Choreo-Wise Volume 5, Issue 3 March, 2002 Hi There! March saw the second annual A-Okay Weekend held here at Medowie. To be honest, it seemed like a great success – we had seven squares (maximum numbers) and people didn’t seem to want to spend much time sitting down – there were the full seven squares on the floor for most of the weekend. There were dancers from Queensland, Victoria and the ACT, as well as from NSW. Basically the numbers doubled when compared to our first A-Okay Weekend last year. The next weekend function here at Medowie will be the Pure Plus Weekend in July. I will be sharing the calling with Barry Wonson. At this stage we have vacancies for another square of dancers – it looks as though it will be another sell-out. Next year there will be a callers’ school held here at Medowie. It will be in late August and will run for 5 days (Monday to Friday). The school will be conducted by Al Stevens. Al is one of the world’s most experienced Caller-Coaches and it will be Al’s first visit to Australia. I’m sure that anyone who attends the school will walk away a much better caller. A few weeks ago Nev McLachlan was kind enough to send me a sample copy of his New Releases Tape Service. I am very impressed with the audio quality of the tape service – it is the best sounding tape I have heard in many years. Nev is trying to build his subscriber base at the moment and is happy to send a sample tape upon request. Do yourself a favour and contact Nev – his contact details are available on the second last page of the notes (p. 506). After the first two weeks of our learners’ class I am underwhelmed by the response – we advertised in the newspaper, did a substantial amount of letter-box drops and did a couple of demonstrations – that’s life – we have two more weeks before we decide whether to continue with it or not – at the moment it doesn’t look positive – I hope you have had more success. On a more positive note, the numbers attending our regular dances are extremely healthy and building slowly. Thank you to all of you who have contacted me to say how much you are enjoying using Home Among The Gum Trees – I do appreciate these positive comments. Please note that the next issue will probably be up to a month late. Kind regards until next time. Glitches from Issues #41 & #42 p. 480 – first routine – the module finishes with a W1c, not a B1c p. 489 – fourth routine – delete the Right & Left Thru p. 490 – first routine – add Heads Right & Left Thru, Head Ladies Chain at the start Abbreviations Often Used In Choreo-Wise: SS = Squared Set (or Static Square) L1p = Zero Line (i.e. Heads Lead Right and Circle To A Line) B1c = Zero Box (i.e. Heads Square Thru) W1c = Zero Wave (i.e. Heads Square Thru and Make a Wave) DYP = Do Your Part Choreo-Wise 5.3 p.240 David Cox (2002)-
Transcript
Choreo-WiseVolume 5, Issue 3
March, 2002
Hi There!
March saw the second annual A-Okay Weekend held here at Medowie. To be honest, it seemed like agreat success – we had seven squares (maximum numbers) and people didn’t seem to want to spendmuch time sitting down – there were the full seven squares on the floor for most of the weekend.There were dancers from Queensland, Victoria and the ACT, as well as from NSW. Basically thenumbers doubled when compared to our first A-Okay Weekend last year.
The next weekend function here at Medowie will be the Pure Plus Weekend in July. I will be sharingthe calling with Barry Wonson. At this stage we have vacancies for another square of dancers – itlooks as though it will be another sell-out.
Next year there will be a callers’ school held here at Medowie. It will be in late August and will run for 5days (Monday to Friday). The school will be conducted by Al Stevens. Al is one of the world’s mostexperienced Caller-Coaches and it will be Al’s first visit to Australia. I’m sure that anyone who attendsthe school will walk away a much better caller.
A few weeks ago Nev McLachlan was kind enough to send me a sample copy of his New ReleasesTape Service. I am very impressed with the audio quality of the tape service – it is the best soundingtape I have heard in many years. Nev is trying to build his subscriber base at the moment and ishappy to send a sample tape upon request. Do yourself a favour and contact Nev – his contact detailsare available on the second last page of the notes (p. 506).
After the first two weeks of our learners’ class I am underwhelmed by the response – we advertised inthe newspaper, did a substantial amount of letter-box drops and did a couple of demonstrations –that’s life – we have two more weeks before we decide whether to continue with it or not – at themoment it doesn’t look positive – I hope you have had more success.
On a more positive note, the numbers attending our regular dances are extremely healthy and buildingslowly.
