Just another evening of dance. A few dances from the upcoming Westchester New Year's eve program and a few from the Kilts and Ghillies' Tea Dance program and we have an full evening.
The evening's dances were:
Cabbages and Kings (32 J 3) Harbour City Coll.
The Dean Bridge of Edinburgh (32 S 3) Bk 23/4
The Chicago Loop (32 R 3) Kent Smith
The Elusive Muse (32 J 3 set) Tim Wilson
The Border Weavers (32 S 3 set) Alex Grey
Christine M. Phillips (32 J 3) Bk 46/1
Broadway (32 S 3 set) Chris Ronald
**********
Cabbages and Kings:- A simple introduction to corners and a fine opening (read warm-up) dance.
The Dean Bridge of Edinburgh:- I taught this in 2002 and not again until this summer. It is growing on me but isn't likely to become my favourite strathspey of all time but, as I said, it is growing on me. I am not sure why the original directions for bars 17-20 read as two simultaneous half rights & lefts with the couple at the top crossing to begin and 3rd and 1st couples facing on the side to begin. It is an interesting concept but all it really is is a half grand chain 2 bars per hand. I find it much easier for the dancers to wrap their aching heads around that concept then the "as written" one.
The Chicago Loop:- This dance, in the words of the great contra-dance caller Ralph Paige, is "a little stinker".
Looks nice and easy until you have to remember the correct hand to use on bar 21.
The Elusive Muse:- This dance keeps garnering hearty applause and wide smiles when it is over. Neat dance and well deserving of its Dancer's Choice Award. Tim Wilson has written a number of very nice dances and is fast becoming one of my favourite devisors. I have put this one, and two others of his, on the Kilts and Ghillies Tea Dance in the hope that he becomes popular. He deserves it.
The Border Weavers:- The music for this dance is just scrumptious and carries the dance. Which needs space so the set can expand to accommodate the three couple petronella into line. Only a B/B+ dance in my opinion the music kicks it up a notch and it is worth doing again.
Christine M. Phillips:- A dancer's dance. If you still do not know how to dance a half reel of four, still do not know that if you start in the middle you MUST pass somebody by left shoulders on bar 4 you should stay in your chair. This dance rewards good knowledgeable dancers and that is why it too is on the Kilts and Ghillies Tea Dance program.
Broadway:- What a neat dance! Recommended.
Tuesday, December 13, 2011
Thursday, December 8, 2011
Elmsford - 30 November 2011
What an eventful evening! Margaret Green, our 93yo wonder, took a serious tumble while casting around first corner, took a pressure cut from her glasses and cracked or bruised (we're not yet sure which) a rib. EMTs, police, fire and ambulance, ride to the hospital, all in all the full nine yards, and I took over the class that evening because Sue Ferguson was still under the weather, and she is almost never under the weather. Even with all that and only about 24 hour notice I had a good evening teaching. Which begs the question: what is a good evening for a teacher. For me it is an evening where I make no major faux pas, at least one person has an "aha!" moment and that night it was I.
My moment came when I taught Jean Attwood's dance Five Penny Ness to a group of of good dancers who had a tough time with it. It hadn't looked difficult, in fact it looked positively easy, even easy enough for beginners, and all I can say now is that looks can be deceiving. This dance does NOT dance as easily as it looks. (Some dances, especially most of John Drewry's, dance easier than they look or read). I took Five Penny Ness off the Kilts and Ghillies Tea Dance as soon as I got home that evening.
The dances I taught were:
The Captain (32 R 3) San Francisco Solstice Party
The Belle of Bon Accord (32 S 4) J. Drewry
Five Penny Ness (32 J 5) Jean Attwood
Ann Arbor (32 J 3) Bob Gregg
reprise of Ann Arbor
The Dancing Man (32 H 3) Roy Goldring
**********
The Belle of Bon Accord:- A lovely dance that I had not been exposed to until this year's John Drewry Night sponsored by the Brooklyn class of the NY Branch. Now on my top 50 strathspey list.
Five Penny Ness:- I think it is the meanwhile figure and the piece count which is high and the position changes at both ends. Scrapped. No longer on the Kilts and Ghillies Tea Dance program.
The Captain, Ann Arbor, and The Dancing Man I have discussed previously.
My moment came when I taught Jean Attwood's dance Five Penny Ness to a group of of good dancers who had a tough time with it. It hadn't looked difficult, in fact it looked positively easy, even easy enough for beginners, and all I can say now is that looks can be deceiving. This dance does NOT dance as easily as it looks. (Some dances, especially most of John Drewry's, dance easier than they look or read). I took Five Penny Ness off the Kilts and Ghillies Tea Dance as soon as I got home that evening.
The dances I taught were:
The Captain (32 R 3) San Francisco Solstice Party
The Belle of Bon Accord (32 S 4) J. Drewry
Five Penny Ness (32 J 5) Jean Attwood
Ann Arbor (32 J 3) Bob Gregg
reprise of Ann Arbor
The Dancing Man (32 H 3) Roy Goldring
**********
The Belle of Bon Accord:- A lovely dance that I had not been exposed to until this year's John Drewry Night sponsored by the Brooklyn class of the NY Branch. Now on my top 50 strathspey list.
Five Penny Ness:- I think it is the meanwhile figure and the piece count which is high and the position changes at both ends. Scrapped. No longer on the Kilts and Ghillies Tea Dance program.
The Captain, Ann Arbor, and The Dancing Man I have discussed previously.
Wednesday, November 30, 2011
New Haven Branch Class - 29 November 2011
There was a nice turnout last night - 7 couples plus an extra which made a nice even number for dancing The Earl of Mansfield, a four couple dance from John Drewry, published by the Society as a leaflet. And where have I been? I know I looked at it sometime ago and I usually have enough of an eye to pick out interesting and fun dances so how did I miss this one?
