Well, Loch Leven Dancers have danced, filmed and edited, and posted 4 more dances.
Monadh Liath:-
Rob Roy (video 2 is ours - but it is first in the queue)
The Aviator
Black Leather Jig:- 2 videos - one straight, two for fun)
Tuesday, December 12, 2017
24 October 2017 – New Haven
An appropriate subtitle for this post - Still Struggling.
It is almost the end of October and my goal was to have the Tea Dance program settled by September.
I missed that deadline. So I reset to the end of September. Missed that one too. We are now almost out of October and the program still hasn't come together to my satisfaction.
Usually when I have this much trouble finishing a program there is one dance that is holding things up. Doesn't play well with others, and no matter how much I want that one on the program everything improves when I take it away. Not this time. There is no one dance causing the problem. To make it work I would have to start from scratch and build the program in a different manner, from a different mind set. That isn't going to happen unless I am still struggling at Christmas.
Short version: today I am - still - looking at dances.
The dances taught:
Come What May - (32 J 2) - Bk 51/11
A Reel for Maria - (40 R 3) - Suncoast (McRanor)
The Clarsach - (32 S 3) - Portland 20th (Ryer)
The Young Foxes - (32 R 3) - Gregg notes
Rockside - (96 J 4 sq) - Goldring
Scotia Sea - (32 R 3) - Goldring
From Paper to Pearl - (32 S 3) - Collin
*** *** *** *** ** * ** *** *** *** ***
Come What May:- Book 51 is aaaah… something. Intended for children and beginners. Ok it might work for them. I used this dance for a warm up because our class includes a couple, in their 70s, who are challenged. They do not move well, are slow picking up patterns, don't always remember them in time, but they started dancing just over a year ago so this is normal. But I see little to like in the way of additions to the standard repertoire. How many circles do we need? But how many books do we skip over when making programs? Book 2?
We do Delvine Side regularly (for the music) but I haven't seen Bob O'Dowally, also good music, on a program in over 30 years. Glasgow Highlanders shows up now and again, but Eightsome Reel? Not in over 20 years.
And now we add another book that is useful only in very specific circumstances.
A Reel for Maria:- A Yes. It is not a rave dance but it is a nice one. And yes it is on the Tea Dance program. It is accessible to almost all, and it was written by Ellen McRanor who, before she retired, taught both the Kilts and Ghillies and the Woodbridge groups in Connecticut and is now teaching in Florida.
I had no idea Ellen had published dances until I met Livia Kohn (a co-author) at Pinewoods this summer and saw the book in the bookstore. I had to… I mean not buy a book with their work in it? And not put one of her dances on 'her' ball? Seriously?
In regards to the book - some very nice dances here. Thumbs up.
It is available from lulu.com. They print (and mail) on demand and do the eBook thing too.
The Clarsach:- Some nice moves and some different moves. Definitely worth looking at. Some of the transitions just plain make me smile, and that is a very good thing.
A video will be coming soon - I mean Real Soon Now, like before March… maybe. (Hopefully much sooner but who knows with this group of mine).
The Young Foxes:- By Robert Gregg. When he died he gave me several files of dance notes and the commission to edit and publish what I could. This is the first one which I could clean up enough for publishing. It is now published in Ruby Anniversary Book - Scottish Country Dances from Connecticut.
The entry into the first reel is almost unique and worth it. The flow is worthy of John Drewry. The short form - two thumbs up - I Like It!
Not for this year but starred and on the top of the shortlist for 2019.
The Scotia Sea:- I have taught and talked about this dance before.
From Paper to Pearl:- Do it! Didn't you hear me? DO IT! As I taught it I heard several "huhs?" and when we danced it I then heard several "wows!"
It is almost the end of October and my goal was to have the Tea Dance program settled by September.
I missed that deadline. So I reset to the end of September. Missed that one too. We are now almost out of October and the program still hasn't come together to my satisfaction.
Usually when I have this much trouble finishing a program there is one dance that is holding things up. Doesn't play well with others, and no matter how much I want that one on the program everything improves when I take it away. Not this time. There is no one dance causing the problem. To make it work I would have to start from scratch and build the program in a different manner, from a different mind set. That isn't going to happen unless I am still struggling at Christmas.
Short version: today I am - still - looking at dances.
The dances taught:
Come What May - (32 J 2) - Bk 51/11
A Reel for Maria - (40 R 3) - Suncoast (McRanor)
The Clarsach - (32 S 3) - Portland 20th (Ryer)
The Young Foxes - (32 R 3) - Gregg notes
Rockside - (96 J 4 sq) - Goldring
Scotia Sea - (32 R 3) - Goldring
From Paper to Pearl - (32 S 3) - Collin
*** *** *** *** ** * ** *** *** *** ***
Come What May:- Book 51 is aaaah… something. Intended for children and beginners. Ok it might work for them. I used this dance for a warm up because our class includes a couple, in their 70s, who are challenged. They do not move well, are slow picking up patterns, don't always remember them in time, but they started dancing just over a year ago so this is normal. But I see little to like in the way of additions to the standard repertoire. How many circles do we need? But how many books do we skip over when making programs? Book 2?
We do Delvine Side regularly (for the music) but I haven't seen Bob O'Dowally, also good music, on a program in over 30 years. Glasgow Highlanders shows up now and again, but Eightsome Reel? Not in over 20 years.
And now we add another book that is useful only in very specific circumstances.
A Reel for Maria:- A Yes. It is not a rave dance but it is a nice one. And yes it is on the Tea Dance program. It is accessible to almost all, and it was written by Ellen McRanor who, before she retired, taught both the Kilts and Ghillies and the Woodbridge groups in Connecticut and is now teaching in Florida.
I had no idea Ellen had published dances until I met Livia Kohn (a co-author) at Pinewoods this summer and saw the book in the bookstore. I had to… I mean not buy a book with their work in it? And not put one of her dances on 'her' ball? Seriously?
In regards to the book - some very nice dances here. Thumbs up.
It is available from lulu.com. They print (and mail) on demand and do the eBook thing too.
The Clarsach:- Some nice moves and some different moves. Definitely worth looking at. Some of the transitions just plain make me smile, and that is a very good thing.
A video will be coming soon - I mean Real Soon Now, like before March… maybe. (Hopefully much sooner but who knows with this group of mine).
The Young Foxes:- By Robert Gregg. When he died he gave me several files of dance notes and the commission to edit and publish what I could. This is the first one which I could clean up enough for publishing. It is now published in Ruby Anniversary Book - Scottish Country Dances from Connecticut.
The entry into the first reel is almost unique and worth it. The flow is worthy of John Drewry. The short form - two thumbs up - I Like It!
Not for this year but starred and on the top of the shortlist for 2019.
The Scotia Sea:- I have taught and talked about this dance before.
From Paper to Pearl:- Do it! Didn't you hear me? DO IT! As I taught it I heard several "huhs?" and when we danced it I then heard several "wows!"
Saturday, December 9, 2017
26 September 2017 – New Haven
I had hoped to have the K&G Tea Dance program settled by now - No such luck though.
So this evening was a mixed one. Some dances try outs from the short list and some for 'just because'.
The dances I taught were:
Deborah's Request - (32 J 3) - Price
Scotia Sea - (32 R 3) - Scotia Suite
The Rose Garden - (24 S 2) - SF2
Highland Light Society - (32 J 3) - Price
The Falkirk Wheel - (32 S 4 dancers) - Price
Mrs Watt's Teakettle - (48 R 3) - Burrage
-- * -- * -- * * * -- * -- * --
Deborah's Request:- I heard a cry "I can't find any good dances for warmup, simple dances with simple turns in them".
"Well, write one" I said. "
"You do that better than I can." she replied, with that 'look'.
So I did. I had to.
Scotia Sea:- I like the music. It could carry it's dance if it had to. It doesn't. The dance is good and I like the fit between the two. And the music flies!
The Rose Garden:- I have posted about this dance before. Check back. This one earned two thumbs up.
Highland Light Society:- I wrote this dance for Morag Geraci. A pillar of the Westchester group until she retired to Cape Cod. The Cape Cod Highland Light Society hosts the Scottish dancing in the
Falmouth area.
The Falkirk Wheel:- At Falkirk two canals meet, sort of. There is an elevation difference of about 24.7 meters between the two canals and the Wheel is magnificent! The mechanical principle is based
on a sun and planet gear system as are the reels in the dance.
I first met this reel system in a George Emerson dance where he called it a "Planet" reel. Subsequently I have met the same reels under the term Celtic reel. They are the same but the concept of a celtic reel, a cross and a circle, is much easier on the mind than the other.
Mrs Watt's Teakettle:- Truth be told I looked at this dance a couple of times and passed on to the next. I didn't see any thing here, not really. But one day I did teach it and the response from the dancers was positive. It is a nice dance. It is not only worth doing but it is worth doing again.
17 September 2017 – Loch Leven
No rehearsal just another Fun afternoon.
Orpington Caledonians - (32 R 3) - 49/2
Born to Dance - (32 J 3) - Collin
Rubinus Portus Novi - (40 S 4 sq) - Price (Ruby Anniversary)
Back to Back - (32 J 3) - Glasspool
Double Trouble Triangles - (48 R 4) - 50/8
The Rose Garden - (24 S 2) - Wendell (SF 2)
* ** *** *** ** * ** *** *** ** *
Orpington Caledonians:- Fun, just plain fun especially with the music (Jim Lindsay et al). I programmed it on the 2016 Tea Dance and I am waiting for enough time to pass that I can program it again. Like, like, like.
Born to Dance:- I have said it before - Lovely! So lovely that it is on the Kilts and Ghillies Tea Dance program that is coming up RSN.
Rubinus Portus Novi:- Right-O. I agree the name is pretentious but I am just so tired of Ruby this and Ruby that. Over 50 dances with Ruby in their name. Enough I cry, enough! I can't take it any more! So it is a very good thing that I know several dancers who have a grounding in Latin.
This was a testing.
In June I received an email announcing a 40th birthday party for the New Haven branch. (The meeting in which we voted to apply for branch status was hosted at my house). I was also informed in that email that I was going to provide a 40 bar dance for the occasion, right?! It took a while for the dance to come together but a testing about a month and a half early is in time, I believe. Yes but just barely!
The book is available through the New Haven Branch.
Back to Back:- Push-Me-Pull-You Reels! Yes! We danced it in both 2007 and 2010. Soon, real soon now we will dance it again. I promise.
Double Trouble Triangles:- A Double Triangles chain –– a wonderful conceit. Looked fabulous in the video. Less exciting in practice.
The Rose Garden:- One of my Top 50 dances. Ms Wendell did something rare. She wrote a fantastic 24 bar dance and stopped. Applause. Standing ovation actually. So few devisors manage that. Too often they just have to make it a 32 bar sequence so they add a gratuitous 8 bars - sigh.
In 1998 I stood my full teaching certificate in Vancouver, BC, Canada. My decompression space was the University's rose garden looking out on the sound and the snow capped mountains to north. Sigh.
Orpington Caledonians - (32 R 3) - 49/2
Born to Dance - (32 J 3) - Collin
Rubinus Portus Novi - (40 S 4 sq) - Price (Ruby Anniversary)
Back to Back - (32 J 3) - Glasspool
Double Trouble Triangles - (48 R 4) - 50/8
The Rose Garden - (24 S 2) - Wendell (SF 2)
* ** *** *** ** * ** *** *** ** *
Orpington Caledonians:- Fun, just plain fun especially with the music (Jim Lindsay et al). I programmed it on the 2016 Tea Dance and I am waiting for enough time to pass that I can program it again. Like, like, like.
Born to Dance:- I have said it before - Lovely! So lovely that it is on the Kilts and Ghillies Tea Dance program that is coming up RSN.
Rubinus Portus Novi:- Right-O. I agree the name is pretentious but I am just so tired of Ruby this and Ruby that. Over 50 dances with Ruby in their name. Enough I cry, enough! I can't take it any more! So it is a very good thing that I know several dancers who have a grounding in Latin.
This was a testing.
In June I received an email announcing a 40th birthday party for the New Haven branch. (The meeting in which we voted to apply for branch status was hosted at my house). I was also informed in that email that I was going to provide a 40 bar dance for the occasion, right?! It took a while for the dance to come together but a testing about a month and a half early is in time, I believe. Yes but just barely!
The book is available through the New Haven Branch.
Back to Back:- Push-Me-Pull-You Reels! Yes! We danced it in both 2007 and 2010. Soon, real soon now we will dance it again. I promise.
Double Trouble Triangles:- A Double Triangles chain –– a wonderful conceit. Looked fabulous in the video. Less exciting in practice.
The Rose Garden:- One of my Top 50 dances. Ms Wendell did something rare. She wrote a fantastic 24 bar dance and stopped. Applause. Standing ovation actually. So few devisors manage that. Too often they just have to make it a 32 bar sequence so they add a gratuitous 8 bars - sigh.
In 1998 I stood my full teaching certificate in Vancouver, BC, Canada. My decompression space was the University's rose garden looking out on the sound and the snow capped mountains to north. Sigh.
Tuesday, December 5, 2017
6 September 2017 – Westchester
Tonight was the start of the new dance season. The teacher of this first series is Charlotte and I asked her to put together the opening party program. And a nice little party it was too.
The dances:-
Chairman's Whim - (32 J 2) - H. Boyd
Delvine Side - (32 S 3) - 2/9
Welcome to Ayr - (32 J 3) - 47/8
J. B. Milne - (32 R 3) - Foss
Inchmickery - (32 J 5) - Goldring
MacDonald of Keppoch - (128 M 4sq) - 49/1
Slytherin House - (32 S 3) - Ronald
For Your Eyes Only - (32 R 3) - unknown
* ** *** ** * ** *** ** *
Chairman's Whim:- A jig but done as a hornpipe. A simple ditty by our friend in Montréal Holly Boyd.
Delvine Side:- I love the music for this one. In my opinion the set played by Fiddlesticks and Ivory is THE definitive recording,
Welcome to Ayr:- It is a tricky little dance, and it is the teacher who, the first time, usually gets bitten by not paying enough attention in the prep. That said it is a nice little dance that requires a little forethought and planning in the dancing.
J. B. Milne:- So much fun! In the greater NY area it is part of the standard repertoire.
Inchmickery:- A good dance but not in my Top 50. If I had to pick a 5C dance I would choose A Reel for Alice, The 50th Parallel, Black Mountain Reel, or any of a number of others first. But the consensus of the teachers in the area was to put in on the NY Branch's dance list. So it gets done a lot.
MacDonald of Keppoch:- This one is a hit, an all round palpable hit. The dance is good, the music is good and when the dancers make the transition they are ecstatic.
Slytherin House:-Another popular (around here) dance by Chris Ronald. The snake pass is not quite the normal one and that tends to throw me because here the move wars with not only my muscle memory but my mental expectations.
For Your Eyes Only:- Sorry no link for this one. It is one of the book 52 test dances and since there was no name attached to it we made one up. It was very well received. We can only hope that it was selected for the new book.
The dances:-
Chairman's Whim - (32 J 2) - H. Boyd
Delvine Side - (32 S 3) - 2/9
Welcome to Ayr - (32 J 3) - 47/8
J. B. Milne - (32 R 3) - Foss
Inchmickery - (32 J 5) - Goldring
MacDonald of Keppoch - (128 M 4sq) - 49/1
Slytherin House - (32 S 3) - Ronald
For Your Eyes Only - (32 R 3) - unknown
* ** *** ** * ** *** ** *
Chairman's Whim:- A jig but done as a hornpipe. A simple ditty by our friend in Montréal Holly Boyd.
Delvine Side:- I love the music for this one. In my opinion the set played by Fiddlesticks and Ivory is THE definitive recording,
Welcome to Ayr:- It is a tricky little dance, and it is the teacher who, the first time, usually gets bitten by not paying enough attention in the prep. That said it is a nice little dance that requires a little forethought and planning in the dancing.
J. B. Milne:- So much fun! In the greater NY area it is part of the standard repertoire.
Inchmickery:- A good dance but not in my Top 50. If I had to pick a 5C dance I would choose A Reel for Alice, The 50th Parallel, Black Mountain Reel, or any of a number of others first. But the consensus of the teachers in the area was to put in on the NY Branch's dance list. So it gets done a lot.
MacDonald of Keppoch:- This one is a hit, an all round palpable hit. The dance is good, the music is good and when the dancers make the transition they are ecstatic.
Slytherin House:-Another popular (around here) dance by Chris Ronald. The snake pass is not quite the normal one and that tends to throw me because here the move wars with not only my muscle memory but my mental expectations.
For Your Eyes Only:- Sorry no link for this one. It is one of the book 52 test dances and since there was no name attached to it we made one up. It was very well received. We can only hope that it was selected for the new book.
Monday, December 4, 2017
29 August 2017 – New Haven
The Last Class of Summer - the last chance to freely experiment.
