > in this case with those languid tunes. > > > > Another reason I'd stay away from that pairing is the dances > > themselves. I > > presume you're doing "Heather Towers" with Moon & Stars, and Tom > > Cook's > > "Perpetual Motion." They're both relatively unfamiliar, and > > Perpetual > > Motion can be a real challenge. I think you'd see a lot of > > plodding > > dancers, with concerned looks instead of smiles on their faces, by > > the time > > you plowed through those two. > > > > That's my 2 cents. > > > > Gene > > > > ----- Original Message ----- > > From: "Fae Fuerst" > > To: > > Sent: Friday, September 02, 2005 4:47 PM > > Subject: [ECD] similar tunes in a row -- how awful? > > > > > > > If anyone's home, I'd appreciate some opinions on this... > > > > > > How yucky is it to have two tunes next to each other that sound > > very > > > similar? The tunes are the Moon and Seven Stars and Perpetual > > Motion. > > > They start with almost the same notes and even the B parts are > > kind of > > > similar, but if we can survive that, it would be better for the > > program > > > in general. > > > > > > Thanks, > > > > > > Fae Fuerst > > > > > > > > Graham "Sphinx of black quartz, judge my vow." ----__JWM__J446b.794bS.15fbM Content-Disposition: inline Content-Type: text/html
I'd concur with Graham's comments below--in my dance notebooks I always keep writing the mystic phrase, KISS--and then I always regret it when I don't take my own advice. It's nice to have new material, but the purpose of the evening is to have fun, not to kill brain cells.

Allison Thompson

Keep It Simple, Stupid!

-- Graham Christian <bray1699-AT-yahoo.com> wrote:
Fae:
Yikes! Are you irrevocably committed to this program?
You've set yourself at least two challenges:
FOUR callers (many style & phrasing differences for dancers to absorb);
MANY new/hardish dances.
I think the "Summer Vacation" theme is a charming one--but myself, I'd distribute it across the
program. That is, make about *half* the dances match that theme, as a thread that unites the
evening. Otherwise, I'd be quite concerned that you'll get a lot of COMM. NOT READY looks out of
your dancers'&nb! sp;eyes; or, to put it in something like Bruce Hamilton's terms, you and the other
callers will spend too much of your "capital" with the dancers.

--- Fae Fuerst <ffuerst-AT-juno.com> wrote:

