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.
Wednesday, June 29, 2011
Tuesday, June 28, 2011
New Haven Summer Social - 21 June 2011
I seem to be a little behind. We dance tonight and I am just posting last weeks dances.
The evenings dances were:
MacFarlane's Geese (32 R 4) Jean Attwood
Carlaverock Castle (32 R 3) Peter Price (that's me!)
The Docent's Tour (32 S 3) Tim Wilson (Measures of Pleasure)
Dancin' Witches (32 J 3) Edwin Werner (Dragonflies)
Glen Nevis (32 S 4) Diane L. Dow (Pinewoods Coll)
Romance of the Waimarie (40 J 4) Bevin Shaw - Oaks in Autumn
**********
MacFarlane's Geese:- A nice retake on Wild Geese with a delightful last eight bars - I just love a stealth progression! But the dance just didn't have the spark that would have made it memorable. Please note, I did NOT say I would't teach the dance again, 'cause I will, but with different music. I used The Danelaw band set of 4x32 Reels based on Caddam Wood. The virtual dancers in my head loved the combination but the dancers on the floor may not have.
Romance of the Waimarie:- The best I can say is "Eh". I love Bevin's dance Those Russians - this one, compared to that one is a bust. Nice concept with the fwd and reverse paddle wheel and i liked the corners moving up with 1C into 3 hands across, but the 8 bar setting figure was a big why? The overall, and unanimous response was "Don't bother?"
Carlaverock Castle:- It is a good thing to do, to sit on a dance for a couple of years, not teaching it, and then to revisit it. I know what I wanted when I wrote the dance, but sometimes I lose sight of it, and when I return to it I fall in love with it all over again, only this time it isn't as personal and there is a fuller appreciation of what I achieved in the dance.
Please - use Muriel Johnstone's recording of Lady Dumfries if you possibly can.
The Docent's Tour:- Oh my, this one has it, that ineffable something that puts this dance on my Top 50 list and on my short short list of dances for the 2012 Kilts & Ghillies Tea Dance - and it is so simple that surely someone else has written this dance before, haven't they? I am very glad that it was Tim Wilson though because I like almost everything of his that I have seen. This teacher's Choice Award.
Dancin' Witches:- Just another dance until you experience the transition between the reels of 3 across into the reel of 4 on the diagonal. That is a nice moment and makes this one a keeper. From the Bob McMurtry publication Dragonflies.
Glen Nevis:- I had hopes that this would be a keeper - it probably isn't. The figure that I call a Grand Figure Eight might work with quite a bit more work but, frankly, it just isn't enough reward for the effort required. And I feel like a traitor because I know and like Diane Dow - she used to dance in New Haven and was a favourite of mine. I wish her well where ever she may now be.
The evenings dances were:
MacFarlane's Geese (32 R 4) Jean Attwood
Carlaverock Castle (32 R 3) Peter Price (that's me!)
The Docent's Tour (32 S 3) Tim Wilson (Measures of Pleasure)
Dancin' Witches (32 J 3) Edwin Werner (Dragonflies)
Glen Nevis (32 S 4) Diane L. Dow (Pinewoods Coll)
Romance of the Waimarie (40 J 4) Bevin Shaw - Oaks in Autumn
**********
MacFarlane's Geese:- A nice retake on Wild Geese with a delightful last eight bars - I just love a stealth progression! But the dance just didn't have the spark that would have made it memorable. Please note, I did NOT say I would't teach the dance again, 'cause I will, but with different music. I used The Danelaw band set of 4x32 Reels based on Caddam Wood. The virtual dancers in my head loved the combination but the dancers on the floor may not have.
Romance of the Waimarie:- The best I can say is "Eh". I love Bevin's dance Those Russians - this one, compared to that one is a bust. Nice concept with the fwd and reverse paddle wheel and i liked the corners moving up with 1C into 3 hands across, but the 8 bar setting figure was a big why? The overall, and unanimous response was "Don't bother?"
Carlaverock Castle:- It is a good thing to do, to sit on a dance for a couple of years, not teaching it, and then to revisit it. I know what I wanted when I wrote the dance, but sometimes I lose sight of it, and when I return to it I fall in love with it all over again, only this time it isn't as personal and there is a fuller appreciation of what I achieved in the dance.
Please - use Muriel Johnstone's recording of Lady Dumfries if you possibly can.
The Docent's Tour:- Oh my, this one has it, that ineffable something that puts this dance on my Top 50 list and on my short short list of dances for the 2012 Kilts & Ghillies Tea Dance - and it is so simple that surely someone else has written this dance before, haven't they? I am very glad that it was Tim Wilson though because I like almost everything of his that I have seen. This teacher's Choice Award.
Dancin' Witches:- Just another dance until you experience the transition between the reels of 3 across into the reel of 4 on the diagonal. That is a nice moment and makes this one a keeper. From the Bob McMurtry publication Dragonflies.