Dances taught:
Chased Lovers - (32 J 3) - Wilson
Auld Lang Syne - (32 S 3) - 27/12
Toast to the Mousies - (32 R 3) - Gratiot
Gothenburg's Welcome - (32 J 3) - 37/3 (Munro)
Dowie Dens - (32 S 4) - Priddey
** ** *** *** * *** *** ** **
Chased Lovers:- What a lovely dance! Previously commented on.
Auld Lang Syne:- Book 27 isn't neither an early publication or a recent one but the society was probably beginning to run out of sources for simple easy dances. This one is a piece of spaghetti choreography. Somewhere somebody is struggling. The devisor, the interpreter, the teacher, the dancer? But it made the cut. Hmmmm.
Toast to the Mousies:- Nice Dance! Nice Music! And I finally have a good recording. This one is a winner, Ah say agin, a Winna. Mind you, I knew that the first time I danced it (Asilomar Weekend 2016) and every time since. What I didn't have was a dance friendly recording. That has changed. We have now have a set by Muriel Johnstone and Keith Smith. It is for Monica's Garden on their CD Spark o' Water. Two thumbs up for both the dance and the recording.
Gothenburg's Welcome:- I like it. It is fun. I hate teaching it. The "dance to each corner and set" figure blows dancers' minds and since I get it I don't get it that they don't set it. I have been wanting to put this on a Tea Dance program for years. Someday Real Soon Now. For Sure.
The Dowie Dens:- I love it, but we know I am a monster with very weird tastes. Highland Schottische setting with partner but with multiple twists. From the Barry Priddey's Golden Oriole Book. At first read I wasn't sure it would flow well but it did better - it flowed beautifully. Short list for 2019?
I found this one while searching for dances with highland schottische setting. Two dances had been offered up for Tea Dance consideration. They were The Balquhidder Strathspey and Brig o' Doon. Both are from the Mrs MacNab set of collected dances and concerning the latter dance she makes this comment
"This dance was collected at Dalmellington in the early 19th century. It was a great favourite at the balls in that district."
Ahhhh… right! My personal feeling is that that dance is not suitable for a social occasion. Unless, maybe after a lot of high octane punch? Times have definitely changed or else I am turning into a fuddy duddy old guardist.
Thursday, November 30, 2017
15 August 2017 – New Haven
Back to my back log.
And again there are two agendas on the agenda :-))
First the class was testing dances for the upcoming Book and secondly I was testing dances for the Kilts and Ghillies 2018 Tea Dance.
The dances of the day were:
Driving Through Eutaw - (32 J 3) - Leary (Ruby Anniversary)
Dance #105 - (32 S 3) - unknown
Braes of Balquidder - (128 S 4 square) - MacNab
The Spey in Spate - (32 R 3set) - Haynes
Silver Thistle Ball - (32 S 3set) - Fogg&Turner
Florida Crackers - (32 R 3) - Kohn
* ** *** ** * ** *** ** *
Driving Through Eutaw:- A very nice little dance with just enough of a twist that dancers need to put a lid on their muscle memory. I like it but I am also prejudiced in it's favor. Not a new dance to the blog so previous posts have the comments.
Braes of Balquhidder:- It is a dance, and it can be fun after a good bit of work is done. I rather like it but not enough to put it in myTop 50 list. I think that if a group liked it enough they could do it enough to put it in their standard repertoire. Maybe even put it on a ball program if enough dancers from away also knew it.
Not well enough known to make the Kilts and Ghillies Tea Dance short list. But if enough of us started teaching it now it might make the 2019 or 2020 shortlist. Guys???
The Spey in Spate:- This one has promise. It made it to the short list but the competition was fierce and didn't make the cut. Again maybe in a year or too (RSN?).
Silver Thistle Ball:- I like it. We had it on the K&G back in 2007 and we are past due to repeat it. I actually believe (MHO) that it dances easier than it reads. It made it. It is on the 2018 Tea Dance Program.
Florida Crackers:- Different. In my humble opinion that is good. I like petronella Double Triangles, I like variations on corners Pass & Turn. And it is available from Lulu the web publisher in either a print on demand paper version or, if you prefer, as a downloadable epub/pdf version.
And again there are two agendas on the agenda :-))
First the class was testing dances for the upcoming Book and secondly I was testing dances for the Kilts and Ghillies 2018 Tea Dance.
The dances of the day were:
Driving Through Eutaw - (32 J 3) - Leary (Ruby Anniversary)
Dance #105 - (32 S 3) - unknown
Braes of Balquidder - (128 S 4 square) - MacNab
The Spey in Spate - (32 R 3set) - Haynes
Silver Thistle Ball - (32 S 3set) - Fogg&Turner
Florida Crackers - (32 R 3) - Kohn
* ** *** ** * ** *** ** *
Driving Through Eutaw:- A very nice little dance with just enough of a twist that dancers need to put a lid on their muscle memory. I like it but I am also prejudiced in it's favor. Not a new dance to the blog so previous posts have the comments.
Braes of Balquhidder:- It is a dance, and it can be fun after a good bit of work is done. I rather like it but not enough to put it in myTop 50 list. I think that if a group liked it enough they could do it enough to put it in their standard repertoire. Maybe even put it on a ball program if enough dancers from away also knew it.
Not well enough known to make the Kilts and Ghillies Tea Dance short list. But if enough of us started teaching it now it might make the 2019 or 2020 shortlist. Guys???
The Spey in Spate:- This one has promise. It made it to the short list but the competition was fierce and didn't make the cut. Again maybe in a year or too (RSN?).
Silver Thistle Ball:- I like it. We had it on the K&G back in 2007 and we are past due to repeat it. I actually believe (MHO) that it dances easier than it reads. It made it. It is on the 2018 Tea Dance Program.
Florida Crackers:- Different. In my humble opinion that is good. I like petronella Double Triangles, I like variations on corners Pass & Turn. And it is available from Lulu the web publisher in either a print on demand paper version or, if you prefer, as a downloadable epub/pdf version.
28 November 2017 - New Haven
Right, this one is really out of order as it was this past Tuesday's class and I still have August, September and October classes to catch up on. But the contents of this post are fresh and pushy and…
Coming up Real Soon Now (thank you Jerry Pournelle) the Brooklyn class of the NY branch is holding their annual John Drewry Night - (program) - and several dancers from New Haven intend to go. Therefore - Ball Prep! Well it isn't actually a ball as the dances will all be walked through but some dancers still feel they need to prepare ahead no matter how often or familiar the dances are. So ball prep.
The Dances:
Carols a Plenty - (32 J 3) - Lou Hanson
Glenalmond Gamekeeper - (40 R 3) - Drewry
Anna Holden's Strathspey - (32 S 2) - Drewry
Bees of Maggieknockater - (32 J 4) - Drewry
Ythanside - (32 S 3) - Drewry
The 50th Parallel - (48 R 5) - Zobel & Johnstone
*** + ** + *** ***+**+*** ***+**+***
Carols a Plenty - Lou is a gem. She persuaded Deborah and me to use the swim facilities at Portland while we were taking our TAC unit 2 dance exams - it helped. She wrote a book of dances as a sanity check during her post grad work. This is one of them, and it is a nice welcoming, gentle, non-thinkum dance.
The Glenalmond Gamekeeper:- I remember the day I learned this dance. The visiting teacher was John Drewry. The other dance he taught that evening was The New Opera, and both dances were relatively newly written. He was a horrible teacher, not a very good dancer, and a delightful man. The evening would have gone so much easier if we had known that before hand, or if he had known how to step in and show the new moves and not merely talk them.
There is a trick to most dances - get that and you have the key to the dance. The trick in this dance is the transition from the tandem figure of eight into the circle. Most dancers are late getting around the figure of eight but the dance is forgiving and dancers can just flow into the circle from the center of the set without having to 'get back to place'. In other words: being a little late is a good thing here.
Anna Holden's Strathspey:- I love this one. Need I say more? And I love the story about how it came to be.
Warning- the diagram does not show the 2's cast into top place following the RHA as the 1s cross down.
The Bees of Maggieknockater:- Another dance I like a lot. But many words are needed. And a lot of energy is spend by dancers trying to understand the reelings. I have heard many different descriptions and most of them require me to remember three or four different patterns for the sequence.
K-I-S-S should be the operating principle. The simplest explanation is usually the best. If you are 1st or 3rd couple you dance the half reels either with your partner or your trail buddy - a good contra/square dance term for the person you keep meeting who is a rock you can rely on.
So, when you are with your trail buddy (not partner) the loop is always to the right. When you join your partner the loop will always be to the left. And you alternate right loop, left loop, right loop, left loop. Trail buddy, partner, trail buddy, partner.
The second piece to the key is *how* you switch between trail buddy and partner and back. If you dance into the center and right up to the other promenading couple you are in trouble - actually fairly serious trouble. You have basically erased all your wiggle room and tightened up your maneuvering space making it difficult to flow smoothly between the half reels. May I say Bad Move?
Now a Mechanical Note: In the reels you will always be coming back into the set from an END and starting your next loop dancing out the nearer SIDE.
Therefore I dance the loop of the half reel in promenade hold until I am in either top or third place and drop hands there (at the end of bar three) and use the fourth bar to curve onto the near side line facing out and it is during that bar that I join promenade hold with the other dancer (trail buddy or partner). Not in the center of the set. Can anybody sing "Antici-pay-ay-tion?"
Ythanside:- A favorite. Definitely a top 50. Maybe even Top 10.
Two keys to the dance. 1st key is (bars 7 - 8) getting 1st couple to not only change places up/down the dance giving RH but to *FACE* partner at the end. This requires a right-ish twirl that flows uninterruptedly into Right shoulder reels of three across the dance. Why dancers want to face out despite the instructions and emphasis given is beyond my ken. But it happens.
Second key - Bars 23-25:- the two half turns on the sides by the corner men and the corner women and the cast by 1st couple. The half turns have to move in toward the center line - a fudge if you will - and that takes control. It is a slow move in two strathspey bars flowing into the circles of three. And the 1st couple tend to push their cast and end up waiting for the corners.
The 50th Parallel:- Look what I found! (Thank you strathspey for posting videos!) I just had to throw this into the mix. And the responses were all positive. One of the dancers left muttering "this should be a program…". So Kilts and Ghillies Tea Dance 2019 short list? Ya sure, you betcha!
-- + -- -- + -- -- + -- -- + -- -- + -- -- + -- -- + --
Two other dances that have caught my eye that were not on this week's class are Deirdre MacCuish Bark's dance The Peat Road (32 R 3) leaflet, and George Will's dance Hunt the Gowk (32 R 4 square set).
Some day, RSN.
Jerry Pournelle - science fiction author and onetime computer magazine journalist. In his column he often talked about software, announced months or years before but still coming out Real Soon Now. His column was fun and why I read the PC centric magazine. I was then and still am an Apple user.
Coming up Real Soon Now (thank you Jerry Pournelle) the Brooklyn class of the NY branch is holding their annual John Drewry Night - (program) - and several dancers from New Haven intend to go. Therefore - Ball Prep! Well it isn't actually a ball as the dances will all be walked through but some dancers still feel they need to prepare ahead no matter how often or familiar the dances are. So ball prep.
The Dances:
Carols a Plenty - (32 J 3) - Lou Hanson
Glenalmond Gamekeeper - (40 R 3) - Drewry
Anna Holden's Strathspey - (32 S 2) - Drewry
Bees of Maggieknockater - (32 J 4) - Drewry
Ythanside - (32 S 3) - Drewry
The 50th Parallel - (48 R 5) - Zobel & Johnstone
*** + ** + *** ***+**+*** ***+**+***
Carols a Plenty - Lou is a gem. She persuaded Deborah and me to use the swim facilities at Portland while we were taking our TAC unit 2 dance exams - it helped. She wrote a book of dances as a sanity check during her post grad work. This is one of them, and it is a nice welcoming, gentle, non-thinkum dance.
The Glenalmond Gamekeeper:- I remember the day I learned this dance. The visiting teacher was John Drewry. The other dance he taught that evening was The New Opera, and both dances were relatively newly written. He was a horrible teacher, not a very good dancer, and a delightful man. The evening would have gone so much easier if we had known that before hand, or if he had known how to step in and show the new moves and not merely talk them.
There is a trick to most dances - get that and you have the key to the dance. The trick in this dance is the transition from the tandem figure of eight into the circle. Most dancers are late getting around the figure of eight but the dance is forgiving and dancers can just flow into the circle from the center of the set without having to 'get back to place'. In other words: being a little late is a good thing here.
Anna Holden's Strathspey:- I love this one. Need I say more? And I love the story about how it came to be.
Warning- the diagram does not show the 2's cast into top place following the RHA as the 1s cross down.
The Bees of Maggieknockater:- Another dance I like a lot. But many words are needed. And a lot of energy is spend by dancers trying to understand the reelings. I have heard many different descriptions and most of them require me to remember three or four different patterns for the sequence.
K-I-S-S should be the operating principle. The simplest explanation is usually the best. If you are 1st or 3rd couple you dance the half reels either with your partner or your trail buddy - a good contra/square dance term for the person you keep meeting who is a rock you can rely on.
So, when you are with your trail buddy (not partner) the loop is always to the right. When you join your partner the loop will always be to the left. And you alternate right loop, left loop, right loop, left loop. Trail buddy, partner, trail buddy, partner.
The second piece to the key is *how* you switch between trail buddy and partner and back. If you dance into the center and right up to the other promenading couple you are in trouble - actually fairly serious trouble. You have basically erased all your wiggle room and tightened up your maneuvering space making it difficult to flow smoothly between the half reels. May I say Bad Move?
Now a Mechanical Note: In the reels you will always be coming back into the set from an END and starting your next loop dancing out the nearer SIDE.
Therefore I dance the loop of the half reel in promenade hold until I am in either top or third place and drop hands there (at the end of bar three) and use the fourth bar to curve onto the near side line facing out and it is during that bar that I join promenade hold with the other dancer (trail buddy or partner). Not in the center of the set. Can anybody sing "Antici-pay-ay-tion?"
Ythanside:- A favorite. Definitely a top 50. Maybe even Top 10.
Two keys to the dance. 1st key is (bars 7 - 8) getting 1st couple to not only change places up/down the dance giving RH but to *FACE* partner at the end. This requires a right-ish twirl that flows uninterruptedly into Right shoulder reels of three across the dance. Why dancers want to face out despite the instructions and emphasis given is beyond my ken. But it happens.
Second key - Bars 23-25:- the two half turns on the sides by the corner men and the corner women and the cast by 1st couple. The half turns have to move in toward the center line - a fudge if you will - and that takes control. It is a slow move in two strathspey bars flowing into the circles of three. And the 1st couple tend to push their cast and end up waiting for the corners.
The 50th Parallel:- Look what I found! (Thank you strathspey for posting videos!) I just had to throw this into the mix. And the responses were all positive. One of the dancers left muttering "this should be a program…". So Kilts and Ghillies Tea Dance 2019 short list? Ya sure, you betcha!
-- + -- -- + -- -- + -- -- + -- -- + -- -- + -- -- + --
Two other dances that have caught my eye that were not on this week's class are Deirdre MacCuish Bark's dance The Peat Road (32 R 3) leaflet, and George Will's dance Hunt the Gowk (32 R 4 square set).
Some day, RSN.
Jerry Pournelle - science fiction author and onetime computer magazine journalist. In his column he often talked about software, announced months or years before but still coming out Real Soon Now. His column was fun and why I read the PC centric magazine. I was then and still am an Apple user.
Saturday, November 18, 2017
8 August 2017 – New Haven
This is the beginning of my summer long Kilts and Ghillies tryout period where my secondary goal is to 'test' dances on real people to get a real response to the questions "is there any social redeeming value to this dance?' and 'is there enough social value to seriously consider it for the K&G Tea Dance?'
Saw ye my wee thing - (32 J 2) - a warm up
Dance No. 65 -- tryout for Book 52
Topsy Turvy - (32 S 3 set) - Glasspool
The Griffin - (32 R 3) - McMurtry
Land of the Rising Sun - (32 S 3 set) - Joubert
A Reel for Maria - (40 R 3) - McRanor
From Paper to Pearl - (32 S 3) - Collin
** * ** * ** + ** * ** * **
Topsy Turvy:- Very nice! Not the usual wonderful confection by Terry Glasspool. Simple, elegant, accessible. Definitely worth shortlisting. (Made the cut and is on the program for 2018)!
The Griffin:- Also very nice. Different. Timing the reels is a bit of a challenge for some. Not as hard as I remember it being. Definitely short listed.
Land of the Rising Sun:- This one got a thumbs up from the class and a thumbs down from me. Cute idea but not to my taste.
A Reel for Maria:- Nice little dance. Simple. Good for a breather. Ellen McRanaor used to teach the Kilts and Ghillies class so there was a little favoritism. (see The Suncoast Collection). Made it to the shortlist and onto the program!
From Paper to Pearl:- They liked it. It made the cut and onto the short list. It didn't make the program though. On the 2019 shortlist.