> Thanks, Gene!
>
> Maybe you (and others) can find a solution to this program's stubborn
> flaws -- besides the basic flaw that it's a whole evening of almost all
> unfamiliar dances! We've tackled these in the 2nd Friday advanced series
> pretty often, though that doesn't make them a great idea. Alice and
> Wibsey Roundabout ! ;are the only "relief" dances but severa l others are
> easy, and only Perpetual Motion is really hard. We're sending the
> directions around to the four callers and some other dancers, which will
> help on the floor, and carefully wording the announcements to alert
> people to the extra challenge. Still, it would be valid to question my
> sanity! It's ironic that I walked right into this trap with my eyes open,
> but here I am.
>
> Heather Towers -- Ray (tune of Moon and Seven Stars)
> Perpetual Motion -- Ruth
> Key to the Cellar --&! nbsp;Dan
> Vivaldi in Paradise -- Shirley
> Trip to San Jose -- Ruth (move to Mendo's spot if late)
> (move Mendo here if early, very unlikely)
> Alice -- Ruth or Ray
> -- break --
> Mr. Legge's Initiation -- Ray
> Treasure of the Big Woods -- Ray
> Wibsey Roundabout -- Dan
> Mendocino Redwood -- Shirley (cut if late)
> Renewed Friendship -- Shirley
> Sunlight Through Draperies -- Dan (cut if late)
>
> I put the hardest dances (PM and VIP) in the first half on purpose, since
> our&nbs! p;dancers seem to have more brainpower e arly on. The dances at the
> beginnings and near the end of each half have been areas of flux; I keep
> shifting them around but there's no ideal solution in sight. I like
> starting with Heather Towers because of the nice accessible jig -- more
> welcoming than the tunes for TSJ and Mendo, as far as I can tell
> (musically ignorant). I'd put a spacer between HT and PM, but that risks
> not getting to Alice, and we'll need Alice! I thought of putting Mr.
> Legge's first, but that seems like&n! bsp;the last straw for the first half --
> too fierce. It'd be nice to have Ray open the evening because he's a good
> emcee.
>
> I'd switch Mendo and Wibsey to put an energy peak a little later, but
> then there are two set dances in a row. (Our only set dances, another
> flaw!) It's particularly awkward to be hunting for couples when some
> people are going home early.
>
> See what I mean? Any advice would be much appreciated!
>
> Thanks,
>
> Fae
>
> P.S. The theme is "Wh! at We Learned On Our Summer Vacations"&n bsp;-- new
> favorites from Mendocino, Buffalo Gap, and Pinewoods, and others we
> particularly enjoyed, newly appreciated, understood better, saw for the
> first time...the list gets longer as I look for excuses to include
> dances! We have NO excuse for Renewed Friendship, except it will be fun
> and is a bit more familiar in Michigan.
>
> P.P.S. Maybe playing the original tune for Heather Towers the last time
> through will wipe people's musical memories!
>
>
> On Sat, 03 Sep 2005 11:51:06 -0400 "Gene Murrow" ! <gmurrow-AT-VERIZON.NET>
> writes:
> > Hi Fae,
> >
> > Perhaps not yucky, but not a good programming choice...
> >
> > The tunes are _very_ similar in their "affect"... sort of sauntering
> > jigs.
> > I think it would drag things down.
> >
> > Perpetual Motion is in Bb (at least the way John Stapledon published
> > it),
> > and Moon and Stars is in D, so at least they're not in the same key.
> >  The
> > relationship between Bb Major and D major,&! nbsp;two major keys a third
> > ;apart, is
> > an interesting one-- try it on the piano. That transition will
> > provide some
> > lift in a dance program (a trick stolen from Italian Renaissance
> > composers
> > who exploited that modulation for emotional effect).  But it would
> > fall flat
> > in this case with those languid tunes.
> >
> > Another reason I'd stay away from that pairing is the dances
> > themselves.  I
> > presume you're doing "Heather Towers" with Moon & Stars, and Tom
> ! > Cook's
> > "Perpetual Motion."  They're both relatively unfamiliar, and
> > Perpetual
> > Motion can be a real challenge.  I think you'd see a lot of
> > plodding
> > dancers, with concerned looks instead of smiles on their faces, by
> > the time
> > you plowed through those two.
> >
> > That's my 2 cents.
> >
> > Gene
> >
> > ----- Original Message -----
> > From: "Fae Fuerst" <ffuerst-AT-juno.com>
> > To: <ECD-AT-ssrl04.slac.stanford.edu>
> > Sent:&nbs! p;Friday, September 02, 2005 4:47 PM
>& nbsp;> Subject: [ECD] similar tunes in a row -- how awful?
> >
> >
> > > If anyone's home, I'd appreciate some opinions on this...
> > >
> > > How yucky is it to have two tunes next to each other that sound
> > very
> > > similar? The tunes are the Moon and Seven Stars and Perpetual
> > Motion.
> > > They start with almost the same notes and even the B parts are
> > kind of
> > > similar, but if we can survive that, it would ! be better for the
> > program
> > > in general.
> > >
> > > Thanks,
> > >
> > > Fae Fuerst
> >
> >
> >
> >