Thank you to all of you who have contacted me to say how much you are enjoying using HomeAmong The Gum Trees – I do appreciate these positive comments.
Please note that the next issue will probably be up to a month late.
Kind regards until next time.
Glitches from Issues #41 & #42p. 480 – first routine – the module finishes with a W1c, not a B1cp. 489 – fourth routine – delete the Right & Left Thrup. 490 – first routine – add Heads Right & Left Thru, Head Ladies Chain at the start
Abbreviations Often Used In Choreo-Wise:SS = Squared Set (or Static Square)L1p = Zero Line (i.e. Heads Lead Right and Circle To A Line)B1c = Zero Box (i.e. Heads Square Thru)W1c = Zero Wave (i.e. Heads Square Thru and Make a Wave)DYP = Do Your Part
Choreo-Wise 5.3 p.240 David Cox (2002)-
Choreo-Wise 5.3 p.241 David Cox (2002)-
OpenersOften times it is nice – and looks bothimpressive and professional – to havesome slick little routines that startfrom a squared set and are a littledifferent. These can be used asopeners (a little spice to start off ahoedown) or closers (a spicy way togive a polished finish to a hoedown). Ihope that you find them useful.
The first routine is very simple, butjust a little different from what
SSHead Ladies ChainHeads Lead LeftVeer RightFerris WheelHalf-sashayCentres Pass ThruEveryone Pass ThruRight & Left Grand
SSHeads Pass the OceanLadies TradeExtendLadies TradeSwing ThruRecycleRight & Left Grand
This routine has an unusual Circle to aLine, in as much as the finishingposition has the Ladies in the Centreof the Line…
SSHeads Right & Left ThruHeads Half-sashaySides Square ThruCircle to a LinePass ThruWheel & DealZoomFind Partner – Swing
It is quite easy to change the aboveroutine into an Allemande Left get-out…
SSFour Ladies Chain Three-quartersHeads Right & Left ThruHeads Half-sashaySides Square ThruCircle to a LinePass ThruWheel & DealZoomFind Corner – Allemande Left
Or we can change it to a Right & LeftGrand get-out…
SSHeads Right & Left ThruHeads Half-sashayHeads Square ThruCircle to a LinePass ThruWheel & DealZoomFind Partner – Right & Left Grand
Choreo-Wise 5.3 p.242 David Cox (2002)-
Continuing the Circle to a Linetheme…
SSHeads Square Thru ¾’sSeparate ‘round 1 to a LinePass ThruWheel & DealLadies Pass ThruCircle to a LineTouch a QuarterMen RunDouble Pass ThruFace InSlide ThruCentres Pass ThruAllemande LeftRight & Left GrandPromenade Four StepsYou’re Home
And one more…
SSHeads Pass ThruSeparate ‘round 1 to a LinePass ThruWheel & DealZoomMen Pass ThruCircle to a LineTouch a QuarterCentre Lady RunEnds Face InRight & Left Grand
SSFour Ladies ChainHeads Half-sashaySides Pass the OceanExtendSwing ThruMen RunPass ThruTag the LineFace rightFerris WheelZoomLook for Partner - Swing
Get-outModulesHere are slick get-out modules – theyare fairly simple, yet just a littledifferent.
The module uses a Star which has thesame gender next to each other…
L1pPass ThruWheel & DealDouble Pass ThruFace InPass ThruWheel & DealLadies Pass ThruLeft-hand Star – HalfwayMen Star RightLadies Promenade OutsideFind Corner – Allemande Left
This next module is based on a similaridea but uses a Left Touch a Quarterrather than Left-hand Star…
L1pRight & Left ThruHalf-sashayPass ThruWheel & DealDouble Pass ThruFace InPass ThruWheel & DealMen Right-hand Pull ByLeft Touch a QuarterLadies Star Right – Once AroundMen Face InMeet Partner – Left Touch a QuarterMen Star RightLadies PromenadeFind Corner – Allemande LeftI get the men to do a Right-hand PullBy rather than a Pass Thru, becausemakes it more certain that the Left
Choreo-Wise 5.3 p.243 David Cox (2002)-
Touch a Quarter will be executedcorrectly.