Saw ye my wee thing - (32 J 2) - a warm up
Dance No. 65 -- tryout for Book 52
Topsy Turvy - (32 S 3 set) - Glasspool
The Griffin - (32 R 3) - McMurtry
Land of the Rising Sun - (32 S 3 set) - Joubert
A Reel for Maria - (40 R 3) - McRanor
From Paper to Pearl - (32 S 3) - Collin
** * ** * ** + ** * ** * **
Topsy Turvy:- Very nice! Not the usual wonderful confection by Terry Glasspool. Simple, elegant, accessible. Definitely worth shortlisting. (Made the cut and is on the program for 2018)!
The Griffin:- Also very nice. Different. Timing the reels is a bit of a challenge for some. Not as hard as I remember it being. Definitely short listed.
Land of the Rising Sun:- This one got a thumbs up from the class and a thumbs down from me. Cute idea but not to my taste.
A Reel for Maria:- Nice little dance. Simple. Good for a breather. Ellen McRanaor used to teach the Kilts and Ghillies class so there was a little favoritism. (see The Suncoast Collection). Made it to the shortlist and onto the program!
From Paper to Pearl:- They liked it. It made the cut and onto the short list. It didn't make the program though. On the 2019 shortlist.
12 June 2017 -- Scotia
Aldebaran - (32 J 3) - Gregg
Rakes of Auld Reekie - (32 S 2) - Priddey
Winter Wonder - (32 R 3) - Lataille
The Elusive Muse - (32 J 3) - Wilson
Miss Jane Muirhead of Dunsmuir - (32 S 3) - Winter
Tidewater Reel - (32 R 4) - Gregg
Six dances - all good, if not excellent, ones. All a teacher's choice. Recommended one and all.
Rakes of Auld Reekie - (32 S 2) - Priddey
Winter Wonder - (32 R 3) - Lataille
The Elusive Muse - (32 J 3) - Wilson
Miss Jane Muirhead of Dunsmuir - (32 S 3) - Winter
Tidewater Reel - (32 R 4) - Gregg
Six dances - all good, if not excellent, ones. All a teacher's choice. Recommended one and all.
5 June 2017 -- Scotia
I am well behind and out of order. You will therefore get pretty much a straight listing of the dances Deborah and I taught with no, or very little, commentary.
Waltzing to Iowa - (32 W circle) - Schneider
Mary Erskine - (32 R 3) - Goldring
Bedrule - (32 S 3) - bk 33/7
Flowers of Edinburgh - (32 R 3) - 1/6
The Happy Meeting - (32 J 2) - 29/9
The Rose of the North - (32 S 3) - Goldring
The Meeting of the Waters - (48 R 3) - Boyd
Surprising Hannah - (32 S 3 set) - Collin
Shinkansen - (32 R 3) - Dix
Burn of Sorrow - (32 S 2) - Priddey
Thursday, October 26, 2017
25 July 2017 –– Loch Levan
On Saturday the exam for the Dance Achievement Awards were held. We met Sunday, A Let Your Hair Down session.
The dances we did were:
Tae the Beggin' - (32 J 3) - McMurtry
Cat Atrophy - (32 R 3) - McMurtry
Gypsy Weaver - (32 S 3) - Peet
The Turning Point - (32 R 2) - Thomas
Untitled WIP - (4x32S+4x32R) - Xiaowen Yu
Topsy Turvy - (32 S 3 set) - Glasspool
Colonel JL Chamberlain - (32 J 3 set) - Price
The Griffin - (32 R 3) - McMurtry
* ** *** **** * **** *** ** *
Tae the Beggin:- Simple stuff. Can't comment on the music as I am not a musician. Has a place on a program IMHO in that it basic with just a touch of spice.
Dance: Tae the Beggin' | SCDDB
Cat Atrophy:- A dance with a difference. That piece is in a 2 x 2bar chunk into diagonal half reels of four into Set & Link3. Not bad.
Dance: Cat Atrophy | SCDDB
Gypsy Weaver:- The dance? - Who cares, the music is sublime! Oh right the dance. Nice but it has a couple of spots where the timing takes work. My feeling= thumb up!
Dance: Gypsy Weaver | SCDDB
The Turning Point:- Don't have my notes with me but it is worth taking a look at - if you have the book. I have this impression that maybe I should invest the time in writing up a crib. The short form - it was good enough for catch my eye. And the music, when played by my computer, caught my ear.
Xiaowen's dance:- Wait… wait… wait… coming Real Soon Now and the product of a severely twisted mind.
Topsy Turvy:- A less convoluted example of spaghetti choreography than is usual from Terry. Actually clean and neat and thoroughly enjoyable. Thumbs UP!
Dance: Topsy Turvy | SCDDB
Colonel Joshua Lawrence Chamberlain:- One of mine. Devised while playing around with a figure by John Drewry used in his dance The Old Grey Cat. Except that what I originally had didn't work and it had to fix it in the last 8 bars. I think that is what made the dance.
It was published in The Nutmeg Collection as a 32 J for 3 couples in a 4 couple set.
The progression is unusual - it is 3 1 2 4. Both the 1C and the 2C move down in place and 2C gets to repeat as 2nd couple a second time. Weird! but it works presuming proper anticipation.
It works better? as a 3 couple dance in a 3 couple set where 1st couple has to do the anticipation because they end in 2nd place and become 2nd couple and must begin immediately as the new 2nd couple. Also weird.
Dance: Colonel Joshua Lawrence Chamberlain | SCDDB
The Griffin:- Guillaume Reels. Fun fun fun 'till my daddie takes my gillies away.
1st couple is in tandem facing men's side. Leader dances a Lsh Reel of 3 on sides (with 2+3 men) following dancer splits right and dance a figure eight in the same space at the same time - timing is everything! Two thumbs up! Shortlisted but couldn't fit it into the program. Sigh.
Dance: The Griffin | SCDDB
The dances we did were:
Tae the Beggin' - (32 J 3) - McMurtry
Cat Atrophy - (32 R 3) - McMurtry
Gypsy Weaver - (32 S 3) - Peet
The Turning Point - (32 R 2) - Thomas
Untitled WIP - (4x32S+4x32R) - Xiaowen Yu
Topsy Turvy - (32 S 3 set) - Glasspool
Colonel JL Chamberlain - (32 J 3 set) - Price
The Griffin - (32 R 3) - McMurtry
* ** *** **** * **** *** ** *
Tae the Beggin:- Simple stuff. Can't comment on the music as I am not a musician. Has a place on a program IMHO in that it basic with just a touch of spice.
Dance: Tae the Beggin' | SCDDB
Cat Atrophy:- A dance with a difference. That piece is in a 2 x 2bar chunk into diagonal half reels of four into Set & Link3. Not bad.
Dance: Cat Atrophy | SCDDB
Gypsy Weaver:- The dance? - Who cares, the music is sublime! Oh right the dance. Nice but it has a couple of spots where the timing takes work. My feeling= thumb up!
Dance: Gypsy Weaver | SCDDB
The Turning Point:- Don't have my notes with me but it is worth taking a look at - if you have the book. I have this impression that maybe I should invest the time in writing up a crib. The short form - it was good enough for catch my eye. And the music, when played by my computer, caught my ear.
Xiaowen's dance:- Wait… wait… wait… coming Real Soon Now and the product of a severely twisted mind.
Topsy Turvy:- A less convoluted example of spaghetti choreography than is usual from Terry. Actually clean and neat and thoroughly enjoyable. Thumbs UP!
Dance: Topsy Turvy | SCDDB
Colonel Joshua Lawrence Chamberlain:- One of mine. Devised while playing around with a figure by John Drewry used in his dance The Old Grey Cat. Except that what I originally had didn't work and it had to fix it in the last 8 bars. I think that is what made the dance.
It was published in The Nutmeg Collection as a 32 J for 3 couples in a 4 couple set.
The progression is unusual - it is 3 1 2 4. Both the 1C and the 2C move down in place and 2C gets to repeat as 2nd couple a second time. Weird! but it works presuming proper anticipation.
It works better? as a 3 couple dance in a 3 couple set where 1st couple has to do the anticipation because they end in 2nd place and become 2nd couple and must begin immediately as the new 2nd couple. Also weird.
Dance: Colonel Joshua Lawrence Chamberlain | SCDDB
The Griffin:- Guillaume Reels. Fun fun fun 'till my daddie takes my gillies away.
1st couple is in tandem facing men's side. Leader dances a Lsh Reel of 3 on sides (with 2+3 men) following dancer splits right and dance a figure eight in the same space at the same time - timing is everything! Two thumbs up! Shortlisted but couldn't fit it into the program. Sigh.
Dance: The Griffin | SCDDB
29 May 2017 –– Scotia
First hour Deborah taught
Saw ye my wee thing - (32 J 2) - 25/9
Fair Donald - (32 S 3) - 29/4
The Falls of Rogie - (32 R 3) - Attwood
Deil Amang the Tailors - (32 R 3) - 14/7
The second hour I taught
Cutty Sark - (32 J 3) - 40/2
Munro Rant - (32 S 2) - MMM
John Cass - (32 R 5) - 49/10
Tamatea's Flute - (32 J 2) - Drewry
* –– ** –– ** –– * * * -–– ** –– ** –– *
Cutty Sark:- a nice simple warm up dance with just enough difference to keep it from being a mindless throwaway.
Dance: Cutty Sark | SCDDB
Munro Rant:- Again, a dance with a twist that keeps it mindful. And it has tourneé. What could be wrong?
Dance: The Munro Rant | SCDDB
John Cass:- This one is special. It is subtle! I repeat *subtle*!! And I like it.
The triple tandem diagonal reels - are triple, are tandem, but not truly diagonal. I repeat - not truly diagonal. Every time I see it I discover tweaks I could make to the reels. I also find I haven't gone far enough from the standard.
The first thing I saw was that the timing improved if the two ladies (in 4th and 5th places) began the reel by dancing up the sideline. Not kinda sorta but literally up the sideline before cutting behind the tandem men. This was true for the top two women as well - they needed to dance down on the sideline before cutting the reel.
The next thing I saw was that 1st couple did better if they did not face the paired men on the diagonal but faced the gap in 3rd place on the men's side directly - both at the start of the two reels. This made the beginning directions (for both sets of paired men) much clearer and, surprise, the timing of the reel improved.
I have now seen a third 'tweak' - related to the previous observation. - Everyone should be cutting the reel by dancing either straight across the set or straight up and down the set at their cutting time in the reel. This warps the axis/direction of the reel - it is no longer on the true diagonal and the loops are not symmetric. But the fit and the look are both improved.
The hardest part - getting the tandem dancers to wake up and start at the same time as their leader. Starting late is simply a BAD idea.
I give this one a teacher's choice award.
Saw ye my wee thing - (32 J 2) - 25/9
Fair Donald - (32 S 3) - 29/4
The Falls of Rogie - (32 R 3) - Attwood
Deil Amang the Tailors - (32 R 3) - 14/7
The second hour I taught
Cutty Sark - (32 J 3) - 40/2
Munro Rant - (32 S 2) - MMM
John Cass - (32 R 5) - 49/10
Tamatea's Flute - (32 J 2) - Drewry
* –– ** –– ** –– * * * -–– ** –– ** –– *
Cutty Sark:- a nice simple warm up dance with just enough difference to keep it from being a mindless throwaway.
Dance: Cutty Sark | SCDDB
Munro Rant:- Again, a dance with a twist that keeps it mindful. And it has tourneé. What could be wrong?
Dance: The Munro Rant | SCDDB
John Cass:- This one is special. It is subtle! I repeat *subtle*!! And I like it.
The triple tandem diagonal reels - are triple, are tandem, but not truly diagonal. I repeat - not truly diagonal. Every time I see it I discover tweaks I could make to the reels. I also find I haven't gone far enough from the standard.
The first thing I saw was that the timing improved if the two ladies (in 4th and 5th places) began the reel by dancing up the sideline. Not kinda sorta but literally up the sideline before cutting behind the tandem men. This was true for the top two women as well - they needed to dance down on the sideline before cutting the reel.
The next thing I saw was that 1st couple did better if they did not face the paired men on the diagonal but faced the gap in 3rd place on the men's side directly - both at the start of the two reels. This made the beginning directions (for both sets of paired men) much clearer and, surprise, the timing of the reel improved.
I have now seen a third 'tweak' - related to the previous observation. - Everyone should be cutting the reel by dancing either straight across the set or straight up and down the set at their cutting time in the reel. This warps the axis/direction of the reel - it is no longer on the true diagonal and the loops are not symmetric. But the fit and the look are both improved.
The hardest part - getting the tandem dancers to wake up and start at the same time as their leader. Starting late is simply a BAD idea.
I give this one a teacher's choice award.
28 May 2017 - Loch Leven
Memorial Day weekend - dancing just for the fun of it. No rehearsal!
A good number of dances because we could.
Dragonflies - (32 S 5 persons) - Jane Latialle
Uncle Isaac - (32 R 2) - John Drewry
Lang may your lum reek - (32 J 2) - Priddey
Prince of Sutton Coldfield - (32 R 3) - Downey
Surprising Hannah - (32 S 3 set) - Collin
Surprising Hannah - in QT
Gypsy Dreams - (32 S 2) - Glasspool
Fisherman Ginger's Reel - (32 R 3) - Collin
A Moment for Marilynn - (32 S 2) - Glasspool
Stroangassel - (32 R 3) - Foss
Tempest in a Teacup - (64 R 3 set) - Glasspool
* ** * ** * ** * * ** * ** * ** *
Dragonflies:- I love it. I have good music for it. Susie Petrov's 5x32 set of strathspeys from Hold the Lass till I get Her. It fills the need when there aren't quite enough dancers for a three couple set. And it satisfies.
Dance: Dragonflies | SCDDB
Uncle Isaac:- A reasonable and accessible dance from John Drewry.
Dance: Uncle Isaac | SCDDB
Lang may your lum reek:- A dance! You have to think; and move; and cover; and… All of those things I love about Scottish dancing. Good enough that Rod Downey took the main theme and improvised on it and wrote The Prince of Sutton Coldfield in Barry Priddey's honour.
Dance: Lang May Your Lum Reek | SCDDB
Dance: The Prince of Sutton Coldfield | SCDDB
Surprising Hannah:- A simple little dance… but not so simple if you actually *dance* it. I shortlisted it for the 2018 Kilts and Ghillies Tea Dance. As of this date (2017.10.26) it isn't going to make the cut but Born to Dance is looking very likely.
We then tried it out in quicktime and it works there too. A Medley???
Dance: Surprising Hannah | SCDDB
Gypsy Dreams:- One of my all time favorite dances. I love the box setting and I hate the revisionist name of GypsyPoussette. Poussette has nothing to do with the matter!… And it doesn't hurt that I LIKE tourneé.
For music Terry Glasspool recommends the version of The Birks of Invermay by Terpsichore. I agree. When asked what I do play for the dance Birks of Invermay if I am using this one for Gypsy Dreams I reply "a different one. I have several".
Dance: Gypsy Dreams | SCDDB
Fisherman Ginger's Reel:- I had to. I mean it - I HAD to! Xiaowen (from Gaye's class) is dancing with us, and she, as well as many others here, love to play on the dance floor and since the play is written in…
Dance: Fisherman Ginger's Reel | SCDDB
A Moment for Marilynn:- Another one of Terry Glasspool's wonderful dances. This one has La Baratte and that is the most difficult part of the dance, and it is, all of it, lovely.
Dance: A Moment for Marilynn | SCDDB
Stroangassel:- OH MY! This one is a *three* thumbs up dance. It takes work but oh my goodness!!
Not for the faint hearted teacher. I would recommend a kite shaped back-to-back formation throughout and much practice.
I am passing strange as this dance is my kind of fun. The interactions are fugal and there are many of them for everyone.
Dance: Stroangassel | SCDDB
Tempest in a Teacup:- A Terry dance… again. It is liked, if not beloved, by several dancers here about. A good one that gets a thumb up but if I had to choose I would pick Terry's Chocolate Raspberry Swirl (40 S 3C) - it isn't as difficult and it too is satisfying. (Sorry no crib for it yet).
Dance: Tempest in a Teacup | SCDDB
A good number of dances because we could.
Dragonflies - (32 S 5 persons) - Jane Latialle
Uncle Isaac - (32 R 2) - John Drewry
Lang may your lum reek - (32 J 2) - Priddey
Prince of Sutton Coldfield - (32 R 3) - Downey
Surprising Hannah - (32 S 3 set) - Collin
Surprising Hannah - in QT
Gypsy Dreams - (32 S 2) - Glasspool
Fisherman Ginger's Reel - (32 R 3) - Collin
A Moment for Marilynn - (32 S 2) - Glasspool
Stroangassel - (32 R 3) - Foss
Tempest in a Teacup - (64 R 3 set) - Glasspool
* ** * ** * ** * * ** * ** * ** *
Dragonflies:- I love it. I have good music for it. Susie Petrov's 5x32 set of strathspeys from Hold the Lass till I get Her. It fills the need when there aren't quite enough dancers for a three couple set. And it satisfies.
Dance: Dragonflies | SCDDB
Uncle Isaac:- A reasonable and accessible dance from John Drewry.