There is a "John Drewry" night dance coming up this weekend in Brooklyn, NY. That means there is a strong push from dancers to "be prepared" which can be rather limiting for teachers. I have, thankfully, gotten exposure to 2 dances I would never have done otherwise: The Earl of Mansfield and The Belle of Bon Accord. I am not sure I would put them in my top 10 list but they certainly make the top 50. Fun and different enough to be attention getters.
The evening's dances were:
Ann Arbor (32 J 3) Bob Gregg
Earl of Mansfield (48 R 4) John Drewry
Duchess Tree (32 S 3) John Drewry
The Elusive Muse (32 J 3) Tim Wilson
Anna Holden's Strathspey (32 S 2) John Drewry
Solway Reel (48 R 4) Joseph Killeen
**********
Ann Arbor :- It's a pleasant wee dance that does a very subtle but lovely thing: it sets the proper width of the set with the advance and retire in 2nd eight bar phrase. It is also a nice warm up to the rest of the evening. Thank you Bob.
Earl of Mansfield :- You will not survive falling asleep in this dance. And the 'hook' on which the entire dance hangs together is the bar 31-32 moment when 3rd couple must, absolutely must, end back in place with a proper gap between themselves and 2nd couple who are concurrently stepping up to top place. If 3C places themselves in the middle of the gap between 2C at the top and 4C at the bottom then poor 1st man has no idea who is truly his first corner (3L? 4L?) and the chance of recovery is, at best, poor.
Duchess Tree :- Two points. First - yes both 1C and 3C casts into the initial cross over reel but NOT in the same way. 3C is asked to (what I call) 'cuddle' cast. They dance into the middle to meet one another before they pull shoulders back and start their actual cast. I find teachers are leaving that piece of it out and dancers are doing what they are told, are not meeting, and that is throwing the timing of the reel off.
Secondly,the "Set, Circle, Turn (moving the circle along as you turn), Circle" sequence began here, in this dance, and is now, unfortunately, migrating - dancers are now doing it it other dances where there is no need to move the circle on and no has asked them to. They are doing that on their own and it needs to stop! It should remain unique to this dance (IMHO).
But the best dance of the night, the one that got a spontaneous standing ovation was...
The Elusive Muse :- Devised? by Tim Wilson and published in the San Francisco collection Measures of Pleasure this is a really fun dance full of tandem (not dolphin) half reels, a California Twirl and Set and Link for 3. A Dancer's Choice Award recipient and on the Kilts and Ghillies program in April. A Keeper!
I do not have a recording and have been using The Vale of Atholl jig medley by Mara Shea and Dave Wiesler off their Heather Hills CD.
Anna Holden's Strathspey :- One of my favourites! The key word for the 1st figure is control, control and more control. Having a good, properly wide set helps.
The Solway Reel :- The one name tune recording I have for this dance is, I regret to say, a poor one - I don't like the music chosen or how it is played so I continue to use the music I picked when I didn't have a proper recording at all. I use the Jimmy Blair set for Lady Sophia Ann of Bute off his old vinyl record Highland Dance Party. (Teacher's Choice Award).
This year the dance was on NY's Jeannie Carmichael Ball and I was called because they wanted 'my' music. I was certainly feeling warm and fuzzy (not to mention smug and self satisfied) after dancing it at West Point. By the way Parcel of Rogues is a wonderful band - two thumbs up.
There is a "John Drewry" night dance coming up this weekend in Brooklyn, NY. That means there is a strong push from dancers to "be prepared" which can be rather limiting for teachers. I have, thankfully, gotten exposure to 2 dances I would never have done otherwise: The Earl of Mansfield and The Belle of Bon Accord. I am not sure I would put them in my top 10 list but they certainly make the top 50. Fun and different enough to be attention getters.
The evening's dances were:
Ann Arbor (32 J 3) Bob Gregg
Earl of Mansfield (48 R 4) John Drewry
Duchess Tree (32 S 3) John Drewry
The Elusive Muse (32 J 3) Tim Wilson
Anna Holden's Strathspey (32 S 2) John Drewry
Solway Reel (48 R 4) Joseph Killeen
**********
Ann Arbor :- It's a pleasant wee dance that does a very subtle but lovely thing: it sets the proper width of the set with the advance and retire in 2nd eight bar phrase. It is also a nice warm up to the rest of the evening. Thank you Bob.
Earl of Mansfield :- You will not survive falling asleep in this dance. And the 'hook' on which the entire dance hangs together is the bar 31-32 moment when 3rd couple must, absolutely must, end back in place with a proper gap between themselves and 2nd couple who are concurrently stepping up to top place. If 3C places themselves in the middle of the gap between 2C at the top and 4C at the bottom then poor 1st man has no idea who is truly his first corner (3L? 4L?) and the chance of recovery is, at best, poor.
Duchess Tree :- Two points. First - yes both 1C and 3C casts into the initial cross over reel but NOT in the same way. 3C is asked to (what I call) 'cuddle' cast. They dance into the middle to meet one another before they pull shoulders back and start their actual cast. I find teachers are leaving that piece of it out and dancers are doing what they are told, are not meeting, and that is throwing the timing of the reel off.
Secondly,the "Set, Circle, Turn (moving the circle along as you turn), Circle" sequence began here, in this dance, and is now, unfortunately, migrating - dancers are now doing it it other dances where there is no need to move the circle on and no has asked them to. They are doing that on their own and it needs to stop! It should remain unique to this dance (IMHO).
But the best dance of the night, the one that got a spontaneous standing ovation was...