Graham
"Sphinx of black quartz, judge my vow."
----__JWM__J446b.794bS.15fbM-- ================================================================================ Archive-Date: Sat, 03 Sep 2005 14:10:37 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Date: Sat, 3 Sep 2005 17:10:37 -0400 Subject: Re: [ECD] similar tunes in a row -- and that's not all Message-ID: <20050903.171052.-539741.3.FFuerst-AT-juno.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary=--__JNP_000_257c.7490.75a1 From: Fae Fuerst Reply-To: ECD-AT-playford.slac.stanford.edu This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ----__JNP_000_257c.7490.75a1 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit What doesn't kill them, only makes them stronger...I've never bought that either. But take a look at these programs (sending off-list), which weren't our most enjoyable evenings, but went okay, and also contained a bunch of unfamiliar dances. Thanks, Fae On Sat, 3 Sep 2005 20:50:28 GMT "allisonthompson-AT-juno.com" writes: I'd concur with Graham's comments below--in my dance notebooks I always keep writing the mystic phrase, KISS--and then I always regret it when I don't take my own advice. It's nice to have new material, but the purpose of the evening is to have fun, not to kill brain cells. Allison Thompson Keep It Simple, Stupid! -- Graham Christian wrote: Fae: Yikes! Are you irrevocably committed to this program? You've set yourself at least two challenges: FOUR callers (many style & phrasing differences for dancers to absorb); MANY new/hardish dances. I think the "Summer Vacation" theme is a charming one--but myself, I'd distribute it across the program. That is, make about *half* the dances match that theme, as a thread that unites the evening. Otherwise, I'd be quite concerned that you'll get a lot of COMM. NOT READY looks out of your dancers'&nb! sp;eyes; or, to put it in something like Bruce Hamilton's terms, you and the other callers will spend too much of your "capital" with the dancers. --- Fae Fuerst wrote: > Thanks, Gene! > > Maybe you (and others) can find a solution to this program's stubborn > flaws -- besides the basic flaw that it's a whole evening of almost all > unfamiliar dances! We've tackled these in the 2nd Friday advanced series > pretty often, though that doesn't make them a great idea. Alice and > Wibsey Roundabout ! ;are the only "relief" dances but severa l others are > easy, and only Perpetual Motion is really hard. We're sending the > directions around to the four callers and some other dancers, which will > help on the floor, and carefully wording the announcements to alert > people to the extra challenge. Still, it would be valid to question my > sanity! It's ironic that I walked right into this trap with my eyes open, > but here I am. > > Heather Towers -- Ray (tune of Moon and Seven Stars) > Perpetual Motion -- Ruth > Key to the Cellar --&! nbsp;Dan > Vivaldi in Paradise -- Shirley > Trip to San Jose -- Ruth (move to Mendo's spot if late) > (move Mendo here if early, very unlikely) > Alice -- Ruth or Ray > -- break -- > Mr. Legge's Initiation -- Ray > Treasure of the Big Woods -- Ray > Wibsey Roundabout -- Dan > Mendocino Redwood -- Shirley (cut if late) > Renewed Friendship -- Shirley > Sunlight Through Draperies -- Dan (cut if late) > > I put the hardest dances (PM and VIP) in the first half on purpose, since > our&nbs! p;dancers seem to have more brainpower e arly on. The dances at the > beginnings and near the end of each half have been areas of flux; I keep > shifting them around but there's no ideal solution in sight. I like > starting with Heather Towers