Dance: Uncle Isaac | SCDDB
Lang may your lum reek:- A dance! You have to think; and move; and cover; and… All of those things I love about Scottish dancing. Good enough that Rod Downey took the main theme and improvised on it and wrote The Prince of Sutton Coldfield in Barry Priddey's honour.
Dance: Lang May Your Lum Reek | SCDDB
Dance: The Prince of Sutton Coldfield | SCDDB
Surprising Hannah:- A simple little dance… but not so simple if you actually *dance* it. I shortlisted it for the 2018 Kilts and Ghillies Tea Dance. As of this date (2017.10.26) it isn't going to make the cut but Born to Dance is looking very likely.
We then tried it out in quicktime and it works there too. A Medley???
Dance: Surprising Hannah | SCDDB
Gypsy Dreams:- One of my all time favorite dances. I love the box setting and I hate the revisionist name of GypsyPoussette. Poussette has nothing to do with the matter!… And it doesn't hurt that I LIKE tourneé.
For music Terry Glasspool recommends the version of The Birks of Invermay by Terpsichore. I agree. When asked what I do play for the dance Birks of Invermay if I am using this one for Gypsy Dreams I reply "a different one. I have several".
Dance: Gypsy Dreams | SCDDB
Fisherman Ginger's Reel:- I had to. I mean it - I HAD to! Xiaowen (from Gaye's class) is dancing with us, and she, as well as many others here, love to play on the dance floor and since the play is written in…
Dance: Fisherman Ginger's Reel | SCDDB
A Moment for Marilynn:- Another one of Terry Glasspool's wonderful dances. This one has La Baratte and that is the most difficult part of the dance, and it is, all of it, lovely.
Dance: A Moment for Marilynn | SCDDB
Stroangassel:- OH MY! This one is a *three* thumbs up dance. It takes work but oh my goodness!!
Not for the faint hearted teacher. I would recommend a kite shaped back-to-back formation throughout and much practice.
I am passing strange as this dance is my kind of fun. The interactions are fugal and there are many of them for everyone.
Dance: Stroangassel | SCDDB
Tempest in a Teacup:- A Terry dance… again. It is liked, if not beloved, by several dancers here about. A good one that gets a thumb up but if I had to choose I would pick Terry's Chocolate Raspberry Swirl (40 S 3C) - it isn't as difficult and it too is satisfying. (Sorry no crib for it yet).
Dance: Tempest in a Teacup | SCDDB
23 May 2017 - New Haven
The dances I taught were
Deborah's Request - (32 R 3) - Price
Library of Birmingham - (40 S 4) - Bk 49
Palisades Mermaid - (32 R 3) - Price
Insomnia - (32 S 2) - Montes
Michael's Journeys - (32 R 3) - Anapol
Chelsea Square - (32 S 3) - I. Smith
** *** **** * **** *** **
Deborah's Request:- It was written as a reel but I taught it in jig time as a warm up. Dance: Deborah's Request | SCDDB
Library of Birmingham:- Looked interesting, even somewhat complex. I have done the Rose progression before, liked it, and that was the attraction here. Don't bother. There are better dances with that figure. Unless there is an over riding social concern this dance will never be on any of my shortlists. Dance: The Library of Birmingham | SCDDB
Palisades Mermaid:- The dance is coming together. Not as I originally envisioned it because that version was difficult enough to require young legs and I no longer have them. Therefore a series of minor revisions to ease the physical demands. My third mermaid dance.
Keith Rose very kindly drew a diagram that is now, sadly, out of date. My newest project, having just revised the database crib, is to ask him to revise his diagram. Dance: Palisades Mermaid | SCDDB
Insomnia:- A fairly simple dance, easy to dance, I give it about an 87. What is nice- your with your partner for most of the dance and, if they need help, you are there to give it.
Dance: Insomnia | SCDDB
Michael's Journeys:- I was volunteered to brief this dance at a party. I had to learn it first.
Vivian was a relatively new teacher when she wrote and she was determined to use correct terminology. She succeeded - andit is nearly unreadable. The briefing is much simpler.
Dance: Michael's Journeys | SCDDB
Chelsea Square:- It has La Baratte! What could be wrong? The Set and Link for Three? The reels of three a la John Drewry's Bratach Bana?
The biggest issue, in general and not specifically to this dance, is that most dancers have no clue what is really happening in Set and link for three. They do it in a dance with music but can not walk it and that says to me they don't "know" it. Not Really. What I see as a fundamental piece is knowing that in your line of three the end dancers are changing places with each other - That is where you go! How is either through the middle or behind your line. The second hardest piece is on the one's shoulders. The temptation to follow the casting end dancer is almost irresistible.
The biggest need here - find good music to carry the dance. The musician is very good, the recording isn't. `Dance: Chelsea Square | SCDDB
Deborah's Request - (32 R 3) - Price
Library of Birmingham - (40 S 4) - Bk 49
Palisades Mermaid - (32 R 3) - Price
Insomnia - (32 S 2) - Montes
Michael's Journeys - (32 R 3) - Anapol
Chelsea Square - (32 S 3) - I. Smith
** *** **** * **** *** **
Deborah's Request:- It was written as a reel but I taught it in jig time as a warm up. Dance: Deborah's Request | SCDDB
Library of Birmingham:- Looked interesting, even somewhat complex. I have done the Rose progression before, liked it, and that was the attraction here. Don't bother. There are better dances with that figure. Unless there is an over riding social concern this dance will never be on any of my shortlists. Dance: The Library of Birmingham | SCDDB
Palisades Mermaid:- The dance is coming together. Not as I originally envisioned it because that version was difficult enough to require young legs and I no longer have them. Therefore a series of minor revisions to ease the physical demands. My third mermaid dance.
Keith Rose very kindly drew a diagram that is now, sadly, out of date. My newest project, having just revised the database crib, is to ask him to revise his diagram. Dance: Palisades Mermaid | SCDDB
Insomnia:- A fairly simple dance, easy to dance, I give it about an 87. What is nice- your with your partner for most of the dance and, if they need help, you are there to give it.
Dance: Insomnia | SCDDB
Michael's Journeys:- I was volunteered to brief this dance at a party. I had to learn it first.
Vivian was a relatively new teacher when she wrote and she was determined to use correct terminology. She succeeded - andit is nearly unreadable. The briefing is much simpler.
Dance: Michael's Journeys | SCDDB
Chelsea Square:- It has La Baratte! What could be wrong? The Set and Link for Three? The reels of three a la John Drewry's Bratach Bana?
The biggest issue, in general and not specifically to this dance, is that most dancers have no clue what is really happening in Set and link for three. They do it in a dance with music but can not walk it and that says to me they don't "know" it. Not Really. What I see as a fundamental piece is knowing that in your line of three the end dancers are changing places with each other - That is where you go! How is either through the middle or behind your line. The second hardest piece is on the one's shoulders. The temptation to follow the casting end dancer is almost irresistible.
The biggest need here - find good music to carry the dance. The musician is very good, the recording isn't. `Dance: Chelsea Square | SCDDB
Wednesday, June 28, 2017
15 May 2017 – Scotia
First Hour:
Bramble Circle - (32 J n Circle) - Vandegrift
Lady Catherine Bruce's Reel - (32 J 2) - Graded
Rakes of Glasgow - (32 S 3) - Bk 11
Second Hour:
Cutty Sark - (32 J 3) - Bk 40
Asilomar Romantic - (32 S 3) - SF2
Flight of the Falcon - (32 J 3) - Priddey
* * * * * * * * * * * * * * * *
This post is commit free - aren't you lucky!
Bramble Circle - (32 J n Circle) - Vandegrift
Lady Catherine Bruce's Reel - (32 J 2) - Graded
Rakes of Glasgow - (32 S 3) - Bk 11
Second Hour:
Cutty Sark - (32 J 3) - Bk 40
Asilomar Romantic - (32 S 3) - SF2
Flight of the Falcon - (32 J 3) - Priddey
* * * * * * * * * * * * * * * *
This post is commit free - aren't you lucky!
8 May 2017 – Scotia
First Hour:-
The Loch Ness Monster - (32 R 1 Circle) - Boyd
Lady Wynd - (32 J 3) - Goldring
Lady Peak's Strathspey - (32 S 3) - Drewry
Second Hour:-
Say ye my wee thing - (32 J 2) - Bk 25
Gordon of Straloch - (32 S 3) - Price
The Compleat Gardener - (32 J 3) - 3rd Graded
Davy Nick Nack - (32 H 3) - Campbell
* ** *** **** ** * ** **** *** ** *
Saw ye my wee thing:- A simple mind free opening jig.
Gordon of Straloch:- I wrote this while listening to the CD Waverley Station. Their set of strathspey airs had me entranced, especially the third and fourth tunes of the set. [Here] (Rorate Coeli/I Long for thy virginitie). The later is from the Gordon's Straloch lute book of 1627. [Rbt Gordon]
I was fascinated by this tune which is in a single phrase - all A no B part - and this dance came to me.
The Compleat Gardener:- This dance will bite you if you rely on muscle memory. The 2nd figure is a cross and cast movement that has 8 bars of music and about 9 bars of distance. Dancers want to stop on the sidelines in 2nd place. They need to get through the center to face their first corners. And not getting there can really screw up the Corners Pass & Turn.
The Loch Ness Monster - (32 R 1 Circle) - Boyd
Lady Wynd - (32 J 3) - Goldring
Lady Peak's Strathspey - (32 S 3) - Drewry
Second Hour:-
Say ye my wee thing - (32 J 2) - Bk 25
Gordon of Straloch - (32 S 3) - Price
The Compleat Gardener - (32 J 3) - 3rd Graded
Davy Nick Nack - (32 H 3) - Campbell
* ** *** **** ** * ** **** *** ** *
Saw ye my wee thing:- A simple mind free opening jig.
Gordon of Straloch:- I wrote this while listening to the CD Waverley Station. Their set of strathspey airs had me entranced, especially the third and fourth tunes of the set. [Here] (Rorate Coeli/I Long for thy virginitie). The later is from the Gordon's Straloch lute book of 1627. [Rbt Gordon]
I was fascinated by this tune which is in a single phrase - all A no B part - and this dance came to me.
The Compleat Gardener:- This dance will bite you if you rely on muscle memory. The 2nd figure is a cross and cast movement that has 8 bars of music and about 9 bars of distance. Dancers want to stop on the sidelines in 2nd place. They need to get through the center to face their first corners. And not getting there can really screw up the Corners Pass & Turn.
Tuesday, June 27, 2017
1 May 2017 – Scotia
First Hour:
The Fairy Ring - (32 J n circle) - Boyd
Quicksilver Reel - (40 R 3) - Harrison
Braes of Balquhider - (32 S 3) - 18C
Anderson's Rant - (32 R 3) - MMM
Second Hour:
Catch the Wind - (32 R 3) - Butterfield
Born to Dance - (32 J 3) - Collin
Aging Gracefully - (32 S 3) - Broman (Bk 47)
Once Upon a Time - (32 R 3) - Collin
Dancing in Kirkcudbright - (32 S 4) - Collin
Deil Amang the Tailors - (32 R 3) - Bk 14
** * ** * ** * ** * ** * ** * ** * **
Catch the Wind :– Why? Because it is a good beginner friendly dance.
Born to Dance:– Why? Because it moves! The chase out of the Hands Across ends weird - your group of three splits up and the lines that form are all men or all women, and the lines spring forward! - no resting on your laurels, however well deserved.
This one is short listed for the next Kilts and Ghillies' Tea Dance, along with Dave Macfarlane's Reel, Surprising Hannah and Dancing in Kirkcudbright. One (or more) will be on the program!
Aging Gracefully:– Why? because the move in Surprising Hannah caused me to rethink and revise the way I teach the middle 16 bars of this dance. I like the strength of the move from sideline to sideline. And if you are no longer as able as you once were you can still dance the turn BH into cross R shoulder from the midline and have it look good. And because the reel is different and fun!
Once Upon a Time:– Simple and sweet. Worth revisiting.
Dancing in Kirkcudbright:– The whole dance is lovely, just lovely, but it is for those who have the brains that thrive on bent figures and transitions. Not all do.
Dancers especially liked the first figure. I had several positive comments. Shortlisted. Two thumbs up.
The Fairy Ring - (32 J n circle) - Boyd
Quicksilver Reel - (40 R 3) - Harrison
Braes of Balquhider - (32 S 3) - 18C
Anderson's Rant - (32 R 3) - MMM
Second Hour:
Catch the Wind - (32 R 3) - Butterfield
Born to Dance - (32 J 3) - Collin
Aging Gracefully - (32 S 3) - Broman (Bk 47)
Once Upon a Time - (32 R 3) - Collin
Dancing in Kirkcudbright - (32 S 4) - Collin
Deil Amang the Tailors - (32 R 3) - Bk 14
** * ** * ** * ** * ** * ** * ** * **
Catch the Wind :– Why? Because it is a good beginner friendly dance.
Born to Dance:– Why? Because it moves! The chase out of the Hands Across ends weird - your group of three splits up and the lines that form are all men or all women, and the lines spring forward! - no resting on your laurels, however well deserved.
This one is short listed for the next Kilts and Ghillies' Tea Dance, along with Dave Macfarlane's Reel, Surprising Hannah and Dancing in Kirkcudbright. One (or more) will be on the program!
Aging Gracefully:– Why? because the move in Surprising Hannah caused me to rethink and revise the way I teach the middle 16 bars of this dance. I like the strength of the move from sideline to sideline. And if you are no longer as able as you once were you can still dance the turn BH into cross R shoulder from the midline and have it look good. And because the reel is different and fun!
Once Upon a Time:– Simple and sweet. Worth revisiting.
Dancing in Kirkcudbright:– The whole dance is lovely, just lovely, but it is for those who have the brains that thrive on bent figures and transitions. Not all do.
Dancers especially liked the first figure. I had several positive comments. Shortlisted. Two thumbs up.
30 April 2017 - Sunday Tea Dance
The program:
Driving Through Eutaw 32 J 3
The Shores of Solway 32 S 3
Anderson'a Rant 32 R 3
John Cass 32 J 5
The Johnsonville Diamond 32 S 2
No 32 R 3/3l
Les Remparts de Séville 32 J 3
Chris Ronald's Strathspey 32 S 3
The British Grenadiers 32 R 3
The Abbott of Unreason 32 J 3
The Robertson Rant 80 S 4 square
Zytglogge 32 R 3
Joe Foster's Jig 32 J 3/3L
Peggy Spouse MBE 32 S 3
More Bees A-Dancin' 32 R 3
Saw ye my wee thing 32 J 2
Swirling Snow 32 S 3/3L
Deil Amang the Tailors 32 R 3
Program by Peter Price and Sandra Bethray.
The wonderful Band: Dave Wiesler and Katy McNally:
Driving Through Eutaw 32 J 3
The Shores of Solway 32 S 3
Anderson'a Rant 32 R 3
John Cass 32 J 5
The Johnsonville Diamond 32 S 2
No 32 R 3/3l
Les Remparts de Séville 32 J 3
Chris Ronald's Strathspey 32 S 3
The British Grenadiers 32 R 3
The Abbott of Unreason 32 J 3
The Robertson Rant 80 S 4 square
Zytglogge 32 R 3
Joe Foster's Jig 32 J 3/3L
Peggy Spouse MBE 32 S 3
More Bees A-Dancin' 32 R 3
Saw ye my wee thing 32 J 2
Swirling Snow 32 S 3/3L
Deil Amang the Tailors 32 R 3
Program by Peter Price and Sandra Bethray.
The wonderful Band: Dave Wiesler and Katy McNally:
25 April 2017 – New Haven
The last session of Ball Prep! Thank God!
Deborah's Request - (32 R 3 - as a jig) - Price
A Reel for Alice - (32 R 5) - Goldring
Shores of Solway - (32 S 3) - Goldring
Les Remparts de Séville - (32 J 3) - Latour (Bk 50)
Johnsonville Diamond - (32 S 2) - Downey
Anderson's Rant - (32 R 3) - MMM
Pat Morrison's Delight - (32 S 2) - Anagnostakis (Nutmeg Coll.)
Black Leather Jig - (32 R 3) - Selling (DelVal25)
** * ** ** * ** ** * ** ** * ** ** * **
I really like A Reel for Alice, and I mean a lot! Inchmickery is the more popular 5 couple dance in this area, they can have it - I want this one. It was short listed for the Tea Dance but didn't make it on the program. It is again short listed for next year's tea dance and we will see. I will make no promises as other considerations might again rule it out. So we will see.
Shores of Solway grows on me. The central movement - set to corner dance 'round partner by the right - has a different name here. We call it "Set and Flirt" because Chris and Sue Ronald call it that in their dance Ann of Scotia (32 S 3 - Intl. Branch - World Wide Weavings).
How to put this? …
Eye contact can come in a variety of strengths. Some dancers simply can't. They can not even look you in the face but look at your chest, over your shoulder, etc. etc. But I think eye contact is social - it can be flirty but should not be a leer. Social. And if you are making anyone uncomfortable you are overdressed.
That said: the Set to corner and dance round partner is almost never done with any eye contact.