This next get-out module returnsdancers to home – it starts from a ZeroBox where the outside dancers are intheir original home position…B1cSwing ThruMen RunCouples TradeFerris WheelDouble Pass ThruFace InSlide ThruCentres Do It TwiceYou’re Home
And from the same position…B1cSlide ThruPass ThruBend the LinePass the OceanSwing ThruMen RunFerris WheelZoomDouble Pass ThruFace InSlide ThruCentres Do It TwiceYou’re Home
This next return to home modulestarts from the same location…
B1cPass ThruTrade BySlide ThruPass the OceanHingeCentres TradeLadies TradeCentres TradeCentres RunFerris WheelDouble Pass ThruFace InCentres Do It TwiceBow To Your Partner
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Odds &Ends
Here are some more short routines –they are fairly straight forward but justa little different.
SSFour Ladies ChainHeads Pass the OceanIn the Wave – Same Sex TradeExtendHingeScootbackMen FoldLadies Swing ThruLadies Turn ThruStar ThruCouples CirculatePromenade
SSHeads Square ThruSlide ThruRight & Left ThruPass ThruHalf-tagTradeFace RightSwing ThruMen RunSlide ThruAllemande LeftRight & Left GrandFace InYou’re Home
SSHeads Pass the OceanSwing ThruMen RunHalf-tagFace LeftAllemande Left
Choreo-Wise 5.3 p.245 David Cox (2002)-
Right & Left Grand
Choreo-Wise 5.3 p.246 David Cox (2002)-
Through theDiamond
The theme for this month’s pages isusing choreography that has somedancers in a Diamond formation, whilethe other dancers are working throughthe Diamond formation.
Look at the following routine…
L1pRight & Left ThruTouch a QuarterCirculate Once and a HalfLadies TradeLadies Slide apartMen Diamond CirculateLadies Face InLadies Pass ThruMen Diamond CirculateLadies CloverleafMen Flip the DiamondLadies Touch a QuarterVery Centre Men TradeOther Six CirculateFour Men Run RightCentre Four Veer Right B1c
L1pTouch a QuarterCirculate Once and a HalfCentre Six TradeLadies RollLadies Pass ThruMen Flip the DiamondLadies TradeVery Centres TradeExtend
Men Run L1p
L1pTouch a QuarterCirculate Once and a HalfLadies TradeLadies RollLadies BackawayMen Diamond CirculateLadies Pass the OceanIn the wave of 6 – Swing ThruIn the wave of 6 – Swing ThruMen Diamond CirculateIn the wave of 6 – Swing ThruLadies Linear CycleMen Flip the DiamondVery Centres TradeExtendMen Run L1p
The key to making the next routineswork is to take your time and makesure that the calls are clearly directedto the appropriate dancers so thateveryone knows who should beinvolved in each call…
L1pRight & Left ThruTouch a QuarterCirculate Once and a HalfCentre Six TradeLadies RollCentre Men Slide ApartLadies Swing ThruLadies Trade the WaveMen Diamond CirculateWave of Six – Swing ThruMen Facing Diamond CirculateOutside 4 Facing Diamond CirculateLadies Diamond CirculateMen Explode &Men Touch a QuarterAll Eight Circulate HalfMen Run B1c
Choreo-Wise 5.3 p.247 David Cox (2002)-
L1pTouch a QuarterCirculate Once and a HalfCentre Six TradeLadies RollCentre Men Slide ApartLadies Swing ThruLadies Trade the WaveMen Diamond CirculateWave of Six Swing ThruMen Diamond CirculateOutside 4 Diamond CirculateLadies Facing Diamond CirculateOutside 4 Facing Diamond CirculateMen Diamond CirculateLadies Explode &Ladies Touch a QuarterEveryone Circulate Once and a HalfMen RunSpin Chain & Exchange the GearsIn your Wave – Same Sex TradeExtendSwing Partner
On a different thread, here are acouple of All Eight Spin the Toproutines…
SSHeads Square Thru ¾’sHeads U-turn BackAll Circle LeftFace the Same Sex – Allemande LeftFace Partner – All 8 Spin the TopMen RunMake a Line – Forward & Back
L1p
The next couple of routines are mine…
SSHeads Square Thru ¾’sHeads Face In& RollAll Circle LeftFace the Same Sex – Allemande LeftFace Partner – All 8 Spin the TopMeet Partner – All 8 Spin the TopMen RunMake a Line – Forward & Back
L1p
Here are some simple, smooth singingcalls.