The Elusive Muse :- Devised? by Tim Wilson and published in the San Francisco collection Measures of Pleasure this is a really fun dance full of tandem (not dolphin) half reels, a California Twirl and Set and Link for 3. A Dancer's Choice Award recipient and on the Kilts and Ghillies program in April. A Keeper!
I do not have a recording and have been using The Vale of Atholl jig medley by Mara Shea and Dave Wiesler off their Heather Hills CD.
Anna Holden's Strathspey :- One of my favourites! The key word for the 1st figure is control, control and more control. Having a good, properly wide set helps.
The Solway Reel :- The one name tune recording I have for this dance is, I regret to say, a poor one - I don't like the music chosen or how it is played so I continue to use the music I picked when I didn't have a proper recording at all. I use the Jimmy Blair set for Lady Sophia Ann of Bute off his old vinyl record Highland Dance Party. (Teacher's Choice Award).
This year the dance was on NY's Jeannie Carmichael Ball and I was called because they wanted 'my' music. I was certainly feeling warm and fuzzy (not to mention smug and self satisfied) after dancing it at West Point. By the way Parcel of Rogues is a wonderful band - two thumbs up.
Wednesday, November 16, 2011
Gentle Annie 32 S 3 E. Hurd, Del Val 25th Anniversary Book
Gentle Annie
32 S 3C(4)
1-4 1C turn BH x1_1/2; end in 2nd place center of the dance
and stay close:
5-6 1C set right & strong left
7-8 1L 2C and 1M 3C dance RH Across halfway (2 steps)
9-12 All dance chase to other end and form lines of 3
- 1M btwn 3C at top facing down and 1W
btwn 2C in 3rd place facing up.
13-14 All set
15-16 1C advance to take promenade hold AS
2C 3C turn ptnr RH half round into promenade hold.
All end facing down.
17-24 3C Allemande - start down to begin, all retire to end
on prtnr's side of the dance. End 2, 1, 3 all improper.
25-30 Lsh Reels of 3 across the dance - 1M up. 1L down.
NB - 6 bar reels. All end facing prtnr.
31-32 All cross to own sides RH.
32 S 3C(4)
1-4 1C turn BH x1_1/2; end in 2nd place center of the dance
and stay close:
5-6 1C set right & strong left
7-8 1L 2C and 1M 3C dance RH Across halfway (2 steps)
9-12 All dance chase to other end and form lines of 3
- 1M btwn 3C at top facing down and 1W
btwn 2C in 3rd place facing up.
13-14 All set
15-16 1C advance to take promenade hold AS
2C 3C turn ptnr RH half round into promenade hold.
All end facing down.
17-24 3C Allemande - start down to begin, all retire to end
on prtnr's side of the dance. End 2, 1, 3 all improper.
25-30 Lsh Reels of 3 across the dance - 1M up. 1L down.
NB - 6 bar reels. All end facing prtnr.
31-32 All cross to own sides RH.
Dancing on the Heights - 14 November 2011
I have had an interesting week that culminated in a good class this Monday.
Let me begin with some ancient history.
I began dancing in 1976 and was soon doing a lot of the road trip thing. One of the road trips was an annual pilgrimage to the Delaware Valley Hogmanay ball where I met Eleanor and Robert Hurd who were a strong presence in the country dance world of contra, English and Scottish. Fast forward a few decades.
On Wednesday, Nov. 9th, at the Westchester end of session party Bob Houghton taught a dance (from the Delaware Valley 25th Anniversary book) which I had looked at years ago but never taught as I did not have the necessary music, a medley of Stephen Foster songs, and in his introduction to the dance Gentle Annie he mentioned that the dance had been written by his sister Eleanor who had married Robert Hurd and they subsequently introduced Bob to Scottish dancing.
Well, the dance stole a piece of my heart. I know this because I could remember it and write it down when I got home. I have taught it twice since then: on Sunday to Naomi Lasher's performance group - The Loch Leven Dancers, and on Monday to my class on the Heights. The response from both groups were smiles and applause even though I did not have the Stephen Foster music. Bob has promised me access to his tape when I am finally moved in at Livingston Street, my electronics are up and running and I am able to make digital copies of his analog tape. Cheers, whistles and stamping from resident peanut gallery.
Gentle Annie is utterly charming and I realized I needed to revisit the Delaware Valley 25th Anniversary book and re-view the dances. There are a number of good dances there and I have done the following: The Black Leather Kilt, The Blue Route, Bubbles in the Pond, Gentle Annie, It's Not Rocket Science, The Man in Waiting and Pete and Marilynn's Welcome Home. Commendable dances all - leaving me with five more dances to check out. The book is Recommended.
Back to Monday: I had notice that several of my regulars would not be attending and I was somewhat worried - Needlesly. The 8 dancers who showed up were great and that allowed me to play - the dances I pulled from my back pocket were all ones I have been looking at and wanting to test. Except for The Captain and The Dean Bridge of Edinburgh I had not taught any of the dances before this evening.
Monday evening's dances were:
The Captain (32 R 3) SF Solstice Party Book*
Gentle Annie (32 S 3) Del Valley 25th (E. Hurd)
Faradh Nam Fidhlearan (32 R 4) Many Happy Hours (Joubert)
Bubbles in the Pond (32 S 3) Del Valley 25th (K. Nealley)
Home and Away (32 R 3) Skelton - Celtic Book
Dean Bridge of Edinburgh (32 S 3) 23/4*
* These dances are on the Kilts and Ghillies Tea Dance program.
**********
The Captain :- A nice easy dance for everybody and there is a "kilt" moment between bars 24 and 25. The music I have been using is the Shea/Wiesler set for Sleepwalking and with that set of tunes the dance is smoking! I usually don't use reels for warm up dances but with only 2 bars of setting this one works if kept a bit down tempo.