What I see are dancers so close together that they can not turn their head far enough to actually see their partner much less make eye contact. Bottom line - just plain ugly.
My solution - set to the right and set strongly enough to the left that you are past your partner and do not end back to back. Now a turn of head and you can see your partner as you dance around them. The movement is bigger and quite elegant. And if you both want it flirty it will be.
Note: the original instructions say "Set to fist corner and dance around each other by the right…"
They say nothing about ending the setting back to back with partner. Hmm.
Deborah's Request - (32 R 3 - as a jig) - Price
A Reel for Alice - (32 R 5) - Goldring
Shores of Solway - (32 S 3) - Goldring
Les Remparts de Séville - (32 J 3) - Latour (Bk 50)
Johnsonville Diamond - (32 S 2) - Downey
Anderson's Rant - (32 R 3) - MMM
Pat Morrison's Delight - (32 S 2) - Anagnostakis (Nutmeg Coll.)
Black Leather Jig - (32 R 3) - Selling (DelVal25)
** * ** ** * ** ** * ** ** * ** ** * **
I really like A Reel for Alice, and I mean a lot! Inchmickery is the more popular 5 couple dance in this area, they can have it - I want this one. It was short listed for the Tea Dance but didn't make it on the program. It is again short listed for next year's tea dance and we will see. I will make no promises as other considerations might again rule it out. So we will see.
Shores of Solway grows on me. The central movement - set to corner dance 'round partner by the right - has a different name here. We call it "Set and Flirt" because Chris and Sue Ronald call it that in their dance Ann of Scotia (32 S 3 - Intl. Branch - World Wide Weavings).
How to put this? …
Eye contact can come in a variety of strengths. Some dancers simply can't. They can not even look you in the face but look at your chest, over your shoulder, etc. etc. But I think eye contact is social - it can be flirty but should not be a leer. Social. And if you are making anyone uncomfortable you are overdressed.
That said: the Set to corner and dance round partner is almost never done with any eye contact.
What I see are dancers so close together that they can not turn their head far enough to actually see their partner much less make eye contact. Bottom line - just plain ugly.
My solution - set to the right and set strongly enough to the left that you are past your partner and do not end back to back. Now a turn of head and you can see your partner as you dance around them. The movement is bigger and quite elegant. And if you both want it flirty it will be.
Note: the original instructions say "Set to fist corner and dance around each other by the right…"
They say nothing about ending the setting back to back with partner. Hmm.
24 April 2017 – Scotia
First Hour:-
Scotch Mixer - (32 R 1 RtR) - unknown
Jubilee Jig - (32 J 3) - RSCDS Leaflets
Davy Nick Nack - (32 R 3) - Campbell
Second Hour:-
Deborah's Request - (32 R 3) - Price
Les Remparts de Séville - (32 J 3) - Bk 50 (Latour)
Surprising Hannah - (32 S 3 set) - Collin
More Bees A-Dancing - (32 R 3) - Goldring
John Cass - (32 J 5) - Bk 49 (Avery)
Reel of the 51st Division - (32 R 3) - Bk 13
*** *** *** ** * ** *** *** ***
Still in April, still approaching The Kilts and Ghillies' Tea Dance, and still doing ball prep.
I wrote Deborah's Request at her request - kind of. There was a plaintive cry "I can't find any easy dances with plain four bar turns". So I wrote one for her. It is nothing special but it is a beginner friendly opening type dance.
Les Remparts de Séville is, in my opinion, just lovely. It has one moment that needs concentration - where you start Set to Corner-Partner on bar 3 of the phrase. Muscle memory definitely steers some dancers astray but I like those moments where the mind has to be engaged and you can't just coast.
Surprising Hannah is one of those wonderful simple dances that shines when the dancers are strong and enjoy technique. Note: In my humble opinion simple dances NEED great technique because doing something simple beautifully isn't easy. [video]
I love this one, and I can not decide if it is because the dance is so good or if I am simply in love with dancers who are so good that they impress without having to dress up. Probably both.
More Bees A-Dancin' by Roy Goldring, is beginner friendly - you are paired with your partner through most of the dance and for dancers not comfortable with reels that is rather helpful. The hardest part of the dance is the first phrase - Goldring is very specific, you lead down the middle and up with RH joined - you don't join hands in promenade hold until bar 9. I see too many dancers leading up in promenade hold no matter how strongly I word the directions.
And here is a lovely stinker of a dance - John Cass. The formations are not individually difficult but the sum of the formations has some dancers dumbstruck. This is an example of a Deborah teaching point -- "staying in the dance" - being constantly aware of where you are and when you are involved. Tandem reels no problem if you are with your partner. Big problem if you and a neighbor are starting the formation together and the two of you have not been otherwise involved. A cold start as it were.
The two points that seemed to help dancers the most;
1) 1st couple is facing the men's SIDE, not a corner, at the beginning of each reel.
2) In both reels the corner women begin their reels by dancing up or down the sideline. It really helps smooth out the timing.
Enjoy.
Scotch Mixer - (32 R 1 RtR) - unknown
Jubilee Jig - (32 J 3) - RSCDS Leaflets
Davy Nick Nack - (32 R 3) - Campbell
Second Hour:-
Deborah's Request - (32 R 3) - Price
Les Remparts de Séville - (32 J 3) - Bk 50 (Latour)
Surprising Hannah - (32 S 3 set) - Collin
More Bees A-Dancing - (32 R 3) - Goldring
John Cass - (32 J 5) - Bk 49 (Avery)
Reel of the 51st Division - (32 R 3) - Bk 13
*** *** *** ** * ** *** *** ***
Still in April, still approaching The Kilts and Ghillies' Tea Dance, and still doing ball prep.
I wrote Deborah's Request at her request - kind of. There was a plaintive cry "I can't find any easy dances with plain four bar turns". So I wrote one for her. It is nothing special but it is a beginner friendly opening type dance.
Les Remparts de Séville is, in my opinion, just lovely. It has one moment that needs concentration - where you start Set to Corner-Partner on bar 3 of the phrase. Muscle memory definitely steers some dancers astray but I like those moments where the mind has to be engaged and you can't just coast.
Surprising Hannah is one of those wonderful simple dances that shines when the dancers are strong and enjoy technique. Note: In my humble opinion simple dances NEED great technique because doing something simple beautifully isn't easy. [video]
I love this one, and I can not decide if it is because the dance is so good or if I am simply in love with dancers who are so good that they impress without having to dress up. Probably both.
More Bees A-Dancin' by Roy Goldring, is beginner friendly - you are paired with your partner through most of the dance and for dancers not comfortable with reels that is rather helpful. The hardest part of the dance is the first phrase - Goldring is very specific, you lead down the middle and up with RH joined - you don't join hands in promenade hold until bar 9. I see too many dancers leading up in promenade hold no matter how strongly I word the directions.
And here is a lovely stinker of a dance - John Cass. The formations are not individually difficult but the sum of the formations has some dancers dumbstruck. This is an example of a Deborah teaching point -- "staying in the dance" - being constantly aware of where you are and when you are involved. Tandem reels no problem if you are with your partner. Big problem if you and a neighbor are starting the formation together and the two of you have not been otherwise involved. A cold start as it were.
The two points that seemed to help dancers the most;
1) 1st couple is facing the men's SIDE, not a corner, at the beginning of each reel.
2) In both reels the corner women begin their reels by dancing up or down the sideline. It really helps smooth out the timing.
Enjoy.
Tuesday, May 16, 2017
17 April 2017 – Scotia Party
We had a special night. Three musicians were visiting NY City from New Zealand - Sharlene Penman, Mary McDonald and Duncan - The Kilted Kiwis) so we put together a party. Oh Joy!
1 The Jubilee Jig 32 J 3 Leaflets
2 New Abbey 32 S 2 Goldring Gr2
3 Davy Nick Nack 32 H 3 Campbell
4 Border Weavers 32 S 3/3L A. Gray - Tweeddale 2
5 The Cranberry Tart 32 J 3 Glasspool
6 The Johnsonville Diamond 32 S 2 Downey
7 Maxwell's Rant 32 R 3 Bk 18
Tea Break
8 The Findlays' Jig 32 J 3 Goldring
9 The Saint John River 32 S 4 Guide
10 The Kissing Bridge 32 R 3 Bk 47
11 Saw ye my wee thing 32 J 2 Bk 25
12 Ann of Scotia 32 S 3 Ronald
13 Da Rain Dancin' 32 R 3 Wallace
SCDDB Dance List [Here]
So the band was The Kilted Kiwis - Sharlene Penman -Piano, Mary McDonald Fiddle, and Duncan on snare drum and high hat and they were really good. I was especially impressed by Duncan. His sound was, without being miked, well balanced with the fiddle and piano. He did it with a variety of sticks which held the sharp cutting snare sound to a pleasant level and to a pleasant sound. Miracles of modern material science.
I was impressed, very impressed, and Sharlene and I are in, or will be very shortly a conversation concerning the 2019 Kilts and Ghillies Tea Dance - I want them to play it, and I am not used to bands, or halls, booking 2 years ahead and Sharlene does. So, while I haven't even finalized the band for 2018, I am looking at dates for 2019.
April is the cruelest month - there is the threat of Passover, Easter, The New England Folk Festival, The Rerr Terr Ball, The New York Playford Ball and probably a few other events – all of them competing for four weekends in April. So far we have managed, but getting dates out of the other organizations (especially the 800 pound gorilla called NEFFA) is a task suitable for a Hercules.
Wednesday, April 26, 2017
11 April 2017 – Ho Ho Kus
Substitute class - Kenwyn away and me in his place.
He sent me his class plan and I mostly kept to it, and it was mostly ball prep for the Kilts and Ghillies Tea Dance. (Again). It is a good thing that I like this program. Mostly the dances are still likable even after a lot of repetition.
The dances we did were:-
The Findlays' Jig – (32 J 3) – Goldring
Chris Ronald's Strathspey – (32 S 3) – Wallace
Lady Susan Stewart's Reel – (32 R 3) – Bk 5/9
Fountainfall – (32 R 3) – Wheater
Wisp of Thistle – (32 S 3) – Bk 37/4
General Stuart's Reel – (32 R 3) – Bk 10/3
Les Remparts de Séville – (32 J 3) – Bk 50/2
The Compliment – (32 S 2) – Goldring
* ** *** ** * ** *** ** *
The Findlays' Jig:- I like. Over time it becomes a wee bit tedious but it is a go to type jig. Nice and Simple. All it needs (if you are not blessed with class musicians) is a good tune.
Chris Ronald's Strathspey:- By Ron Wallace, commissioned by Sue Ronald and music commissioned from James Gray. I really like this one. It makes nice use of Terry Glasspool's Push Me Pull You reels
(a figure eight around a couple dancing Back-toBack Rsh then by Lsh). I also like Ron's figure of Hello-Goodbye with Turns. Bottom line: This one is a keeper - I am getting a goodly amount of positive feedback. So it is not just me.
Lady Susan Stewart's Reel:- Not well received. They did not like the opening 10 bar phrase that need to be danced in 8 bars. A dance for young legs or very canny survivors.
Fountainfall:- A dance written just a day or so before this class. The devisor's first dance- she started Scottish Country dancing this past September. (My first dance wasn't this good).
Dance Instructions [Here]
Les Remparts de Séville:- I have commented before - The bottom line? A thumbs up.
The Compliment:- Needs good technique to make it look good. A thumbs up.
He sent me his class plan and I mostly kept to it, and it was mostly ball prep for the Kilts and Ghillies Tea Dance. (Again). It is a good thing that I like this program. Mostly the dances are still likable even after a lot of repetition.
The dances we did were:-
The Findlays' Jig – (32 J 3) – Goldring
Chris Ronald's Strathspey – (32 S 3) – Wallace
Lady Susan Stewart's Reel – (32 R 3) – Bk 5/9
Fountainfall – (32 R 3) – Wheater
Wisp of Thistle – (32 S 3) – Bk 37/4
General Stuart's Reel – (32 R 3) – Bk 10/3
Les Remparts de Séville – (32 J 3) – Bk 50/2
The Compliment – (32 S 2) – Goldring
* ** *** ** * ** *** ** *
The Findlays' Jig:- I like. Over time it becomes a wee bit tedious but it is a go to type jig. Nice and Simple. All it needs (if you are not blessed with class musicians) is a good tune.
Chris Ronald's Strathspey:- By Ron Wallace, commissioned by Sue Ronald and music commissioned from James Gray. I really like this one. It makes nice use of Terry Glasspool's Push Me Pull You reels
(a figure eight around a couple dancing Back-toBack Rsh then by Lsh). I also like Ron's figure of Hello-Goodbye with Turns. Bottom line: This one is a keeper - I am getting a goodly amount of positive feedback. So it is not just me.
Lady Susan Stewart's Reel:- Not well received. They did not like the opening 10 bar phrase that need to be danced in 8 bars. A dance for young legs or very canny survivors.
Fountainfall:- A dance written just a day or so before this class. The devisor's first dance- she started Scottish Country dancing this past September. (My first dance wasn't this good).
Dance Instructions [Here]
Les Remparts de Séville:- I have commented before - The bottom line? A thumbs up.
The Compliment:- Needs good technique to make it look good. A thumbs up.
Friday, April 14, 2017
10 April 2017 –– Scotia
Again intended to be a fairly standard ball prep evening. That didn't last long. First day of the Jewish celebration and the attendance was light. So I got to play.
First Half - (Deborah teaching)
Circle of Cheer – (32 J n circle) – Hamilton
Hedwig's Reel – (32 R 3) – Graded 2
Hope Little's Strathspey – (32 S 3/3L) – Goldring
The White Cockade – (32 R 3) – Bk 5
Second Half - (me teaching)
Cabbages and Kings – (32 J 3) – Butterfield
Johnsonville Diamond – (32 S 2) – Downey
Zytglogge – (32 R 3) – Blackburn
Monadh Liath – (32 S 3) – Drewry
Cranberry Tart – (32 J 3) – Glasspool
Anderson's Rant – (32 R 3) – MMM
* ** *** ** ** ** * ** ** ** *** ** *
Circle of Cheer:- nice simple circle dance that just calls for a class on handing. And that was Deborah's plan for the evening.
Hedwig's Reel:- Another "Chain" dance. Taught as written and danced other. So she went with the flow, as it were, and substituted a mirror fig. of eight for the original parallel Rsh fig. of eight.
Hope Little's Strathspey:- One guess. A "chain" dance? You betcha. And this one has that 'something' that takes it out of tedious into acceptable. One piece of that is the set arrangement which means fewer repeats. Eight times through Seann Triubhas Willichan, for example. Nice dance but when will it ever end?
The White Cockade:- Rights and Lefts. Just a different version of Chain.
Cabbages and Kings:- Another of Deborah's dances and I got to open the 2nd half with it. "I like it" the Walrus said, "The time has come to dance Cabbages and Kings." Again R&L (that mini-chain thing).
Johnsonville Diamond:- I Like It. Note: The Spiral variation is not good for dancers who are susceptible to motion sickness, and Deborah is one of the two who in the class who are. The opening setting figure shines when the dancers advance 'aggressively'. Wimps - stay home!
Zytglogge:- It's Play Time! Simple set up, 16 bars of relatively simple central corner figure, Simple finish. The structure is simple, the figures are simple, and that opens the door to embroidery. And the door is not open just a crack.
When danced straight and clean care must be taken to round all the turns to the max and use ALL the allotted time. Elegant.
Play time version:- 2nd corners have little to do and little interaction with the other dancers. But they can become quintessential clockwork figures, turning about at the corners, spinning as they move along the track. First couple and 1st corners can twirl too, since the inside RH turn is only 3/4 in 2 bars, a twirl 'to face' is possible there and another is possible when 1C and 1st Corners turn each other into/out of the center. Lots of possibilities if you have a crooked mind and like to play. Oh sorry! I forgot. This is Scottish Country Dancing isn't it? No Fun allowed. Hah!
Monadh Liath:- Highland schottische balance in line is the highlight. Not a thumbs up, a High Five!
The music I have is by David South (an Aussie band) and I have just one of their CDs - "Kardinia Capers". On the whole I like it but I am not a huge fan, except for two tracks.
The music for Cauld Comfort, a Ron Wallace dance is on the CD as is the music for Monadh Liath. And they work!
Monadh Liath is not on any upcoming ball. This one was for my delight. And it has been a while since I have done it and I am seriously considering it for the next year's K&G short list.
The Cranberry Tart:- Terry was in a serious back and forth with the woman he wrote the dance for. She claimed the color of her gown was fuchsia, he insisted it was cranberry, and he brought the discussion to an abrupt end with this: Well if that is so then I'll have to name the dance "Fuchsia Shock". Need I say he won?
This dance is also a playground. He wrote the dance before Dolphin Reels became all the rage by way of Pelorus Jack. So one of our local dancers emailed him and asked him if he would have written the tandem reel across as a lead change reel? Terry has left the door open. We now embroider it that way. It is a liberty since only 1C is involved.
Anderson's Rant:- A nice dance, a simple dance, with good music. A good ender for a rather brain heavy program.