because of the nice accessible jig -- more > welcoming than the tunes for TSJ and Mendo, as far as I can tell > (musically ignorant). I'd put a spacer between HT and PM, but that risks > not getting to Alice, and we'll need Alice! I thought of putting Mr. > Legge's first, but that seems like&n! bsp;the last straw for the first half -- > too fierce. It'd be nice to have Ray open the evening because he's a good > emcee. > > I'd switch Mendo and Wibsey to put an energy peak a little later, but > then there are two set dances in a row. (Our only set dances, another > flaw!) It's particularly awkward to be hunting for couples when some > people are going home early. > > See what I mean? Any advice would be much appreciated! > > Thanks, > > Fae > > P.S. The theme is "Wh! at We Learned On Our Summer Vacations"&n bsp;-- new > favorites from Mendocino, Buffalo Gap, and Pinewoods, and others we > particularly enjoyed, newly appreciated, understood better, saw for the > first time...the list gets longer as I look for excuses to include > dances! We have NO excuse for Renewed Friendship, except it will be fun > and is a bit more familiar in Michigan. > > P.P.S. Maybe playing the original tune for Heather Towers the last time > through will wipe people's musical memories! > > > On Sat, 03 Sep 2005 11:51:06 -0400 "Gene Murrow" ! > writes: > > Hi Fae, > > > > Perhaps not yucky, but not a good programming choice... > > > > The tunes are _very_ similar in their "affect"... sort of sauntering > > jigs. > > I think it would drag things down. > > > > Perpetual Motion is in Bb (at least the way John Stapledon published > > it), > > and Moon and Stars is in D, so at least they're not in the same key. > > The > > relationship between Bb Major and D major,&! nbsp;two major keys a third > > ;apart, is > > an interesting one-- try it on the piano. That transition will > > provide some > > lift in a dance program (a trick stolen from Italian Renaissance > > composers > > who exploited that modulation for emotional effect). But it would > > fall flat > > in this case with those languid tunes. > > > > Another reason I'd stay away from that pairing is the dances > > themselves. I > > presume you're doing "Heather Towers" with Moon & Stars, and Tom > ! > Cook's > > "Perpetual Motion." They're both relatively unfamiliar, and > > Perpetual > > Motion can be a real challenge. I think you'd see a lot of > > plodding > > dancers, with concerned looks instead of smiles on their faces, by > > the time > > you plowed through those two. > > > > That's my 2 cents. > > > > Gene > > > > ----- Original Message ----- > > From: "Fae Fuerst" > > To: > > Sent:&nbs! p;Friday, September 02, 2005 4:47 PM >& nbsp;> Subject: [ECD] similar tunes in a row -- how awful? > > > > > > > If anyone's home, I'd appreciate some opinions on this... > > > > > > How yucky is it to have two tunes next to each other that sound > > very > > > similar? The tunes are the Moon and Seven Stars and Perpetual > > Motion. > > > They start with almost the same notes and even the B parts are > > kind of > > > similar, but if we can survive that, it would ! be better for the > > program > > > in general. > > > > > > Thanks, > > > > > > Fae Fuerst > > > > > > > > Graham "Sphinx of black quartz, judge my vow." ----__JNP_000_257c.7490.75a1 Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: quoted-printable
What doesn't kill them, only makes them stronger...I've never bought = that=20 either. But take a look at these programs (sending off-list), which weren't= our=20 most enjoyable evenings, but went okay, and also contained a bunch of = unfamiliar=20 dances.