Gentle Annie :- A gentle dance, a lovely dance. Reactions have been nothing but positive.
Faradh nam fidhlearan :- By Wouter Joubert, Pretoria, South Africa. My initial reading had me thinking a degree of difficulty of 5 out of 5 was appropriate. Dancers thought 3 to 4 out of 5 was more accurate. The one essential is this: dancers have to move! during the hands across into the tandem reels. The only other emphatic point is how the ladies end the reels of 3 and enter the reels of 4. Last figure (back-to-back and circles of 4) was considered by most of my class to be a cop out. My thinking is that if the dance is a difficult one then the dancers need the breathing space. If it is merely of middling difficulty then the dancer don't need the respite and my dancers are correct. I'm still on the fence.
Bubbles in the Pond :- Nice dance! - and that is also the response of the class. This was, as they remember it, their first exposure to the "Bubble Up" figure though I am sure some were present when I taught it in July 2009 (Station Master's Jig (Michael Bentley)).
In the bubble up Kate calls for the dancers to be on the sides facing in every two bars and the only way that can happen (IMHO) is if the dancers drop hands after every half turn. That is how I taught it but it needs exceptional dancing and rehearsal to be covered and looking good. Both the dancers and I preferred it when hands were kept throughout the moving turns.
Home and Away :- I thought I was going to have trouble with this one - it has the same middle figure as the dance "Best Set in the Hall". Which, as it turned out, most of the dancers knew so I didn't have any trouble at all. Lovely figure, lovely dance and the 2 half dolphin reels at the end are simply spiffin' and liked by all.
Christopher's observation that after setting to their corner 1st couple is always casting back to their own sides was very helpful
Dean Bridge of Edinburgh :- This dance is a sleeper but be warned - in Pilling the diagram for the last figure is VERY WRONG! No hands! And I (unlike Christopher) like the last figure. There may not be much eye contact/interaction between unpartnered dancers but there are lots of opportunities with partner.
As written the description of bars 17-20 call for 2 sets of half R&L. One standard (starting across), the other a variant (starting on the sides). What I see is 2 changes of a grand chain, and my dancers find the idea of the "chain" easier to comprehend.
Let me begin with some ancient history.
I began dancing in 1976 and was soon doing a lot of the road trip thing. One of the road trips was an annual pilgrimage to the Delaware Valley Hogmanay ball where I met Eleanor and Robert Hurd who were a strong presence in the country dance world of contra, English and Scottish. Fast forward a few decades.
On Wednesday, Nov. 9th, at the Westchester end of session party Bob Houghton taught a dance (from the Delaware Valley 25th Anniversary book) which I had looked at years ago but never taught as I did not have the necessary music, a medley of Stephen Foster songs, and in his introduction to the dance Gentle Annie he mentioned that the dance had been written by his sister Eleanor who had married Robert Hurd and they subsequently introduced Bob to Scottish dancing.
Well, the dance stole a piece of my heart. I know this because I could remember it and write it down when I got home. I have taught it twice since then: on Sunday to Naomi Lasher's performance group - The Loch Leven Dancers, and on Monday to my class on the Heights. The response from both groups were smiles and applause even though I did not have the Stephen Foster music. Bob has promised me access to his tape when I am finally moved in at Livingston Street, my electronics are up and running and I am able to make digital copies of his analog tape. Cheers, whistles and stamping from resident peanut gallery.
Gentle Annie is utterly charming and I realized I needed to revisit the Delaware Valley 25th Anniversary book and re-view the dances. There are a number of good dances there and I have done the following: The Black Leather Kilt, The Blue Route, Bubbles in the Pond, Gentle Annie, It's Not Rocket Science, The Man in Waiting and Pete and Marilynn's Welcome Home. Commendable dances all - leaving me with five more dances to check out. The book is Recommended.
Back to Monday: I had notice that several of my regulars would not be attending and I was somewhat worried - Needlesly. The 8 dancers who showed up were great and that allowed me to play - the dances I pulled from my back pocket were all ones I have been looking at and wanting to test. Except for The Captain and The Dean Bridge of Edinburgh I had not taught any of the dances before this evening.
Monday evening's dances were:
The Captain (32 R 3) SF Solstice Party Book*
Gentle Annie (32 S 3) Del Valley 25th (E. Hurd)
Faradh Nam Fidhlearan (32 R 4) Many Happy Hours (Joubert)
Bubbles in the Pond (32 S 3) Del Valley 25th (K. Nealley)
Home and Away (32 R 3) Skelton - Celtic Book
Dean Bridge of Edinburgh (32 S 3) 23/4*
* These dances are on the Kilts and Ghillies Tea Dance program.
**********
The Captain :- A nice easy dance for everybody and there is a "kilt" moment between bars 24 and 25. The music I have been using is the Shea/Wiesler set for Sleepwalking and with that set of tunes the dance is smoking! I usually don't use reels for warm up dances but with only 2 bars of setting this one works if kept a bit down tempo.
Gentle Annie :- A gentle dance, a lovely dance. Reactions have been nothing but positive.
Faradh nam fidhlearan :- By Wouter Joubert, Pretoria, South Africa. My initial reading had me thinking a degree of difficulty of 5 out of 5 was appropriate. Dancers thought 3 to 4 out of 5 was more accurate. The one essential is this: dancers have to move! during the hands across into the tandem reels. The only other emphatic point is how the ladies end the reels of 3 and enter the reels of 4. Last figure (back-to-back and circles of 4) was considered by most of my class to be a cop out. My thinking is that if the dance is a difficult one then the dancers need the breathing space. If it is merely of middling difficulty then the dancer don't need the respite and my dancers are correct. I'm still on the fence.