First Half - (Deborah teaching)
Circle of Cheer – (32 J n circle) – Hamilton
Hedwig's Reel – (32 R 3) – Graded 2
Hope Little's Strathspey – (32 S 3/3L) – Goldring
The White Cockade – (32 R 3) – Bk 5
Second Half - (me teaching)
Cabbages and Kings – (32 J 3) – Butterfield
Johnsonville Diamond – (32 S 2) – Downey
Zytglogge – (32 R 3) – Blackburn
Monadh Liath – (32 S 3) – Drewry
Cranberry Tart – (32 J 3) – Glasspool
Anderson's Rant – (32 R 3) – MMM
* ** *** ** ** ** * ** ** ** *** ** *
Circle of Cheer:- nice simple circle dance that just calls for a class on handing. And that was Deborah's plan for the evening.
Hedwig's Reel:- Another "Chain" dance. Taught as written and danced other. So she went with the flow, as it were, and substituted a mirror fig. of eight for the original parallel Rsh fig. of eight.
Hope Little's Strathspey:- One guess. A "chain" dance? You betcha. And this one has that 'something' that takes it out of tedious into acceptable. One piece of that is the set arrangement which means fewer repeats. Eight times through Seann Triubhas Willichan, for example. Nice dance but when will it ever end?
The White Cockade:- Rights and Lefts. Just a different version of Chain.
Cabbages and Kings:- Another of Deborah's dances and I got to open the 2nd half with it. "I like it" the Walrus said, "The time has come to dance Cabbages and Kings." Again R&L (that mini-chain thing).
Johnsonville Diamond:- I Like It. Note: The Spiral variation is not good for dancers who are susceptible to motion sickness, and Deborah is one of the two who in the class who are. The opening setting figure shines when the dancers advance 'aggressively'. Wimps - stay home!
Zytglogge:- It's Play Time! Simple set up, 16 bars of relatively simple central corner figure, Simple finish. The structure is simple, the figures are simple, and that opens the door to embroidery. And the door is not open just a crack.
When danced straight and clean care must be taken to round all the turns to the max and use ALL the allotted time. Elegant.
Play time version:- 2nd corners have little to do and little interaction with the other dancers. But they can become quintessential clockwork figures, turning about at the corners, spinning as they move along the track. First couple and 1st corners can twirl too, since the inside RH turn is only 3/4 in 2 bars, a twirl 'to face' is possible there and another is possible when 1C and 1st Corners turn each other into/out of the center. Lots of possibilities if you have a crooked mind and like to play. Oh sorry! I forgot. This is Scottish Country Dancing isn't it? No Fun allowed. Hah!
Monadh Liath:- Highland schottische balance in line is the highlight. Not a thumbs up, a High Five!
The music I have is by David South (an Aussie band) and I have just one of their CDs - "Kardinia Capers". On the whole I like it but I am not a huge fan, except for two tracks.
The music for Cauld Comfort, a Ron Wallace dance is on the CD as is the music for Monadh Liath. And they work!
Monadh Liath is not on any upcoming ball. This one was for my delight. And it has been a while since I have done it and I am seriously considering it for the next year's K&G short list.
The Cranberry Tart:- Terry was in a serious back and forth with the woman he wrote the dance for. She claimed the color of her gown was fuchsia, he insisted it was cranberry, and he brought the discussion to an abrupt end with this: Well if that is so then I'll have to name the dance "Fuchsia Shock". Need I say he won?
This dance is also a playground. He wrote the dance before Dolphin Reels became all the rage by way of Pelorus Jack. So one of our local dancers emailed him and asked him if he would have written the tandem reel across as a lead change reel? Terry has left the door open. We now embroider it that way. It is a liberty since only 1C is involved.
Anderson's Rant:- A nice dance, a simple dance, with good music. A good ender for a rather brain heavy program.
4 April 2017 –– New Haven
A Rescheduled event. My usual slot is at the end the month. Late March has become early April.
I was asked to do another, yet another, prep session for the Kilts and Ghillies Tea Dance. It makes one suspicious of what the usual teachers of the class are doing. "We have a problem Houston" - communication wise.
Hence the existence of this Blog. I started it because I wanted to know what the other teachers in the branch were doing. I knew that someday I was going to be asked to do another ball program. (It still hasn't happened). And I only knew what I was teaching in my one class in the branch. Middletown? No idea. New London/Mystic? Unknown. Granby? Black hole.
So I thought that a blog, where all the teachers had editing/posting ability would fix that, Every week the teachers would post what they had taught, a simple list would do. Program devisors would then know what dances are being done throughout the branch. Silly me. I sent invitations out to each and every teacher. No one accepted the invitation. So, sadly, it defaulted to my private playground.
The lists on the strathspey server are a wonderful planning tool but not a good historical tool. Lists allow you to see what was planned for a class. The dating feature extends that over time but unless it is for a set program it doesn't necessarily show what was actually taught/danced. For example my plans change depending on who actually shows up.
So, all the dances I taught were from the upcoming Tea Dance:-
Driving Through Eutaw – (32 J 3) – Leary
Swirling Snow – (32 S 3/3L) – Taylor
Anderson's Rant – (32 R 3) – MMM
Saw ye my wee thing – (32 J 2) –
The Johnsonville Diamond – (32 S 2) – Downey
More Bees A-Dancin' – (32 R 3) – Goldring
Chris Ronald's Strathspey – (32 S 3) – Wallace
Les Remparts de Séville – (32 J 3) – Latour (Bk 50)
I was asked to do another, yet another, prep session for the Kilts and Ghillies Tea Dance. It makes one suspicious of what the usual teachers of the class are doing. "We have a problem Houston" - communication wise.
Hence the existence of this Blog. I started it because I wanted to know what the other teachers in the branch were doing. I knew that someday I was going to be asked to do another ball program. (It still hasn't happened). And I only knew what I was teaching in my one class in the branch. Middletown? No idea. New London/Mystic? Unknown. Granby? Black hole.
So I thought that a blog, where all the teachers had editing/posting ability would fix that, Every week the teachers would post what they had taught, a simple list would do. Program devisors would then know what dances are being done throughout the branch. Silly me. I sent invitations out to each and every teacher. No one accepted the invitation. So, sadly, it defaulted to my private playground.
The lists on the strathspey server are a wonderful planning tool but not a good historical tool. Lists allow you to see what was planned for a class. The dating feature extends that over time but unless it is for a set program it doesn't necessarily show what was actually taught/danced. For example my plans change depending on who actually shows up.
So, all the dances I taught were from the upcoming Tea Dance:-
Driving Through Eutaw – (32 J 3) – Leary
Swirling Snow – (32 S 3/3L) – Taylor
Anderson's Rant – (32 R 3) – MMM
Saw ye my wee thing – (32 J 2) –
The Johnsonville Diamond – (32 S 2) – Downey
More Bees A-Dancin' – (32 R 3) – Goldring
Chris Ronald's Strathspey – (32 S 3) – Wallace
Les Remparts de Séville – (32 J 3) – Latour (Bk 50)
Thursday, April 13, 2017
3 April 2017 – Scotia
Opening night of a new series and I always struggle. There are the usual suspects and then there is a certain amount of churn within a rotating pool of other dancers, and I haven't seen them as a class in about a year, and I feel rusty. It doesn't matter that I finished teaching a series for another class just 2 weeks ago. Each class has its own identity and I need to adjust. And I am just a little slow at that these days.
The churn of ball prep continues. The Rerr Terr is over and done, the Westchester Ball program just came out. And so it continues.
This group has a different class arrangement.
The first hour and a half is supposedly geared for beginners, they accept them off the street nightly, and most of the technique is scheduled for this slot. The second half is less friendly to beginners and more dance oriented than skills oriented.
First Half (Deborah):-
Waltzing to Iowa – (32 W nCircle) – Schneider
Cutty Sark – (32 J 3) – Bk 40
The Highland Rambler – (40 R 3) – Goldring
Bedrule – (32 S 3) – Bk 33
Chicago Loop – (32 R 3) – K. Smith
Second Half (Peter):-
Gloria's Wee Jig – (32 J 3) – McMurtry
Peggy Spouse MBE – (32 S 3) – Bk 46
British Grenadiers – (32 R 3) – MMM
Abbot of Unreason – (32 J 3) – Levy/Tin Woodman
Black Leather Jig – (32 R 3) – Selling/DelVal25
* ** *** **** ** * ** **** *** ** *
Gloria's Wee Jig:– I hadn't planned on doing this dance. But after tea I was asked if the first dance was going to be beginner friendly. Seriously, how could I have said no?
It is a nice dance overall with one troubling fudge - the two men, on the diagonal, turn LH to set up the Ladies' Chain. It works but it always causes just a moment of "huh?". It is not a sweet flow but the chase that follows is. And, yes, I like the chase even though it unusual enough to confuse the unwary. Even when it is stressed as "the hard part".
These two issues are just enough to keep it off my Top 50 Jigs list.
Peggy Spouse MBE:- I like it. I give it a 92. The dance is a beauty! But I hate the teaching and the briefing. Too many words, too many short bits. Just too many pieces! I took a look at it when Bk 46 came out but I didn't learn/prep the dance until last year. The amount of ink on the page turned me away. I have reconsidered the situation and the dancers are liking it. Enough that they are putting in the work.
Bottom line-- A Keeper.
The British Grenadiers:- An oldie. Not on any of Tyler Campbell's lists and for good reason.
Simple dance with the figures following in no flowing order. In other words a simple, but not easy, dance.
But the new music by Jim Lindsay is simply too much fun not to use. And did that upset our Scots guard of expats. The nicest words I heard were "That's not Scottish!" followed by grumble grumble b***h and moan.
Different strokes and all that. This music not only makes me smile but it makes me want to get up and dance.
(We are talking about the RSCDS CD for Book 49 with Jim Lindsay and his band. He includes a couple of 'extras' just for fun.)
Abbot of Unreason:- By Milton Levy, with a borrowing from Caberfei. Music by one of our own, I mean one of New York City's own - Jim Stevenson lives on Long Island, just 40 miles and 3 hours away. (I exaggerate - a bit).
If you aren't familiar with Milton's name think Gang the Same Gate, My understanding is that Milton invented the set and link for three. I can not dredge up the information at this moment but some where he lectures on the difference between the types of set and links. There is the standard Set and Link, and there is the Set and Cross Link.
And when I teach using that language there is less confusion.
Set and link - dancers change places but not orientation. The standard.
Set and Cross Link - dancers change places but also orientation.
1C 2C join hands and set and "link" but end beside partner NHJ, 1C facing up and 2C facing down.
HUH?
Try this - 1st and 2nd couples set and cross link.
And when you are briefing?
So set and link for 3 in Gang the Same Gate is technically a cross link. We don't call it that and later that makes our life harder when we teach set and link/cross link for 2 couples. No common vocabulary.
The Black Leather Jig:- Fun dance. Fairly easy dance. Great Music! I recommend the CD by Thistle House recorded live when the played the New Haven Ball and Brunch some years ago.
I knew the couple who would show up at dances in black motorcycle leathers. And then Heather made her man a leather kilt…
A great way to end a program or a half.
The churn of ball prep continues. The Rerr Terr is over and done, the Westchester Ball program just came out. And so it continues.
This group has a different class arrangement.
The first hour and a half is supposedly geared for beginners, they accept them off the street nightly, and most of the technique is scheduled for this slot. The second half is less friendly to beginners and more dance oriented than skills oriented.
First Half (Deborah):-
Waltzing to Iowa – (32 W nCircle) – Schneider
Cutty Sark – (32 J 3) – Bk 40
The Highland Rambler – (40 R 3) – Goldring
Bedrule – (32 S 3) – Bk 33
Chicago Loop – (32 R 3) – K. Smith
Second Half (Peter):-
Gloria's Wee Jig – (32 J 3) – McMurtry
Peggy Spouse MBE – (32 S 3) – Bk 46
British Grenadiers – (32 R 3) – MMM
Abbot of Unreason – (32 J 3) – Levy/Tin Woodman
Black Leather Jig – (32 R 3) – Selling/DelVal25
* ** *** **** ** * ** **** *** ** *
Gloria's Wee Jig:– I hadn't planned on doing this dance. But after tea I was asked if the first dance was going to be beginner friendly. Seriously, how could I have said no?
It is a nice dance overall with one troubling fudge - the two men, on the diagonal, turn LH to set up the Ladies' Chain. It works but it always causes just a moment of "huh?". It is not a sweet flow but the chase that follows is. And, yes, I like the chase even though it unusual enough to confuse the unwary. Even when it is stressed as "the hard part".
These two issues are just enough to keep it off my Top 50 Jigs list.
Peggy Spouse MBE:- I like it. I give it a 92. The dance is a beauty! But I hate the teaching and the briefing. Too many words, too many short bits. Just too many pieces! I took a look at it when Bk 46 came out but I didn't learn/prep the dance until last year. The amount of ink on the page turned me away. I have reconsidered the situation and the dancers are liking it. Enough that they are putting in the work.
Bottom line-- A Keeper.
The British Grenadiers:- An oldie. Not on any of Tyler Campbell's lists and for good reason.
Simple dance with the figures following in no flowing order. In other words a simple, but not easy, dance.
But the new music by Jim Lindsay is simply too much fun not to use. And did that upset our Scots guard of expats. The nicest words I heard were "That's not Scottish!" followed by grumble grumble b***h and moan.
Different strokes and all that. This music not only makes me smile but it makes me want to get up and dance.
(We are talking about the RSCDS CD for Book 49 with Jim Lindsay and his band. He includes a couple of 'extras' just for fun.)
Abbot of Unreason:- By Milton Levy, with a borrowing from Caberfei. Music by one of our own, I mean one of New York City's own - Jim Stevenson lives on Long Island, just 40 miles and 3 hours away. (I exaggerate - a bit).
If you aren't familiar with Milton's name think Gang the Same Gate, My understanding is that Milton invented the set and link for three. I can not dredge up the information at this moment but some where he lectures on the difference between the types of set and links. There is the standard Set and Link, and there is the Set and Cross Link.
And when I teach using that language there is less confusion.
Set and link - dancers change places but not orientation. The standard.
Set and Cross Link - dancers change places but also orientation.
1C 2C join hands and set and "link" but end beside partner NHJ, 1C facing up and 2C facing down.
HUH?
Try this - 1st and 2nd couples set and cross link.
And when you are briefing?
So set and link for 3 in Gang the Same Gate is technically a cross link. We don't call it that and later that makes our life harder when we teach set and link/cross link for 2 couples. No common vocabulary.
The Black Leather Jig:- Fun dance. Fairly easy dance. Great Music! I recommend the CD by Thistle House recorded live when the played the New Haven Ball and Brunch some years ago.
I knew the couple who would show up at dances in black motorcycle leathers. And then Heather made her man a leather kilt…
A great way to end a program or a half.
22 March 2017 – Westchester End of Series Party
We did the Whole Thing!
The Findlays' Jig – (32 J 3) – Goldring
The Paisley Weavers – (32 S 3/3L) – Haynes
On the Morning Tide – (32 H 3) – I. Boyd
Hooper's Jig – (32 J 3) – MMM
Culla Bay – (32 S 4 sq) – Bk 41
The Black Leather Jig – (32 R 3) – DelValley25
Cutty Sark – (32 J 3) – Bk 40
Mary Erskine – (32 R 3) – Goldring
Fair Donald – (32 S 3) – Bk 29
The Cranberry Tart – (32 J 3) – Glasspool
Deil Amang the Tailors – (32 R 3) – Bk 14
The Findlays' Jig – (32 J 3) – Goldring
The Paisley Weavers – (32 S 3/3L) – Haynes
On the Morning Tide – (32 H 3) – I. Boyd
Hooper's Jig – (32 J 3) – MMM
Culla Bay – (32 S 4 sq) – Bk 41
The Black Leather Jig – (32 R 3) – DelValley25
Cutty Sark – (32 J 3) – Bk 40
Mary Erskine – (32 R 3) – Goldring
Fair Donald – (32 S 3) – Bk 29
The Cranberry Tart – (32 J 3) – Glasspool
Deil Amang the Tailors – (32 R 3) – Bk 14
Saturday, March 18, 2017
18 March 2017 – New Haven
The New Haven class sponsored a Kilts and Ghillies workshop to be sure everyone was ready for the ball.
The turn out was light. Not even all of the usual New Haven suspects plus one dancer from Northampton, Massachusetts.
The dances we covered were:
Swirling Snow – (32 S 3/3L) – Ruth Taylor
No – (32 R 3/3L) – Wouter Joubert
Les Remparts de Séville – (32 J 3) – Bk 50 (Aliénor Latour)
Peggy Spouse MBE – (32 S 3) – Bk 46 (J. Wilkinson)
John Cass – (32 R 5) – Bk 49 (P. Avery)
The Johnsonville Diamond – (32 S 2) – R. Downey
Zytglogge – (32 R 3) – Blackburn
The turn out was light. Not even all of the usual New Haven suspects plus one dancer from Northampton, Massachusetts.