Thanks,

Fae

On Sat, 3 Sep 2005 20:50:28 GMT "allisonthompson-AT-juno.com" <= allisonthompson-AT-JUNO.COM>=20 writes:

I'd concur with Graham's comments below--in my dance notebooks I = always=20 keep writing the mystic phrase, KISS--and then I always regret it when I = don't=20 take my own advice. It's nice to have new material, but the purpose of = the=20 evening is to have fun, not to kill brain cells.

Allison Thompson

Keep It Simple, Stupid!

-- Graham Christian <bray1699-AT-yahoo.com>&= nbsp;wrote:
Fae:
Yikes! Are you irrevocably = committed to this program?
You've set yourself&= nbsp;at least two challenges:
FOUR callers (= many style & phrasing differences for = dancers to absorb);
MANY new/hardish dances.
I&= nbsp;think the "Summer Vacation" theme is a&= nbsp;charming one--but myself, I'd distribute it&= nbsp;across the
program. That is, make about&= nbsp;*half* the dances match that theme, as&= nbsp;a thread that unites the
evening. = Otherwise, I'd be quite concerned that you'll= get a lot of COMM. NOT READY looks= out of
your dancers'&nb!=20 sp;eyes; or, to put it in something = like Bruce Hamilton's terms, you and the = ;other
callers will spend too much of your= "capital" with the dancers.