Bubbles in the Pond :- Nice dance! - and that is also the response of the class. This was, as they remember it, their first exposure to the "Bubble Up" figure though I am sure some were present when I taught it in July 2009 (Station Master's Jig (Michael Bentley)).
In the bubble up Kate calls for the dancers to be on the sides facing in every two bars and the only way that can happen (IMHO) is if the dancers drop hands after every half turn. That is how I taught it but it needs exceptional dancing and rehearsal to be covered and looking good. Both the dancers and I preferred it when hands were kept throughout the moving turns.
Home and Away :- I thought I was going to have trouble with this one - it has the same middle figure as the dance "Best Set in the Hall". Which, as it turned out, most of the dancers knew so I didn't have any trouble at all. Lovely figure, lovely dance and the 2 half dolphin reels at the end are simply spiffin' and liked by all.
Christopher's observation that after setting to their corner 1st couple is always casting back to their own sides was very helpful
Dean Bridge of Edinburgh :- This dance is a sleeper but be warned - in Pilling the diagram for the last figure is VERY WRONG! No hands! And I (unlike Christopher) like the last figure. There may not be much eye contact/interaction between unpartnered dancers but there are lots of opportunities with partner.
As written the description of bars 17-20 call for 2 sets of half R&L. One standard (starting across), the other a variant (starting on the sides). What I see is 2 changes of a grand chain, and my dancers find the idea of the "chain" easier to comprehend.
Thursday, October 20, 2011
Dancing on the Heights - 10 October 2011
There was a good turnout with a full set for most of the evening allowing me to explore several 4C dances.
The dances taught were:
Lassie wi' the lint white locks (32 S 2) Priddey - SDA #115
Ginger Sharks (32 R 3) Price - 8x32 Leaflet
Gary Scott's Jig (32 J 3) T. Wilson - Measures of Pleasure
Giradet House (32 S 4 sq) Francis Carr - leaflet
Ian Powrie's Farewell to Auchterarder (128 J 4 sq) leaflet
The Kilt Maker (32 R 4) P. Burrage - Pinewoods Coll 2
Maurice (32 S 2) G. Thomas - Dunsmuir Dances
**********
Lassie wi' the lint white locks :- I love a Tournee! Especially when it has an easy entry without any change of direction and the dance has an attractive variation of a standard figure (chevron back-to-back). Keeper!
Ginger Sharks :- A Quick and dirty teaching dance I wrote a few weeks ago and published on Lara's web site http://blog.lib.umn.edu/ldfs/8x32/2011/10/312350.html The dance will never receive a Dancer's Choice Award, but it was reasonably well liked when taught to the beginners in Westchester . I wanted to try it out to a more critical audience and what I got were smiles and "It's cute."
Gary Scott's Jig :- I am a Tim Wilson fan. He writes good dances. This one is simple enough (except for the Double Triangles) and the transition from 2nd corner half reel of four into position for the DTs is sweet enough to make the dance a keeper.
Giradet House :- How this dance came into my possession is a story I won't tell at this time. It is in the repertory of Naomi Lasher's Loch Leven Dancers and I got the verbal notes. I found the original directions today, here: <Giradet House> The crossing reels of four are a fun challenge in this otherwise simple dance.
Ian Powrie's Farewell to Auchterarder :- After the long thread on strathspey.org I just had to buy the original leaflet and I found that it was written as a palindrome. I have done it a lot over the years and I still find it fun.
The Kilt Maker :- Fun! Dancer's Choice Award! I believe the original is still available. And did I say "Fun!"?
Maurice :- I love this dance and it is still fresh after 19 teachings. Do it with your sweetie: it rocks. See previous posts if you want more.
The dances taught were:
Lassie wi' the lint white locks (32 S 2) Priddey - SDA #115
Ginger Sharks (32 R 3) Price - 8x32 Leaflet
Gary Scott's Jig (32 J 3) T. Wilson - Measures of Pleasure
Giradet House (32 S 4 sq) Francis Carr - leaflet
Ian Powrie's Farewell to Auchterarder (128 J 4 sq) leaflet
The Kilt Maker (32 R 4) P. Burrage - Pinewoods Coll 2
Maurice (32 S 2) G. Thomas - Dunsmuir Dances
**********
Lassie wi' the lint white locks :- I love a Tournee! Especially when it has an easy entry without any change of direction and the dance has an attractive variation of a standard figure (chevron back-to-back). Keeper!
Ginger Sharks :- A Quick and dirty teaching dance I wrote a few weeks ago and published on Lara's web site http://blog.lib.umn.edu/ldfs/8x32/2011/10/312350.html The dance will never receive a Dancer's Choice Award, but it was reasonably well liked when taught to the beginners in Westchester . I wanted to try it out to a more critical audience and what I got were smiles and "It's cute."
Gary Scott's Jig :- I am a Tim Wilson fan. He writes good dances. This one is simple enough (except for the Double Triangles) and the transition from 2nd corner half reel of four into position for the DTs is sweet enough to make the dance a keeper.
Giradet House :- How this dance came into my possession is a story I won't tell at this time. It is in the repertory of Naomi Lasher's Loch Leven Dancers and I got the verbal notes. I found the original directions today, here: <Giradet House> The crossing reels of four are a fun challenge in this otherwise simple dance.
Ian Powrie's Farewell to Auchterarder :- After the long thread on strathspey.org I just had to buy the original leaflet and I found that it was written as a palindrome. I have done it a lot over the years and I still find it fun.
The Kilt Maker :- Fun! Dancer's Choice Award! I believe the original is still available. And did I say "Fun!"?
Maurice :- I love this dance and it is still fresh after 19 teachings. Do it with your sweetie: it rocks. See previous posts if you want more.