Singing Call – Corner Progression
Heads Right & Left ThruHeads Pass the OceanExtendSwing ThruMen TradeMen RunHalf-tagFollow Your Neighbour& SpreadLadies TradeSwing CornerPromenade
Heads Half Square ThruPass the OceanExplode the WaveTrade BySwing ThruHingeFollow Your Neighbour& SpreadMen TradeTurn ThruAllemande LeftPromenade
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MultipleCalls
Some of the A-1 calls lend themselves tobe used several times in succession. Youcan either give the call multiple timeswhen the dancers finish each one – or justask them to do it twice or three times. Thekey to success is dancers taking their timeand not rushing from one call to the next.
L1pPass the OceanLadies TradeLadies RunCast a ShadowCast a ShadowCast a ShadowAllemande Left
L1pPass the OceanOne Quarter ThruEnds CirculateMen RunPass the SeaRecycleVeer RightCast a ShadowCast a ShadowCast a ShadowRight & Left Grand
L1pRight & Left ThruPass the OceanLadies CirculateSwing ThruCast a Shadow
Cast a ShadowCast a ShadowPromenade
In conjunction with Multiple calls is theconcept of breaking in between eachcall. In this next routine, we call Cross-over Circulate BUT Cast a ShadowAFTER the first two one…
L1pPass the OceanCross-over CirculateCast a ShadowCross-over CirculateCast a ShadowCross-over CirculateRight & Left Grand
To build up to this you might like touse the following Basic module…
L1pPass the OceanLadies TradeRecycleCircle to a LinePass the SeaLeft Swing ThruAcey DeuceyCast a ShadowMixCast a ShadowMixCast a ShadowMixPromenade
Choreo-Wise 5.3 p.249 David Cox (2002)-
Do It DoubleAt A-2 we are looking at some niftyRight & Left Grand get-outs that arepreceded by the same call twice.
Split Counter Rotate
L1pPass the OceanSplit Counter Rotate - TwiceRight & Left Grand
Box Counter Rotate
L1pPass the SeaAll Eight CirculateMixSwingMen Box Counter Rotate – TwiceRight & Left Grand
Split Transfer
L1pPass the OceanSplit Transfer - TwiceRight & Left Grand
In-roll Circulate
L1pPass the SeaMixIn-roll Circulate - TwiceRight & Left Grand
Out-roll Circulate
L1pPass the Ocean
Out-roll Circulate - TwiceRight & Left Grand
Choreo-Wise 5.3 p.250 David Cox (2002)-
Motivate
L1pPass the OceanSwingMotivate - TwiceRight & Left Grand
Scoot & Weave
L1pPass the OceanSame Sex TradeOne Quarter ThruScoot & Weave – TwiceRight & Left Grand
Pass & Roll
L1pPass the OceanSwing ThruRecyclePass & Roll – TwiceRight & Left Grand
Scoot Chain Thru
L1pRight & Left ThruHalf-sashayPass the OceanScoot Chain Thru – TwiceRight & Left Grand
Recycle
L1pPass the OceanRecycle - TwiceRight & Left Grand
Remake
L1pPass the OceanMen CirculateOne Quarter ThruRemakeCentres RemakeRight & Left Grand
The CrazyConcept
The Crazy Concept can be applied toTwo Couple Calls from facing lines ora tidal formation.
On the call Crazy “whatever” eachgroup of 4 completes the call, then thecentre 4 dance the call, each group of4 dances the call and then just thecentres dance the call.
For example, from facing lines, CrazyRight & Left Thru – everyone does aRight & Left Thru, the centres do aRight & Left Thru, everyone does aRight & Left Thru and finally thecentres dance a Right & Left Thru.
There are a couple of seriouslimitations regarding the CrazyConcept.
The first limitation is that there arevery few calls that can be utilized withthe concept. It requires that thefinishing formation is basically thesame as the starting formation.
The second is that there is basicallybad body-flow inherent in the call. Itdoesn’t necessarily flow smoothlyfrom the ends action to the centresaction and visa versa.
Having said that, it is basically a funsort of idea to play around with.Hopefully the dancers will have a bit of
Choreo-Wise 5.3 p.251 David Cox (2002)-
a giggle, but like most gimmicks,don’t overdo it.