--- Fae = Fuerst <ffuerst-AT-juno.com> wrote:

> Thanks,&= nbsp;Gene!
>
> Maybe you (and others) = can find a solution to this program's = stubborn
> flaws -- besides the basic = flaw that it's a whole evening of almost= all
> unfamiliar dances! We've tackled = ;these in the 2nd Friday advanced series
&= gt; pretty often, though that doesn't make&= nbsp;them a great idea. Alice and
> = Wibsey Roundabout !=20 ;are the only "relief" dances but severa=20 l others are
> easy, and only = Perpetual Motion is really hard. We're = sending the
> directions around to the = four callers and some other dancers, which&= nbsp;will
> help on the floor, and = carefully wording the announcements to alert
&= gt; people to the extra challenge. Still,&= nbsp;it would be valid to question my
>= sanity! It's ironic that I walked right= into this trap with my eyes open,
&= gt; but here I am.
>
> Heather = Towers -- Ray (tune of Moon and Seven&= nbsp;Stars)
> Perpetual Motion -- Ruth
>&= nbsp;Key to the Cellar --&!=20 nbsp;Dan
> Vivaldi in Paradise -- Shirley<= BR>> Trip to San Jose -- Ruth (move&= nbsp;to Mendo's spot if late)
> (move = Mendo here if early, very unlikely)
> = Alice -- Ruth or Ray
> -- break --=
> Mr. Legge's Initiation -- Ray
>&= nbsp;Treasure of the Big Woods -- Ray
>= Wibsey Roundabout -- Dan
> Mendocino = Redwood -- Shirley (cut if late)
> = Renewed Friendship -- Shirley
> Sunlight = Through Draperies -- Dan (cut if late)
>= ;
> I put the hardest dances (PM = and VIP) in the first half on purpose,&= nbsp;since
> our&nbs!=20 p;dancers seem to have more brainpower e=20 arly on. The dances at the
> = beginnings and near the end of each half= have been areas of flux; I keep
>= shifting them around but there's no = ideal solution in sight. I like
> = starting with Heather Towers because of the&= nbsp;nice accessible jig -- more
> welcoming= than the tunes for TSJ and Mendo, = as far as I can tell
> (musically = ignorant). I'd put a spacer between HT = and PM, but that risks
> not getting&= nbsp;to Alice, and we'll need Alice! I = thought of putting Mr.
> Legge's first, = ;but that seems like&n!=20 bsp;the last straw for the first half = --
> too fierce. It'd be nice to = have Ray open the evening because he's a= good
> emcee.
>
> I'd switch = Mendo and Wibsey to put an energy peak&= nbsp;a little later, but
> then there = are two set dances in a row. (Our = only set dances, another
> flaw!) It's = particularly awkward to be hunting for = couples when some
> people are going = home early.
>
> See what I mean? = Any advice would be much appreciated!
>
&= gt; Thanks,
>
> Fae
>
> P.S. = The theme is "Wh!=20 at We Learned On Our Summer Vacations"&= n=20 bsp;-- new
> favorites from Mendocino, = Buffalo Gap, and Pinewoods, and others we
= > particularly enjoyed, newly appreciated, = understood better, saw for the
> first = time...the list gets longer as I look = for excuses to include
> dances! We = have NO excuse for Renewed Friendship, except= it will be fun
> and is a = bit more familiar in Michigan.
>
> P.P= .S. Maybe playing the original tune for = Heather Towers the last time
> through = will wipe people's musical memories!
>
>> On Sat, 03 Sep 2005 11:51:06 -0400= "Gene Murrow" !=20 <gmurrow-AT-VERIZON.NET>
> writes:
> > = Hi Fae,
> >
> > Perhaps not = ;yucky, but not a good programming choice...<= BR>> >
> > The tunes are _very= _ similar in their "affect"... sort of = sauntering
> > jigs.
> > I think= it would drag things down.
> >
&= gt; > Perpetual Motion is in Bb (at&= nbsp;least the way John Stapledon published
>= ; > it),
> > and Moon and = Stars is in D, so at least they're = not in the same key.
> >  The<= BR>> > relationship between Bb Major = and D major,&!=20 nbsp;two major keys a third
> > =20 ;apart, is
> > an interesting one--&= nbsp;try it on the piano. That transition&= nbsp;will
> > provide some
> > = lift in a dance program (a trick stolen&= nbsp;from Italian Renaissance
> > composers> > who exploited that modulation for&= nbsp;emotional effect).  But it would
> = ;> fall flat
> > in this case&= nbsp;with those languid tunes.
> >
>&= nbsp;> Another reason I'd stay away from&= nbsp;that pairing is the dances
> > = themselves.  I
> > presume you're = doing "Heather Towers" with Moon & Stars,= and Tom
> !=20 > Cook's
> > "Perpetual Motion." &= nbsp;They're both relatively unfamiliar, and
>&= nbsp;> Perpetual
> > Motion can be&= nbsp;a real challenge.  I think you'd = see a lot of
> > plodding
> &= gt; dancers, with concerned looks instead of&= nbsp;smiles on their faces, by
> > = the time
> > you plowed through = those two.
> >
> > That's my&= nbsp;2 cents.
> >
> > Gene
>&= nbsp;>
> > ----- Original Message ----= -
> > From: "Fae Fuerst" <ffuerst-AT-juno= .com>
> > To: <ECD-AT-ssrl04.slac.stanford.edu&= gt;
> > Sent:&nbs!=20 p;Friday, September 02, 2005 4:47 PM
>&= ;=20 nbsp;> Subject: [ECD] similar tunes in a= row -- how awful?
> >
> ><= BR>> > > If anyone's home, I'd = appreciate some opinions on this...
> >&= nbsp;>
> > > How yucky is it&= nbsp;to have two tunes next to each = other that sound
> > very
> >&= nbsp;> similar? The tunes are the Moon&= nbsp;and Seven Stars and Perpetual
> >&= nbsp;Motion.
> > > They start with&= nbsp;almost the same notes and even the = B parts are
> > kind of
> >= > similar, but if we can survive&= nbsp;that, it would !=20 be better for the
> > program
>&= nbsp;> > in general.
> > >
&= gt; > > Thanks,
> > >
>&= nbsp;> > Fae Fuerst
> >
> >= ;
> >
> >