Tuesday, September 13, 2011
Dancing on the Heights - 12 September 2011
Yesterday I threw a birthday party for myself with the help my friends and fellow dancers in New Haven.
I brought an ice cream pie and a bottle of champagne and was surprised with two more bottles of bubbly and a wonderful apple, pear and dried cherry crisp from Leslie Kearney. But best of all was the presence of my friends.
What I programmed was a set of dances that I like and hadn't done in ages.
The dances were:
Pete and Marilynn's Welcome Home (32 J 3) T. Glasspool
Scotland's Gardens (32 R 3) R. Goldring
Glen Feshie (32 S 3) Grampian Collection
Duncan's Jig (32 J 3) D. Ivory
Solway Reel (48 R 4) Carlisle and Border Anniversary
Ythanside (32 S 3) J. Drewry
Carlaverock Castle (32 R 3) P. Price
I brought an ice cream pie and a bottle of champagne and was surprised with two more bottles of bubbly and a wonderful apple, pear and dried cherry crisp from Leslie Kearney. But best of all was the presence of my friends.
What I programmed was a set of dances that I like and hadn't done in ages.
The dances were:
Pete and Marilynn's Welcome Home (32 J 3) T. Glasspool
Scotland's Gardens (32 R 3) R. Goldring
Glen Feshie (32 S 3) Grampian Collection
Duncan's Jig (32 J 3) D. Ivory
Solway Reel (48 R 4) Carlisle and Border Anniversary
Ythanside (32 S 3) J. Drewry
Carlaverock Castle (32 R 3) P. Price
Thursday, August 11, 2011
New Haven Summer Social - July and August 2011
6 September 2011 - Peter Price
Half Past Two (32 J 2) Jane Lataille
Tumbleweeds (32 J 4some) Jane Lataille
The Four Poster (32 S 4some) Terry Glasspool
30 August 2011 - Peter Price
The Red Baron (32 R 2) I. Boyd
Southwest Sunset (32 S 4some) J. Lataille
The Wandering Drummer (32 R 3 set) I. Boyd
The Painted Desert (32 S 3 set) J. Lataille
Sage and Salsa (16S+16R 3 set) J. Lataille
The Cramond Wedding (32 S 3 set) I. Boyd
23 August 2011 - Peter Price
Ann Arbour (32 J 3) Rbt. Gregg
The Docent's Tour (32 S 3) T. Wilson
The Bee's Wing (32 H 3) M. Briggs
The Song of the Waves (32 S 6) B. Priddey
Christine M. Phillips (32 J 3) 46/1
Broadway (32 S 3 set) C. Ronald
Arthur's Seat (32 R 3) 18C
16 August 2011 - Brian Haeckler
EH3 7AF (32 J 3) Roy Goldring
Rest and Be Thankful (32 R 3) Grampian Coll.
Autumn in Appin (32 S 4) 31/5
Thomas Glover's Reel (32 R 3) John Drewry
Equilibrium (32 J 3) Ian Barbour
Scott Meikle (32 R 3) 46/3
9 August 2011 - Brian Haeckler
Good Hearted Glasgow (32 J 3) Knapman
Whigmaleeries (32 R 3) Derek Ivory
Mrs Milne of Kineff (32 S 4 sq) L 32
The Clansman (32 R 2) 32/8
Pibroch Reel (32 R 3) Bob Gregg
Wind on Loch Fyne (32 S 3 tri) Roy Goldring
MacPherson's Jig (32 J 3 tri) Roger Bestwick
2 August 2011 - Brian Haeckler
Larkin's Song (32 J 3) Jo Hamilton
Peat Fire Flame (40 R 3) John Drewry
Craven Strathspey (32 S 3) Derek haynes
Abbotswell Jig (32 J 3) I. Cowrie (Peterhead Q.)
Broadway (32 S 3 set) Chris Ronald
Airie Bennan (32 J 5) Hugh Foss
St Columba's Strathspey (32 S 5 set) Sproule & Gillan
26 July 2011 - Brian Haeckler
Domino Five (32 R 5some) Derek Haynes
Untitled Jig (32 J 3 set) B. Haeckler
The Gardener's Fantasia (32 S 3 set) 46/2
Figure it Out (32 R 3 set) R. Goldring
Bauldy Bain's Fiddle (32 R 3) JB Dickson
Uncle Bill's Jig (32 J 2) Roy Goldring
Sauchie Haugh (32 S 2) Leaflets 12
Flight of the Falcon (32 J 3) B. Priddey
19 July 2011 - Brian Haeckler
Gloria's Wee Jig (32 J 2) B. McMurtry/Devil's Quandary
Grimaldi 700 (88 R 4) Roy Goldring
The Pleasure is Mine (32 S 2) Roy Goldring
The Pipe Opener (32 J 5) Roy Goldring
Lass of Richmond Hill (32 R 3) Fiona Turnbull
The Missing Turn (32 R 3) 46/5
Barbara's Strathspey (32 S 3) 46/4
12 July 2011
Leslie Kearney - no report
5 July 2011
Leslie Kearny - no report
Half Past Two (32 J 2) Jane Lataille
Tumbleweeds (32 J 4some) Jane Lataille
The Four Poster (32 S 4some) Terry Glasspool
30 August 2011 - Peter Price
The Red Baron (32 R 2) I. Boyd
Southwest Sunset (32 S 4some) J. Lataille
The Wandering Drummer (32 R 3 set) I. Boyd
The Painted Desert (32 S 3 set) J. Lataille
Sage and Salsa (16S+16R 3 set) J. Lataille
The Cramond Wedding (32 S 3 set) I. Boyd
23 August 2011 - Peter Price
Ann Arbour (32 J 3) Rbt. Gregg
The Docent's Tour (32 S 3) T. Wilson
The Bee's Wing (32 H 3) M. Briggs
The Song of the Waves (32 S 6) B. Priddey
Christine M. Phillips (32 J 3) 46/1
Broadway (32 S 3 set) C. Ronald
Arthur's Seat (32 R 3) 18C
16 August 2011 - Brian Haeckler
EH3 7AF (32 J 3) Roy Goldring
Rest and Be Thankful (32 R 3) Grampian Coll.