It’s a crazy world…
L1pCrazy Right & Left Thru L1p
L1pCrazy Flutterwheel L1p
L1pCrazy Reverse Flutterwheel L1p
From a Tidal Wave things don’tnecessarily work out quite assmoothly…
The next routine is interesting assome of the Trades are from normalcouples while others are from Mini-waves. The Line starts facing in butfinishes facing out…
L1pCrazy Partner TradeCalifornia TwirlPass ThruBend the Line L1p
This will also open up other optionsfrom inverted lines…
SSHeads Star ThruDouble Pass ThruFace In Centres Pass ThruCrazy Partner TradeHingeCentres Cross RunStar ThruDouble Pass Thru
CloverleafCentres Square Thru ¾’sAllemande LeftRight & Left Grand
Face In – You’re HomeIf any of you can come up with some othercalls that can be applied to the concept Iwould be interested to know about them.
Tempo & SquareDancing
While having been aware of theimportance of tempo for manyyears – it is only really since usingMinidisks that I have gained a muchbetter understanding of tempo.
As a young and new square dancecaller, my music was played a lotfaster than I play my music now. Itseems to be a natural misassumptionthat the faster the music the moreexciting the dancing. With experience Idiscovered that there is a lot more totempo than the above statement.
With experience I found that a fasttempo often times is not really smoothor comfortable to dance.
I believe that the slower the tempo ofthe music the more precise the callermust be with the timing of their callsto give the dancers a smooth danceexperience.
When I bought a Minidisk recorder Ialso bought a metronome so as tohave the music recorded at aconsistent tempo.
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I initially recorded at 126 bpm. I hadthought for many years that was thetempo I had been calling at. Afterusing music at this tempo I discoveredthat I had probably been using musiccloser to 128 bpm.
So, I re-recorded what I had done andwas quite happy with the result.
Talking with Brian Hotchkies, Idiscovered that he had the sameexperiences as me – he had originallyrecorded at 126 bpm and thendecided that 128 bpm was the way togo.
When I was in Denmark last year I wasasked about tempo and said that Iused 128 bpm. I was told that anothercaller, from the US, had run a school inDenmark and said that 124 bpm wasthe way to go and that 128 bpm wastoo fast. I had called a dance the nightbefore – I asked if the tempo then hadbeen too fast and the answer was no.
I had a very interesting experiencewhen Steve Turner and I werediscussing tempo in January.
Steve called a routine at 126 bpm andgot a positive reaction from thedancers. He then called the sameroutine, with the same timing, at 128bpm. The dancers said that it didn’tfeel as smooth.
I then called the same routine at 128bpm but modified the time that I gavethe dancers each call. The dancerreaction was that it felt as smooth aswhen Steve had called it at 126 bpm.
What is the bottom line? That you canmake many different tempos feelsmooth by judicious timing of calls.
My opinion is, if you can get the sameresult at 126 bpm as at 128 bpm gowith the slower tempo.
Since having gone back to 126 bpm Ihave had several dancers commentthat they don’t feel as tired at the endof the night as they used to.
I urge you to think about the tempoyou use, and experiment and make upyou own minds.