Graham
"Sphinx of&= nbsp;black quartz, judge my vow."

----__JNP_000_257c.7490.75a1-- ================================================================================ Archive-Date: Sun, 04 Sep 2005 10:17:13 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <000401c5b174$2bc0b760$de8f4a0c-AT-compaq14453453> From: "Paul Stamler" Reply-To: ECD-AT-playford.slac.stanford.edu To: References: <20050903181544.47488.qmail-AT-web32406.mail.mud.yahoo.com> Subject: Re: [ECD] similar tunes in a row -- and that's not all Date: Sun, 4 Sep 2005 12:14:54 -0500 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Graham Christian" <> Not necessarily a huge obstacle; our local dance has had multiple callers at its balls for several years, and in the last year or so we've been doing it at regular dances. The dancers don't seem to find it a problem. Peace, Paul ================================================================================ Archive-Date: Sun, 04 Sep 2005 12:05:16 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <20050904190453.32586.qmail-AT-web50313.mail.yahoo.com> Date: Sun, 4 Sep 2005 12:04:53 -0700 (PDT) From: Lyrl Ahern Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: [ECD] similar tunes in a row -- and that's not all To: ECD-AT-ssrl04.slac.stanford.edu MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit > -- Graham Christian wrote: > You've set yourself at least two challenges: > FOUR callers (many style & phrasing differences for > dancers to absorb).... One thing that hasn't really been discussed, beyond this comment, *is* the issue of FOUR callers. Good that you brought it up, Graham (who called a wonderful program last night in Amherst MA of Orly Krasner's dances, others by women, and those with titles alluding to women). It would be easier for most dancers if each caller called a block of dances, instead of chopping it up and having a different caller for each dance. Graham is right, in that there is an adjustment to style & phrasing differences. Make it easier for your dancers and place the dances so that each caller calls a sequence. Lyrl __________________________________ Do you Yahoo!? Read only the mail you want - Yahoo! Mail SpamGuard. http://promotions.yahoo.com/new_mail ================================================================================ Archive-Date: Sun, 04 Sep 2005 12:35:12 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Date: Sun, 4 Sep 2005 15:36:01 -0400 Subject: Re: [ECD] similar tunes in a row -- and that's not all Message-ID: <20050904.153604.-515029.0.FFuerst-AT-juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit From: Fae Fuerst Reply-To: ECD-AT-playford.slac.stanford.edu Ah, but that totally depends on your callers, I think. I know that if I had called one, I would immediately need the antidote -- dancing! Some of our local amateur callers (Tuesdays and 2nd Fridays) get flustered and will perform better if they get a break before their next dance. There are other factors as well...in this case it seems better to go for more variety rather than less. If I leave the program in its current state, we'll see if there's much difference having the callers do two in a row in the second half. Lab work...I think the Tuesday night dance's usual pattern has been to do one each until they run out of time. It's more important that the dance sequence makes sense, don't you think? But it's a valid point...thanks Lyrl. Fae On Sun, 4 Sep 2005 12:04:53 -0700 (PDT) Lyrl Ahern writes: > > > -- Graham Christian wrote: > > You've set yourself at least two challenges: > > FOUR callers (many style & phrasing differences for > > dancers to absorb).... > > One thing that hasn't really been discussed, beyond > this comment, *is* the issue of FOUR callers. Good > that you brought it up, Graham (who called a wonderful > program last night in Amherst MA of Orly Krasner's > dances, others by women, and those with titles > alluding to women). > > It would be easier for most dancers if each caller > called a block of dances, instead of chopping it up > and having a different caller for each dance. Graham > is right, in that there is an adjustment to style & > phrasing differences. Make it easier for your dancers > and place the dances so that each caller calls a > sequence. > > Lyrl > > > > > > > > > > > > __________________________________ > Do you Yahoo!? > Read only the mail you want - Yahoo! Mail SpamGuard. > http://promotions.yahoo.com/new_mail > > ================================================================================ Archive-Date: Mon, 05 Sep 2005 12:20:57 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <00f801c5b24e$9f7a1ae0$828d4a0c-AT-compaq14453453> From: "Paul Stamler" Reply-To: ECD-AT-playford.slac.stanford.edu To: "ecd list" Subject: [ECD] Miss Pamela's (Second) Cotillion Date: Mon, 5 Sep 2005 14:18:39 -0500 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi folks: This Friday, September 9th, the St. Louis English Country Dancers present the Second Occasional Miss Pamela's Cotillion, an evening of music and dance featuring fiddler Pam Carson-Stoll with the Original Speckled Band. Dance styles will include English, contra, waltz, polka, hambo, international and swing. The evening begins at 7:00 pm with workshops in English, contra and hambo (the international dances will be taught when they're danced); we'll dance from 7:30 - 10:30 pm. Pam Carson was one of the mainstays of the St. Louis music scene, performing with the Original Speckled Band, Stringdancer and Reel Women, before she strayed to Cincinnati and the delightful company of fellow-fiddler Fred Stoll. Her fiddling is instantly recognizable -- warm, lively and intricate, and always, always danceable. She'll be accompanied for the evening by the Original Speckled Band -- Charles Mullen, Paul Ovaitt, Paul Stamler -- and possible surprise guests. Miss Pamela's Cotillion will take place at Brentwood Congregational United Church of Christ, 2400 S. Brentwood, Brentwood, MO (an inner-ring suburb of St. Louis); it's about 0.8 miles south of US-40/I-64, at the intersection of Brentwood and Litzsinger/Eulalie, just south of the firehouse and across from the TGIFriday's. (Turn east onto Eulalie, then immediately turn right into the church parking lot.) There's a map on the website, below. Admission is $10.00, and dress is casual; bring snacks to share. For more information, call Paul (314-664-9207) or e-mail. A splendid time is guaranteed for all. Yrs, Paul Stamler pstamler-AT-pobox.com 314-664-9207 Website: http://members.aol.com/paradiseMO/english.html ================================================================================ Archive-Date: Tue, 06 Sep 2005 09:20:50 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <20050906162025.59572.qmail-AT-web50406.mail.yahoo.com> Date: Tue, 6 Sep 2005 09:20:25 -0700 (PDT) From: Andy Pe