Autumn in Appin (32 S 4) 31/5
Thomas Glover's Reel (32 R 3) John Drewry
Equilibrium (32 J 3) Ian Barbour
Scott Meikle (32 R 3) 46/3
9 August 2011 - Brian Haeckler
Good Hearted Glasgow (32 J 3) Knapman
Whigmaleeries (32 R 3) Derek Ivory
Mrs Milne of Kineff (32 S 4 sq) L 32
The Clansman (32 R 2) 32/8
Pibroch Reel (32 R 3) Bob Gregg
Wind on Loch Fyne (32 S 3 tri) Roy Goldring
MacPherson's Jig (32 J 3 tri) Roger Bestwick
2 August 2011 - Brian Haeckler
Larkin's Song (32 J 3) Jo Hamilton
Peat Fire Flame (40 R 3) John Drewry
Craven Strathspey (32 S 3) Derek haynes
Abbotswell Jig (32 J 3) I. Cowrie (Peterhead Q.)
Broadway (32 S 3 set) Chris Ronald
Airie Bennan (32 J 5) Hugh Foss
St Columba's Strathspey (32 S 5 set) Sproule & Gillan
26 July 2011 - Brian Haeckler
Domino Five (32 R 5some) Derek Haynes
Untitled Jig (32 J 3 set) B. Haeckler
The Gardener's Fantasia (32 S 3 set) 46/2
Figure it Out (32 R 3 set) R. Goldring
Bauldy Bain's Fiddle (32 R 3) JB Dickson
Uncle Bill's Jig (32 J 2) Roy Goldring
Sauchie Haugh (32 S 2) Leaflets 12
Flight of the Falcon (32 J 3) B. Priddey
Gloria's Wee Jig (32 J 2) B. McMurtry/Devil's Quandary
Grimaldi 700 (88 R 4) Roy Goldring
The Pleasure is Mine (32 S 2) Roy Goldring
The Pipe Opener (32 J 5) Roy Goldring
Lass of Richmond Hill (32 R 3) Fiona Turnbull
The Missing Turn (32 R 3) 46/5
Barbara's Strathspey (32 S 3) 46/4
12 July 2011
Leslie Kearney - no report
Leslie Kearny - no report
Dancing on the Heights - 11July 2011
Another class with very small numbers:
I like all Terry Glasspool's foursomes. His "Four Paws" is a bit of a challenge with half reel of four meeting half variant Schiehallion Reel. All the other dances are straight forward and all of them fun.
The dances were:
This One's Four Isobel (32 S 4 dancers) T. Glasspool
Four of Diamonds (32 J 4 dancers) T. Glasspool
Four Paws (32 S 4 dancers) T. Glasspool
Dust Devils (32 J 4 dancers) J. Lataille
I like all Terry Glasspool's foursomes. His "Four Paws" is a bit of a challenge with half reel of four meeting half variant Schiehallion Reel. All the other dances are straight forward and all of them fun.
The dances were:
This One's Four Isobel (32 S 4 dancers) T. Glasspool
Four of Diamonds (32 J 4 dancers) T. Glasspool
Four Paws (32 S 4 dancers) T. Glasspool
Dust Devils (32 J 4 dancers) J. Lataille
Wednesday, June 29, 2011
New Haven Summer Social - 28 June 2011
An enjoyable evening was had by all and what a wonderful all it was. We had a 7 couples last night and I finally got to reintroduce Mary S. Brandon's Double Sixsome to the New Haven dancers. I last danced it sometime around 1979-1980 and I don't think it has been danced/taught in New Haven at anytime since then and that highlights the issue of numbers. 3 couples/4 couples make for nice easy teaching but 7 couples/8 couples makes for greater energy and oh the possibilities that now present themselves!
Bob Gregg retaught his dance, Ken McFarland's Reel, originally a reel, as a jig and that made all the difference. That slight difference in tempo meant there was more time for the dancers to 'get' there. By the second time through the dance came together and not only looked like a dance but the dancers were finally comfortable with what Bob was asking them to do. At the end there was a very positive response from the floor.
Last night's dances were:
The Elusive Muse - (32 J 3 set) - Tim Wilson
Double Sixsome - (64 R 6) - Mary Shoolbraid Brandon
Echoes of Strathglass - ( 32 S 3 set) - Malcolm Brown
Well Met in Paris - (32 H 3) - Terry Glasspool
Ken McFarland's Reel - (32 J 4) - Bob Gregg
The Docent's Tour - (32 S 3) - Tim Wilson
The Vale of Atholl - (32 J 3) - Evelyn Murray
**********
The Elusive Muse or Easily Led:- I first taught this two weeks ago and it just gets better. Oh it is by no means Tim's best, but it is still a very pleasant and social dance. It is good enough that I am considering it for the opening slot on next years Kilts and Ghillies Tea Dance. And yes, Virginia, I know it has 4 whole bars of pas de basque, a no-no for opening, so called warm up, dances, but they, the pdbs, are part of the last figure and I am not going to be looking at dancer's foot work in that particular situation.
Is it my imagination or is Set&Link for 3 becoming a popular figure? A personal favourite and, from the outside looking in, it is a visually stunning formation.