The dances we covered were:
Swirling Snow – (32 S 3/3L) – Ruth Taylor
No – (32 R 3/3L) – Wouter Joubert
Les Remparts de Séville – (32 J 3) – Bk 50 (Aliénor Latour)
Peggy Spouse MBE – (32 S 3) – Bk 46 (J. Wilkinson)
John Cass – (32 R 5) – Bk 49 (P. Avery)
The Johnsonville Diamond – (32 S 2) – R. Downey
Zytglogge – (32 R 3) – Blackburn
15 March 2017 – Westchester
Snowed out - the town closed the senior center both Tuesday and Wednesday evenings.
Friday, March 17, 2017
8 March 2017 – Westchester
The class had a late afternoon/early evening demo for the town council so it was a very slow starting evening.
My planned opening /warm up dance - Out the window! well, sort of. See dance #2.
The evening's dances:-
This One's Four Isobel – (32 S 4some) – Glasspool
Driving Through Eutaw – (32 J 3) – Leary
The Music Makars – (32 R 3) – Bk 33/1 (Goldring)
Ann of Scotia – (32 S – World Wide Weavings (Ronald)
The Glowerin' Coo – (32 J 3) – Drewry
Swirling Snow – (32 S 3/3L) – Martello Twr 7 (Taylor)
Da Rain Dancin' – (32 R 3) – Whiteadder (Wallace)
*** *** *** *** *** ***
This One's Four Isobel:- Terry wrote a small collection of foursomes in a variety of formations. He hasn't published them. They are in, oh lets call it, beta testing format. That is- in note form for workshops with the advisory that the instructions could change at any time.
We are still waiting. We are not amused.
This dance is one of the nicest pieces of choreography I have ever experienced. It isn't a nightmare in which various unrelated modifications of standard pieces happen at random times in random order and all happening across musical phrases. I do acknowledge that it isn't a Drewy tour de force either where, once you start moving, the next piece is self evident from the flow. It takes some effort to learn but the sum of the whole is greater than the sum of the parts. This one gets two thumbs up and a loud YES!
A diagram would be a very nice adjunct to the crib but what is really needed is publication! [quiet whisper from off stage - "psssst, give me a call privately!}
Driving Through Eutaw:- I like it. I am also prejudiced. Deborah (my partner) wrote it. and she broke the box, well maybe not broke it but she certainly bent it out of shape. The dance is asymmetric and that just plain messes with some people's heads.
1-8 Set, set advancing; lead down the middle for 4.
9-16 California Twirl to change places with partner (and face up),
lead up for 4, cast off 1 place.
Music:- Ye Banks and Braes by Marian Anderson's from her Robert Burns CD.
There are good cribs and a diagram [here].
The Music Makars:- A Roy Goldring production. It has a certain flair. It's nice, easy to dance too. I give it about a 78. There just isn't anything there that grasps my heart. "It's OK" is about all I can say. A dance saved by the music.
Ann of Scotia:- This one is a tour de force, especially since I know the lady and she has always enjoyed a good dance flirt. Chris and Sue Ronald also know the lady and wrote the dance to fit. And very successfully. [here]
The music should be Highland Cathedral, the tune to which she made here way to the altar. At least two thumbs up.
The Glowerin' Coo:- A Drewry. Some nice flip moments if I do say so myself. We all have our 'go to' dances, or 'kinda-sort of' favorites that we come back to every so often. Dances that just don't leave us alone. This is one of those for Fergie who has been Westchester's head teacher for decades. He has just retired from teaching and has passed on the mantle.
Since I am now preparing the program for the Westchester Ball, this one kinda sorta :-)) came to mind. It didn't work out for that ball but I have taken it under long term consideration too, as it were.
Da Rain Dancin':- Magnificent. [here] – I consider it the next Mongomeries' Rant and like Montgomeries' Rant it is a great dance because of the music. Ron Wallace, Muriel Johnstone - thank you.
But it has an issue: Dancers don't know how to listen - they hear what they want to or expect to . If a move is outside their box they force it to fit their box. The interrupted Hello-Goodbye setting is that move.
The instructions don't say it but he did. He insisted that the 1s 'set' to 1st corner (pas de basque right) and 'set' to partner (pdb left) moving left, towards the gap (between your corners), but not squarely into that space, being sure to point right shoulders toward partner. The taking of hands should be easy - you just raise them and you are, magically, pointed in the correct direction for the turn - no decision (which hand?) to slow you down.
I learned the dance from him at a Pinewoods Camp Scottish Session several… (gasp) decades ago.
My planned opening /warm up dance - Out the window! well, sort of. See dance #2.
The evening's dances:-
This One's Four Isobel – (32 S 4some) – Glasspool
Driving Through Eutaw – (32 J 3) – Leary
The Music Makars – (32 R 3) – Bk 33/1 (Goldring)
Ann of Scotia – (32 S – World Wide Weavings (Ronald)
The Glowerin' Coo – (32 J 3) – Drewry
Swirling Snow – (32 S 3/3L) – Martello Twr 7 (Taylor)
Da Rain Dancin' – (32 R 3) – Whiteadder (Wallace)
*** *** *** *** *** ***
This One's Four Isobel:- Terry wrote a small collection of foursomes in a variety of formations. He hasn't published them. They are in, oh lets call it, beta testing format. That is- in note form for workshops with the advisory that the instructions could change at any time.
We are still waiting. We are not amused.
This dance is one of the nicest pieces of choreography I have ever experienced. It isn't a nightmare in which various unrelated modifications of standard pieces happen at random times in random order and all happening across musical phrases. I do acknowledge that it isn't a Drewy tour de force either where, once you start moving, the next piece is self evident from the flow. It takes some effort to learn but the sum of the whole is greater than the sum of the parts. This one gets two thumbs up and a loud YES!
A diagram would be a very nice adjunct to the crib but what is really needed is publication! [quiet whisper from off stage - "psssst, give me a call privately!}
Driving Through Eutaw:- I like it. I am also prejudiced. Deborah (my partner) wrote it. and she broke the box, well maybe not broke it but she certainly bent it out of shape. The dance is asymmetric and that just plain messes with some people's heads.
1-8 Set, set advancing; lead down the middle for 4.
9-16 California Twirl to change places with partner (and face up),
lead up for 4, cast off 1 place.
Music:- Ye Banks and Braes by Marian Anderson's from her Robert Burns CD.
There are good cribs and a diagram [here].
The Music Makars:- A Roy Goldring production. It has a certain flair. It's nice, easy to dance too. I give it about a 78. There just isn't anything there that grasps my heart. "It's OK" is about all I can say. A dance saved by the music.
Ann of Scotia:- This one is a tour de force, especially since I know the lady and she has always enjoyed a good dance flirt. Chris and Sue Ronald also know the lady and wrote the dance to fit. And very successfully. [here]
The music should be Highland Cathedral, the tune to which she made here way to the altar. At least two thumbs up.
The Glowerin' Coo:- A Drewry. Some nice flip moments if I do say so myself. We all have our 'go to' dances, or 'kinda-sort of' favorites that we come back to every so often. Dances that just don't leave us alone. This is one of those for Fergie who has been Westchester's head teacher for decades. He has just retired from teaching and has passed on the mantle.
Since I am now preparing the program for the Westchester Ball, this one kinda sorta :-)) came to mind. It didn't work out for that ball but I have taken it under long term consideration too, as it were.
Da Rain Dancin':- Magnificent. [here] – I consider it the next Mongomeries' Rant and like Montgomeries' Rant it is a great dance because of the music. Ron Wallace, Muriel Johnstone - thank you.
But it has an issue: Dancers don't know how to listen - they hear what they want to or expect to . If a move is outside their box they force it to fit their box. The interrupted Hello-Goodbye setting is that move.
The instructions don't say it but he did. He insisted that the 1s 'set' to 1st corner (pas de basque right) and 'set' to partner (pdb left) moving left, towards the gap (between your corners), but not squarely into that space, being sure to point right shoulders toward partner. The taking of hands should be easy - you just raise them and you are, magically, pointed in the correct direction for the turn - no decision (which hand?) to slow you down.
I learned the dance from him at a Pinewoods Camp Scottish Session several… (gasp) decades ago.
Wednesday, March 8, 2017
7 March 2017 – New Haven
I suppose the first order of business is to acknowledge the facts on the ground. The Fair Haven Heights class is effectively defunct. I am now simply part of the rotation of teachers for the New Haven class of the New Haven Branch. I have no set dates, they change as the availability of the other teachers changes (for whatever reason). * * * Sigh * * * (Am I being too nice?)
Well, the New Haven Highland Ball for 2017 is past. It is time to move on. The Rerr Terr ball (NJ) is next on the calendar but most of the New Haven dancers can handle the dances eyes closed. Then the Kilts and Ghillies Tea Dance and for that Prep is definitely required.
The dances taught last night:-
Machine Without Horses – (32 J 3) – Bk 12/12
Bridge of Nairn – (32 S 3) – Bk 13/11
More Bees A-Dancin' – (32 R 3) – Goldring
Les Remparts de Séville – (32 J 3) – Bk 50/2
Dave Macfarlane's Reel – (32 R 3) – Collin
Peggy Spouse MBE – (32 S 3) – Bk 46/11
*** *** *** ***
The Machine Without Horses:- The Old War Horse of the jig persuasion. There are some sticking points. Getting beginners to start dancing on time, especially as 2nd couple in the track figure. Getting dancers to cast up around 3rd couple and meet above them. Remembering left from right.
What struck me though was how much the music has changed since I started dancing. Why back when, when you really didn't want the stegasaurii to flip their kilts (that long spiked tail was a real problem) the hot musician was Stan Hamilton. What he was doing on piano was different from what most of other bands were doing. His music was the go to as were Don Bartlett's, Angus MacKinnon's, and Bobby Frew's. The RSCDS music was required listening though very managed and not very inspiring - even then, as a newbie, I could hear that. Don't get me wrong – it was all danceable.
Then came the fiddlers, and especially Barbara McOwen. She was in Berkeley CA. and west coast fiddle music flourished. She moved to Boston, and east coast fiddle music flourished. What she did was open dancer's ears to the song of the fiddle where previously all we heard were accordions. IMHO she deserves a Society Scroll!
So, last night, I played Stan Hamilton's version of Mw/oH. I was not inspired and I was surprised by that. Oh it had a good beat and was easy to dance to. But today I would only gave it about a 72. I find I much prefer the Reel of Seven version. They also have a good beat, are easy to dance to, but they have the sound of the fiddle. And the sound is fuller, more complex, more varied, and more mature. They are standing on the shoulders of the greats like Stan Hamilton, Bobby Frew, and Don Bartlett, to name just a few. (If I don't name Bobby Brown it is because although he may have had great knowledge and ability I have never liked the sound of his band. It was very heavy handed. He beat me over the head rather than let the instruments sing - This is personal opinion, other opinions differ, and to those of that persuasion what I have just said is heresy.)
Bridge of Nairn:- If there is a sticky point in this dance it is 1st man getting out of the setting into turning 1st corner RH. And with two elder beginners who are really stretching themselves with starting SCD in their seventies teachers need to use the RSCDS method (leaving out the Baroque ballet stuff). So I had to come up with a skills exercise at the last moment - yes I do claim I planned the class, just not in the society way or standard.
So I had everyone join NH with partner and face down (to start) - set and turn toward partner to face up [1-2], set again and face down [3-4]; set and face up [5-6], set and 1st lady stay facing up while 1st man turns over R shoulder to face down (as if to his 1st corner).
In the dance they got it. Even my weaker newbie was headed the correct way and basically on time into turn CPCP.
Both these dances are on the Rerr Terr program which is designed to be a beginner's first ball - very easy.
More Bees A-Dancin':- A very nice Roy Goldring dance. I do see the pedigree which is John Drewry's Bees of Maggieknockater. Reels of three are still an issue for our newbies but in this dance 1st couple is in promenade hold for both reels. Hard to go wrong as 1s. Much easier as a corner where you have to either know which way to go, be able to taking coaching or responsive to visual cues.
Les Remparts de Séville:- I like it. It definitely rates higher than a 72. There is a trick to it which plays against training and muscle memory. There is a LH turn into the first 6 bars of Hello-Goodbye setting. Some dancers had difficulty getting their brains wrapped around that 8 bar phrase. Once they accomplished that they liked the dance.
One strong comment from the floor - find better music. I am not convinced. The arrangement doesn't send shudders down my spine. So is it the tune, the arrangement, bad playing, or the instrument mix that wasn't liked? I dunno - it could by any of these so I really need finer discernment. The dance is on the Tea Dance and I am tempted to ask the band to find French or Spanish jigs for their arrangement.
Dave Macfarlane's Reel:- Another delight from Gaye Collin of NZ and one of my Winter Specials. When I asked thumbs up or thumbs down I got four double thumbs up and one single thumbs up and no thumbs down.
This is the only dance I got into and danced. The video is so well done that I had such high expectations that I actually came away mildly disappointed but that doesn't mean it is bad. I definitely rate it as good and it gets a thumbs up from me too.
So that makes a total of ten thumbs up. [here] Oh my are they good! (I want to move there).
The dance is now a candidate for the 2018 Tea Dance program.
Peggy Spouse MBE:- A Good One. It is beautiful. It deserves a much higher reputation but Oh My does it take lots and lots and lots of words to get the fine points and adjustments across to the dancers! (Maybe that is why they call it teaching?) But there is another issue. I have dancers who are in their 60s, 70s and 80s and they aren't processing they way they used to. I have to take it slower and repeat myself and walk the pieces more often.
1st few bits - getting 1st lady and 2nd man not only back to back in the middle but also with both hands joined with partner ready for half poussette. It is the partners who have to adjust the spacing so 1L/2M STAY back to back. I now voice another heresy: this is not essential technique but look good technique. The dance works with or without the dancers being tightly back to back. It just looks better if they are.
The reels across (why do people not HEAR what is said?) in 6 bars with added extensions. Another couple of pieces: Petronellas for 1st couple and loops for corners to complete the phrase.
Another bunch of pieces: Set, circles of 3 - halfway; then set and link (corners) or set and petronella (1st couple).
Whew, we can now catch our breath, it's a circle, round and back.
I like it, and the dancers liked both how it looked and how it danced. Worth the effort!
Well, the New Haven Highland Ball for 2017 is past. It is time to move on. The Rerr Terr ball (NJ) is next on the calendar but most of the New Haven dancers can handle the dances eyes closed. Then the Kilts and Ghillies Tea Dance and for that Prep is definitely required.
The dances taught last night:-
Machine Without Horses – (32 J 3) – Bk 12/12
Bridge of Nairn – (32 S 3) – Bk 13/11
More Bees A-Dancin' – (32 R 3) – Goldring
Les Remparts de Séville – (32 J 3) – Bk 50/2
Dave Macfarlane's Reel – (32 R 3) – Collin
Peggy Spouse MBE – (32 S 3) – Bk 46/11
*** *** *** ***
The Machine Without Horses:- The Old War Horse of the jig persuasion. There are some sticking points. Getting beginners to start dancing on time, especially as 2nd couple in the track figure. Getting dancers to cast up around 3rd couple and meet above them. Remembering left from right.
What struck me though was how much the music has changed since I started dancing. Why back when, when you really didn't want the stegasaurii to flip their kilts (that long spiked tail was a real problem) the hot musician was Stan Hamilton. What he was doing on piano was different from what most of other bands were doing. His music was the go to as were Don Bartlett's, Angus MacKinnon's, and Bobby Frew's. The RSCDS music was required listening though very managed and not very inspiring - even then, as a newbie, I could hear that. Don't get me wrong – it was all danceable.
Then came the fiddlers, and especially Barbara McOwen. She was in Berkeley CA. and west coast fiddle music flourished. She moved to Boston, and east coast fiddle music flourished. What she did was open dancer's ears to the song of the fiddle where previously all we heard were accordions. IMHO she deserves a Society Scroll!
So, last night, I played Stan Hamilton's version of Mw/oH. I was not inspired and I was surprised by that. Oh it had a good beat and was easy to dance to. But today I would only gave it about a 72. I find I much prefer the Reel of Seven version. They also have a good beat, are easy to dance to, but they have the sound of the fiddle. And the sound is fuller, more complex, more varied, and more mature. They are standing on the shoulders of the greats like Stan Hamilton, Bobby Frew, and Don Bartlett, to name just a few. (If I don't name Bobby Brown it is because although he may have had great knowledge and ability I have never liked the sound of his band. It was very heavy handed. He beat me over the head rather than let the instruments sing - This is personal opinion, other opinions differ, and to those of that persuasion what I have just said is heresy.)
Bridge of Nairn:- If there is a sticky point in this dance it is 1st man getting out of the setting into turning 1st corner RH. And with two elder beginners who are really stretching themselves with starting SCD in their seventies teachers need to use the RSCDS method (leaving out the Baroque ballet stuff). So I had to come up with a skills exercise at the last moment - yes I do claim I planned the class, just not in the society way or standard.
So I had everyone join NH with partner and face down (to start) - set and turn toward partner to face up [1-2], set again and face down [3-4]; set and face up [5-6], set and 1st lady stay facing up while 1st man turns over R shoulder to face down (as if to his 1st corner).