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New Releases – February ‘02By David Cox
I Don’t Want To Miss A ThingSting 703 / Thorsten Geppert
This is one of the most beautiful pieces ofSquare Dance music that I have heard inmy entire life. It is played in a minor keyand has a really mellow sound to it. Thereis a standard melody, although there is amelody change for the middle break andcloser. The music is played in 4/4 time andthe band features a very mellow violin,piano, bass guitar and electric guitar as wellas the usual percussion section. If you enjoysinging love songs this will become one ofyour favourites.HEADS SQUARE THRU – DOSADO – SWING THRU– MEN RUN – TAG THE LINE – CLOVERLEAF –GIRLS SQUARE THRU THREE-QUARTERS – SWING& PROMENADE
Two More Bottles of WineRoyal 524 / Larry Letson
This record is fairly typical of Royal – anice simple melody line and plenty of lift inthe music. There is one melody for theOpener, Middle Break and Closer – and adifferent melody for the Figures. The bandfeatures the usual instruments that youwould expect from this label – a nice pieceof music.HEADS SQUARE THRU – TOUCH A QUARTER –WALK & DODGE – PARTNER TRADE – RIGHT &LEFT THRU – FLUTTERWHEEL – SLIDE THRU –SWING & PROMENADE
Love Lifted MeRoyal 816 / Randy Dougherty
This release comes in vinyl, CD or MP3format, depending upon your preference.Despite what the record cover says, thecaller is not Tony Oxendine. The tune wasoriginally a hymn. The band features some
excellent trumpet work in the Opener,Middle Break and Closer. There is a keychange going into the Closer.HEADS SQUARE THRU – DOSADO – SWING THRU– MEN RUN – BEND THE LINE – RIGHT & LEFTTHRU – FLUTTERWHEEL – SLIDE THRU – SWING& PROMENADE
BraveheartGlobal 507 / Darryl Lipscomb
This is a very unusal hoedown – it features amedley of Scottish music – it includes Scotlandthe Brave and other tunes I didn’t recognise.There are also some rhythm breaks betweenthe melodies. Bagpipes are a feature of therecord, as well as some nice work by a fiddle.Despite having a traditional Scottish sound, thepercussion rhythm actually has almost a discofeel to it. The called side features some veryinteresting A-2 choreography for a full square.
Best Sellers from January1. One World
Down Under 1062. Where’d You Learn to Love Like That
A tune with a German flavour, that manyCallers & Dancers will associate with an easyRound Dance. It has been released as aSquare a couple of times in the past, but inmy opinion, this is by far the better version.Instrumental is smooth and un-rushed withgreat instrumentation. Al’s vocal is brilliant – Iplayed it several times just to soak it up.There is a key modulation at the beginning ofthe Closer ensuring the dance ends on ahigh. Although listed as Mainstream, Al hasactually restricted the choreo to the old“Basic” level.#17 on our Jan/Feb 2002 catalogue tape.
FIGURE: Heads Prom. ½, Square Thru,Swing Thru, Boys Run, Couples Circulate,Ladies Trade, Bend The Line,Square Thru ¾, Prom.
WHERE’D YOU LEARN TO LOVE LIKE THAT
GM-212 / Mike Bramlett / Mainstream & Plus
This is a nice love song that moves along.Most Callers will handle this one withoutdifficulty. Instrumental is a typical, high quality“Global Music Production”. On the vocal sideMike has done a great job with the call –providing a variety of interesting routines (notfor novice Dancers) within the Mainstreamand Plus programs. Music features a keymodulation at the beginning of the Closer.#16 on our Jan/Feb. 2002 catalogue tape.
FIGURE: Heads Star L. to Corner,Flutterwheel, Veer Left, ½ Tag,Walk & Dodge, Partner Trade, R & L Thru,put lady in the lead, Double Pass Thru,Girl go L, Boy go R, Allemande Left, Swing,Prom.
B A R N A C L E B I L LBMV-3038 / Brian Hotchkies / elementary
Now you’ve gotta consider that for obviousreasons, I could be a little biased towards thisone! However, I will try to be objective.
IT’S A BLOODY GOOD RECORDAND ALL CALLERS SHOULD BUY A COPY
Okay, okay, that might be a little over the top,but seriously, it is an excellent record for useat “Fun Nights” (O.N.S.), “Theme PartyNights”, “school groups”, etc. You probablywon’t get a lot of use for this one at yourregular club dances (unless you want theDancers to throw things at you!). The danceonly goes through just six times, and there isno partner change. Instrumental is recordedin 3/4 (waltz) & 6/8 (jig, or reel) time. Thedramatic variation in rhythm creates – first asurprise, then an exciting air of anticipationfrom the Dancers. I find it to be a perfectdance with which to end an evening whenworking with non-dancers. The Choreo (onthe CD) is very simple, and different for eachof the six Figures. Vocal was recorded “live”at one of my regular club nights to capturethe atmosphere. Also included on the CD is apatter “Lorraine’s Fiddle”, from an originalJ-bar-L master. My vocal for this, featuressome calls from the A1 program.#03 on our Jan/Feb 2002 catalogue tape.
FIGURE: Head Ladies Chain,Side Ladies Chain, Head Ladies Chain,Side Ladies Chain, Swing Partner, Prom.
Fig.#2: Heads Circle Left, Sides Circle Left,Swing Partner, Prom.