Double Sixsome:- I began dancing in 1976 and I remember dancing this soon thereafter. At the time it was a new dance, only 5 years old, and something of a rave dance at the time. That quickly passed because I don't believe it has been done in New Haven since. Last night may have been the second showing.
By current standards it is feels dated. It doesn't have the flow that we expect from a Drewry or Goldring dance, and there are interruptions as couples stand while others dance. I am not sure that 'dated' is really the right word to use. In traditional style is probably the more accurate description.
The response from the floor was better than luke warm but not excessively positive. I figure it should remain in the repertoire but not weekly or even monthly, perhaps once a season when the numbers allow, just for fun and as a break from the usual diet.
Echoes of Strathglass:- I give this one a Teacher's Choice award. I don't know that anyone else likes it as much as I do, but then, that's why I give out separate awards, one is mine and the other the dancer's.
It has showed up twice now as a nice, pleasant solid dance that uses a lovely figure devised by Terry Glasspool. My humble opinion - it is worth doing and it has a place in the repertoire along with all the standard RSCDS strathspeys.
Well Met in Paris:- Oh my! thank you Leslie Kearney for having the courage to teach this gem of a dance. I know that I held back because it read as difficult. You, however, saw that the reward was greater than the pain. So it went on the 2008 Kilts and Ghillies Ball, and is once again on the shortlist.
The swapover (dolphin) reels are fun and the entry into reels of 3 for 2nd C is just plain neat. Keeper.
Ken McFarland's Reel:- a nice piece of choreography. Still under construction but we worked out some issues - better as a jig than as a reel was the big one. Coming Real Soon Now.
The Docent's Tour:- Last night it received a Dancer's Choice Award, with applause. From the San Francisco Branch's publication Measures of Pleasure, which came to my attention by way of Leslie Kearney. She may have found the book first, but I found the dance!
The book is full of good dances, not just one or two - so, a Teacher's Choice Award for Measure's of Pleasure.
The Vale of Atholl:- Consensus from the floor, not a great dance but the music is. The music is by Mara Shea and Dave Wiesler on their CD Heather Hills. And the music is why I taught the dance which is not going on the short list.
Bob Gregg retaught his dance, Ken McFarland's Reel, originally a reel, as a jig and that made all the difference. That slight difference in tempo meant there was more time for the dancers to 'get' there. By the second time through the dance came together and not only looked like a dance but the dancers were finally comfortable with what Bob was asking them to do. At the end there was a very positive response from the floor.
Last night's dances were:
The Elusive Muse - (32 J 3 set) - Tim Wilson
Double Sixsome - (64 R 6) - Mary Shoolbraid Brandon
Echoes of Strathglass - ( 32 S 3 set) - Malcolm Brown
Well Met in Paris - (32 H 3) - Terry Glasspool
Ken McFarland's Reel - (32 J 4) - Bob Gregg
The Docent's Tour - (32 S 3) - Tim Wilson
The Vale of Atholl - (32 J 3) - Evelyn Murray
**********
The Elusive Muse or Easily Led:- I first taught this two weeks ago and it just gets better. Oh it is by no means Tim's best, but it is still a very pleasant and social dance. It is good enough that I am considering it for the opening slot on next years Kilts and Ghillies Tea Dance. And yes, Virginia, I know it has 4 whole bars of pas de basque, a no-no for opening, so called warm up, dances, but they, the pdbs, are part of the last figure and I am not going to be looking at dancer's foot work in that particular situation.
Is it my imagination or is Set&Link for 3 becoming a popular figure? A personal favourite and, from the outside looking in, it is a visually stunning formation.
Double Sixsome:- I began dancing in 1976 and I remember dancing this soon thereafter. At the time it was a new dance, only 5 years old, and something of a rave dance at the time. That quickly passed because I don't believe it has been done in New Haven since. Last night may have been the second showing.
By current standards it is feels dated. It doesn't have the flow that we expect from a Drewry or Goldring dance, and there are interruptions as couples stand while others dance. I am not sure that 'dated' is really the right word to use. In traditional style is probably the more accurate description.
The response from the floor was better than luke warm but not excessively positive. I figure it should remain in the repertoire but not weekly or even monthly, perhaps once a season when the numbers allow, just for fun and as a break from the usual diet.
Echoes of Strathglass:- I give this one a Teacher's Choice award. I don't know that anyone else likes it as much as I do, but then, that's why I give out separate awards, one is mine and the other the dancer's.
It has showed up twice now as a nice, pleasant solid dance that uses a lovely figure devised by Terry Glasspool. My humble opinion - it is worth doing and it has a place in the repertoire along with all the standard RSCDS strathspeys.
Well Met in Paris:- Oh my! thank you Leslie Kearney for having the courage to teach this gem of a dance. I know that I held back because it read as difficult. You, however, saw that the reward was greater than the pain. So it went on the 2008 Kilts and Ghillies Ball, and is once again on the shortlist.
The swapover (dolphin) reels are fun and the entry into reels of 3 for 2nd C is just plain neat. Keeper.
Ken McFarland's Reel:- a nice piece of choreography. Still under construction but we worked out some issues - better as a jig than as a reel was the big one. Coming Real Soon Now.
The Docent's Tour:- Last night it received a Dancer's Choice Award, with applause. From the San Francisco Branch's publication Measures of Pleasure, which came to my attention by way of Leslie Kearney. She may have found the book first, but I found the dance!
The book is full of good dances, not just one or two - so, a Teacher's Choice Award for Measure's of Pleasure.
The Vale of Atholl:- Consensus from the floor, not a great dance but the music is. The music is by Mara Shea and Dave Wiesler on their CD Heather Hills. And the music is why I taught the dance which is not going on the short list.
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