In the dance they got it. Even my weaker newbie was headed the correct way and basically on time into turn CPCP.
Both these dances are on the Rerr Terr program which is designed to be a beginner's first ball - very easy.
More Bees A-Dancin':- A very nice Roy Goldring dance. I do see the pedigree which is John Drewry's Bees of Maggieknockater. Reels of three are still an issue for our newbies but in this dance 1st couple is in promenade hold for both reels. Hard to go wrong as 1s. Much easier as a corner where you have to either know which way to go, be able to taking coaching or responsive to visual cues.
Les Remparts de Séville:- I like it. It definitely rates higher than a 72. There is a trick to it which plays against training and muscle memory. There is a LH turn into the first 6 bars of Hello-Goodbye setting. Some dancers had difficulty getting their brains wrapped around that 8 bar phrase. Once they accomplished that they liked the dance.
One strong comment from the floor - find better music. I am not convinced. The arrangement doesn't send shudders down my spine. So is it the tune, the arrangement, bad playing, or the instrument mix that wasn't liked? I dunno - it could by any of these so I really need finer discernment. The dance is on the Tea Dance and I am tempted to ask the band to find French or Spanish jigs for their arrangement.
Dave Macfarlane's Reel:- Another delight from Gaye Collin of NZ and one of my Winter Specials. When I asked thumbs up or thumbs down I got four double thumbs up and one single thumbs up and no thumbs down.
This is the only dance I got into and danced. The video is so well done that I had such high expectations that I actually came away mildly disappointed but that doesn't mean it is bad. I definitely rate it as good and it gets a thumbs up from me too.
So that makes a total of ten thumbs up. [here] Oh my are they good! (I want to move there).
The dance is now a candidate for the 2018 Tea Dance program.
Peggy Spouse MBE:- A Good One. It is beautiful. It deserves a much higher reputation but Oh My does it take lots and lots and lots of words to get the fine points and adjustments across to the dancers! (Maybe that is why they call it teaching?) But there is another issue. I have dancers who are in their 60s, 70s and 80s and they aren't processing they way they used to. I have to take it slower and repeat myself and walk the pieces more often.
1st few bits - getting 1st lady and 2nd man not only back to back in the middle but also with both hands joined with partner ready for half poussette. It is the partners who have to adjust the spacing so 1L/2M STAY back to back. I now voice another heresy: this is not essential technique but look good technique. The dance works with or without the dancers being tightly back to back. It just looks better if they are.
The reels across (why do people not HEAR what is said?) in 6 bars with added extensions. Another couple of pieces: Petronellas for 1st couple and loops for corners to complete the phrase.
Another bunch of pieces: Set, circles of 3 - halfway; then set and link (corners) or set and petronella (1st couple).
Whew, we can now catch our breath, it's a circle, round and back.
I like it, and the dancers liked both how it looked and how it danced. Worth the effort!
Thursday, March 2, 2017
1 March 2017 – Westchester
Tonight was intended to be a final prep session for the New Haven Highland Ball happening this weekend.
Accordingly I sent an email asking dancers to come with program dances they wanted reviewed.
The response was silence. The number of dancers going to the ball could be counted on one hand.
I revised as I went and wandered a bit from my original intent.
The Dances:-
Mrs Stewart's Jig – (32 J 3) – Bk 35
Maxwell's Rant – (32 R 3) – Bk 18
Barbara's Strathspey – (32 S 3) – Bk 46
New Haven Grid Lock – (48 J 4 sq) – Thomson
Surprising Hannah – (32 S 3) – Collin
Follow Me Home – (32 J 3) – Bk 38
Karin's Strathspey – (32 S 3) – 3rd Graded
Saltire Society Reel – (32 R 3) – L28
* * * * * * * * * *
Mrs Stewart's Jig:- Chosen because it is simple and easy and makes a decent warmup. Or so I thought. One set did fine. The other set was in pretty continuous breakdown. I chose not to bring the class down to the lowest common denominator so I did not walk it a second, third, fourth... time.
Maxwell's Rant:- There is a presentation coming up next week. A set of dancers will be showing to the town's mayor and council and I was asked to give them all a run through. Not on the ball.
Barbara's Strathspey:- Ball dance, and it is lovely. It has been a favourite in this area for some years but hasn't been done recently. It had its three years on the NY dance list, has been off for a couple more, and because it isn't on the list it hasn't been on any local programs and hasn't been done. On the whole it went very well. No break downs - if there were problems they danced through them.
New Haven Grid Lock:- Oh My! Interesting. I know who wrote it and it is so George! Rough around the edges is being kind, but brimming with cheer and good energy. The essential ingredient would be anticipation. The neat thing is that because the squares are lined up, when everyone faces out of their set some couples will be facing another couple. If you dance half RL those couples change sets!
On the brunch program.
A little history - when New Haven Colony was founded the town was laid out in a 3x3 grid of nine squares, the center one being the town green.
Surprising Hannah:- Yes! I say again - Yes! Simple? Yes. Demanding? Yes. Enjoyable? Oh Yes, but you need to have, like, and execute technique. Strong steps are needed here. The figures go out to the side lines whenever possible, which is most of the time, and you must be able to move!!
As far as I know I am still the only area teacher advocating Gaye Collin's dances. I have just shortlisted this one for the 2018 Kilts and Ghillies Tea Dance program. Not because I like it but because several of the dancers liked it enough to say so! And not just out of politeness. Thumbs up.
Not on the ball or brunch programs. One of my winter specials.
Follow Me Home:- Another good enjoyable dance from the Briscoes. The key is getting 1st couple to cross to opposite sides on bars 23-24. Thumbs up.
Karin's Strathspey:- I now see why the coach of the competition team had them release from the two hand turns and reform into the circle. It keeps 1st couple oriented to their proper positions. I personally don't like the way the unnecessary hand movements look.
Saltire Society Reel:- The specified setting/set advancing is hard! Unless the dancers are dem team ready it isn't going to happen cleanly. I admit I didn't even try. I had corners advancing on the third and fourth pas de basque. Mea culpa.
Accordingly I sent an email asking dancers to come with program dances they wanted reviewed.
The response was silence. The number of dancers going to the ball could be counted on one hand.
I revised as I went and wandered a bit from my original intent.
The Dances:-
Mrs Stewart's Jig – (32 J 3) – Bk 35
Maxwell's Rant – (32 R 3) – Bk 18
Barbara's Strathspey – (32 S 3) – Bk 46
New Haven Grid Lock – (48 J 4 sq) – Thomson
Surprising Hannah – (32 S 3) – Collin
Follow Me Home – (32 J 3) – Bk 38
Karin's Strathspey – (32 S 3) – 3rd Graded
Saltire Society Reel – (32 R 3) – L28
* * * * * * * * * *
Mrs Stewart's Jig:- Chosen because it is simple and easy and makes a decent warmup. Or so I thought. One set did fine. The other set was in pretty continuous breakdown. I chose not to bring the class down to the lowest common denominator so I did not walk it a second, third, fourth... time.
Maxwell's Rant:- There is a presentation coming up next week. A set of dancers will be showing to the town's mayor and council and I was asked to give them all a run through. Not on the ball.
Barbara's Strathspey:- Ball dance, and it is lovely. It has been a favourite in this area for some years but hasn't been done recently. It had its three years on the NY dance list, has been off for a couple more, and because it isn't on the list it hasn't been on any local programs and hasn't been done. On the whole it went very well. No break downs - if there were problems they danced through them.
New Haven Grid Lock:- Oh My! Interesting. I know who wrote it and it is so George! Rough around the edges is being kind, but brimming with cheer and good energy. The essential ingredient would be anticipation. The neat thing is that because the squares are lined up, when everyone faces out of their set some couples will be facing another couple. If you dance half RL those couples change sets!
On the brunch program.
A little history - when New Haven Colony was founded the town was laid out in a 3x3 grid of nine squares, the center one being the town green.
Surprising Hannah:- Yes! I say again - Yes! Simple? Yes. Demanding? Yes. Enjoyable? Oh Yes, but you need to have, like, and execute technique. Strong steps are needed here. The figures go out to the side lines whenever possible, which is most of the time, and you must be able to move!!
As far as I know I am still the only area teacher advocating Gaye Collin's dances. I have just shortlisted this one for the 2018 Kilts and Ghillies Tea Dance program. Not because I like it but because several of the dancers liked it enough to say so! And not just out of politeness. Thumbs up.
Not on the ball or brunch programs. One of my winter specials.
Follow Me Home:- Another good enjoyable dance from the Briscoes. The key is getting 1st couple to cross to opposite sides on bars 23-24. Thumbs up.
Karin's Strathspey:- I now see why the coach of the competition team had them release from the two hand turns and reform into the circle. It keeps 1st couple oriented to their proper positions. I personally don't like the way the unnecessary hand movements look.
Saltire Society Reel:- The specified setting/set advancing is hard! Unless the dancers are dem team ready it isn't going to happen cleanly. I admit I didn't even try. I had corners advancing on the third and fourth pas de basque. Mea culpa.
Tuesday, February 28, 2017
23 February 2017 – New York Branch
Why New York on Thursday and not Westchester on Wednesday? Because Miss C., currently teaching the NY Branch Experienced class, and I did a one time swap.
Format at the NYB is decidedly different and more difficult. There are severe time constraints, only two and a half hours for the entire evening and that includes warmup and tea time.
7:30 - 7:45 Warmup for all
Classes split
7:45 - 8:45 Experienced/Basics classes meet
8:45 - 9:00 Tea
9:00 - 9:50 Combined Social (we need to be out by 10:00).
There is no time to fumble in the teaching - it has to be clean and correct.
Dances of the night:-
Warmup:
The Ferryboat – (32 J n circle mixer) – Let's All Dance
Experienced Class:
Chased Lovers – (32 J 3) – World Wide Weavings
Karin's Strathspey – (32 S 3) – 3rd Graded Bk
Saltire Society Reel – (32 R 3) – L28/Goldring
Social Class:
Machine Without Horses – (32 J 3) – Bk 12/12
Rakes of Glasgow – (32 S 3) – Bk 11/11
EH3 7AF – (32 J 3) – Bk 40/6
Davy Nick Nack – (32 H 3) – Glasgow Assembly
* * * * * * * * * *
The Ferryboat:- A very simple circle dance and enough to almost loosen up muscles and minds. Otherwise, for those not geographically challenged, tedious if on a steady diet of the dance. That was the combined opening warmup.
Experienced Class:-
Chased Lovers:- By Tim Wilson and it is a Gem!! (Just included in my Top 50 Jigs - that makes 54)
The two diagonal reels of 3 are a delight. Individually they are in tandem, but there is a lead change between them that, IMHO, make the dance. They start out the ends - the 1st reel out the top Lsh to 2M, the 2nd reel out the bottom Rsh to 3M and between the two there is a transitional moment, Rsh back together to change from facing up to facing down. Nice! A covering moment missed by all too many dancers.
Corners Pass & Turn - How do you get corners to dance ALL four bars? Why don't they? Sheesh! Do I sound frustrated, and maybe a wee bit upset? No? Then you aren't listening! I sincerely wish you better success at this than I've had. … … I am smiling, thinking about waltzing with some of these dancers and only dancing three steps out of four.... I mean, that is what the 3/4 means, isn't it? :-))
Karin's Strathspey:- It was… interesting shall I say, to watch the Newcastle Festival video of this dance and compare their interpretation to what the instructions actually say.
On the video I saw was a clear separation of dancers - all dropping hands after the turns and dancing out to position, corners ending home and 1s in the middle or on sides, and then all raising hands as they dance into the circles.
Very pretty. But that is not what I read.
9-12 1st couple set to first corners (who also set) advancing to finish back to back. They turn their first corners with both hands almost once round.
13-16 Opening out, 1st couple lead their corners into four hands once round to their left. 1st man finishes between 3rd couple and 1st woman between 2nd couple, facing each other.
That from Derek Haynes' Carnforth Collection and it is very clear - between the turns and the circles you keep hands joined!
This from RSCDS:
9-12 1st couple and first corners set, 1st couple advancing to finish back to back. 1st couple and first corners, giving both hands, turn.
13-16 1st couple lead corners into four hands once round to the left. 1st woman finishes between 2nd couple facing down and 1st man between 3rd couple facing up.
Not as clear. The word 'lead' suggests that hands are still joined but by not including the words "opening out" whether or not you DO keep hands joined is open to interpretation. The performance team at Newcastle chose not to keep hands joined. Since that is the only video (http://my.strathspey.org/dd/dance/3397/) it demonstrates the dance wrongly. Oops.
Saltire Society Reel:- This one bears repeat teaching.
There is one subtle point that I didn't get across.
Corners got the set for 4 bars, advancing on the 3rd and 4th into hands across. The corners got that they leave the hands across and dance out to place. The 1C got that the hands across only goes for 3 bars because once the corners leave they can stop dancing. Riiight! Again the 3 out of 4 syndrome, only in a new application of the theory.
So in a profound revelation I have concluded that a new emphasis is required - I have to stress that in the hands across 1C have use all four allotted bars of music and to keep going until they face 2nd corners!
Format at the NYB is decidedly different and more difficult. There are severe time constraints, only two and a half hours for the entire evening and that includes warmup and tea time.
7:30 - 7:45 Warmup for all
Classes split
7:45 - 8:45 Experienced/Basics classes meet
8:45 - 9:00 Tea
9:00 - 9:50 Combined Social (we need to be out by 10:00).
There is no time to fumble in the teaching - it has to be clean and correct.
Dances of the night:-
Warmup:
The Ferryboat – (32 J n circle mixer) – Let's All Dance
Experienced Class:
Chased Lovers – (32 J 3) – World Wide Weavings
Karin's Strathspey – (32 S 3) – 3rd Graded Bk
Saltire Society Reel – (32 R 3) – L28/Goldring
Social Class:
Machine Without Horses – (32 J 3) – Bk 12/12
Rakes of Glasgow – (32 S 3) – Bk 11/11
EH3 7AF – (32 J 3) – Bk 40/6
Davy Nick Nack – (32 H 3) – Glasgow Assembly
* * * * * * * * * *
The Ferryboat:- A very simple circle dance and enough to almost loosen up muscles and minds. Otherwise, for those not geographically challenged, tedious if on a steady diet of the dance. That was the combined opening warmup.
Experienced Class:-
Chased Lovers:- By Tim Wilson and it is a Gem!! (Just included in my Top 50 Jigs - that makes 54)
The two diagonal reels of 3 are a delight. Individually they are in tandem, but there is a lead change between them that, IMHO, make the dance. They start out the ends - the 1st reel out the top Lsh to 2M, the 2nd reel out the bottom Rsh to 3M and between the two there is a transitional moment, Rsh back together to change from facing up to facing down. Nice! A covering moment missed by all too many dancers.
Corners Pass & Turn - How do you get corners to dance ALL four bars? Why don't they? Sheesh! Do I sound frustrated, and maybe a wee bit upset? No? Then you aren't listening! I sincerely wish you better success at this than I've had. … … I am smiling, thinking about waltzing with some of these dancers and only dancing three steps out of four.... I mean, that is what the 3/4 means, isn't it? :-))
Karin's Strathspey:- It was… interesting shall I say, to watch the Newcastle Festival video of this dance and compare their interpretation to what the instructions actually say.
On the video I saw was a clear separation of dancers - all dropping hands after the turns and dancing out to position, corners ending home and 1s in the middle or on sides, and then all raising hands as they dance into the circles.
Very pretty. But that is not what I read.
9-12 1st couple set to first corners (who also set) advancing to finish back to back. They turn their first corners with both hands almost once round.
13-16 Opening out, 1st couple lead their corners into four hands once round to their left. 1st man finishes between 3rd couple and 1st woman between 2nd couple, facing each other.
That from Derek Haynes' Carnforth Collection and it is very clear - between the turns and the circles you keep hands joined!
This from RSCDS:
9-12 1st couple and first corners set, 1st couple advancing to finish back to back. 1st couple and first corners, giving both hands, turn.
13-16 1st couple lead corners into four hands once round to the left. 1st woman finishes between 2nd couple facing down and 1st man between 3rd couple facing up.
Not as clear. The word 'lead' suggests that hands are still joined but by not including the words "opening out" whether or not you DO keep hands joined is open to interpretation. The performance team at Newcastle chose not to keep hands joined. Since that is the only video (http://my.strathspey.org/dd/dance/3397/) it demonstrates the dance wrongly. Oops.
Saltire Society Reel:- This one bears repeat teaching.
There is one subtle point that I didn't get across.
Corners got the set for 4 bars, advancing on the 3rd and 4th into hands across. The corners got that they leave the hands across and dance out to place. The 1C got that the hands across only goes for 3 bars because once the corners leave they can stop dancing. Riiight! Again the 3 out of 4 syndrome, only in a new application of the theory.
So in a profound revelation I have concluded that a new emphasis is required - I have to stress that in the hands across 1C have use all four allotted bars of music and to keep going until they face 2nd corners!
Subscribe to:
Posts (Atom)