Glen Nevis:- I had hopes that this would be a keeper - it probably isn't. The figure that I call a Grand Figure Eight might work with quite a bit more work but, frankly, it just isn't enough reward for the effort required. And I feel like a traitor because I know and like Diane Dow - she used to dance in New Haven and was a favourite of mine. I wish her well where ever she may now be.
Wednesday, June 15, 2011
New Haven Summer Social - 14 June 2011
Windsor held it's end of season party last night, and several of our regulars must have gone because we barely scrapped together a 3 couple set and there I was scrambling yet again. I couldn't do any of the 4C dances I had planned, got to try one of Monday's dances with different music and we all had a wonderful time and managed to work through 8 dances, some not so easy.
Tuesday's dances were:
The Four Winds (32 R 4-some) T. Glasspool
Gifts (32 S 3 set) I. van Maarseveen
Crossing the Brook (32 R 3 set) R. Goldring
The Dean Bridge of Edinburgh (32 S 3) 23/4
The Elusive Muse (32 J 3 set) Tim Wilson
Age of Aquarius (32 S 3) Tim Wilson
The Captain (32 R 3) R. King
The Flourish (32 S 3) Tim Wilson
**********
The Four Winds:- From the pen of Terry Glasspool and thank goodness. All these new dances for groups with small numbers are a god send. And Terry's are among the most elegant and witty of the lot. This one is spare and simple but the 'side' dancer's need to change directions adds just enough spice that no one's going to sleepwalk through the dance .
Gifts:- By Irene van Maarseveen, published in Pretoria Branch's book Many Happy Hours, I taught it on Monday to one set of tunes that worked but didn't really fit the dance. Last night I taught to a different set of tunes (for the dance Forget Me Knot) and it was just plain better. I still want a 3x through recording of the hymn which would be 'the bomb' (as I have heard tell). But as a good second choice Forget Me Knot works well. And I still like this simple dance - it is most definitely on the short short list for next year's ball.
Crossing the Brook:- by Goldring from his Social Dances 2002, we had to modify it slightly to make it work for a 3C set. Good dance, but I am not willing to put it on my Top 50 list. It just doesn't have that little something that puts a dance over the top and makes it special. That could be my fault as I didn't choose the music wisely, and Muriel's recording for the dance might have been what was missing.
The Dean Bridge of Edinburgh- From the pen of Alec Hay and I like it even though I am not sure what to make of the last eight bars. There is a curious disconnect between the dancers during the advance and retires and I am not sure how or even if I should get them to make eye contact. But NO HANDS! Handing in the last formation would make the dance very unpleasant.
The Elusive Muse:- one of Tim Wilson's contributions to the San Francisco publication Measures of Pleasure. And what a delightful contribution it is too. Once I finally figured out my note card was missing a bit of vital information - namely that the dance was for a 3C set - I finally picked some good music: Muriel Johnstone's set for Heid of the Bay from the Port-no-quay Collection. Another short listed dance working it's way up the list.
Age of Aquarius:- Another Tim Wilson dance (is there a theme developing here I hear you ask, ah...yep).
I like what I am seeing from this guy. A bit more difficult than most of his other dances this one is going to take a few coaching sessions to get just right. But I like what Tim is doing with Terry Glasspool's box setting. Pure genius to invent the figure, genius too to see other possibilities, in this case to see you could rotate the figure to the corners.
The Captain:- From San Francisco Branch's Solstice Party Book. Simple choreography, certainly not very original, but with the right jaunty maybe even pushy reel it garnered a Dancer's Choice Award. I used Dave Wiesler and Mara Shea's recording for Sleepwalking off their CD "Heather Hills". Recording: highly recommended. The book of dances: ditto.
The Flourish:- As the last dance of the evening I was really pushing the envelope with this dance. A lovely dance with lots of opportunities to embroider, but too much too late in the evening. I would dearly love to see this done at a party with kilts and gowns swirling.
Tuesday, June 14, 2011
Dancing on the Heights - 14 June 2011
The usual suspects were there which left us one person shy of a full set. I am accumulating a substantial back log of four couple dances that need trials. The classes in New Haven are the only ones that continue through the summer and the sad fact is very few dancers from other classes choose to join us.
I have received another shipment from TACBooks: Measures of Pleasure (San Francisco); Many Happy Hours (Pretoria); Just Desserts (SW Washington/Vancouver); Oaks in Autumn (Bevin Shaw-NZ); Dunedin Dances Book 4 (which Dunedin I don't know); and, I am taking a long overdue look at the Pinewoods collections where I am finding some sleepers.
I bought Many Happy Hours because the related thread on Strathspey had so many positive reviews. Oaks in Autumn I bought because it includes Those Russians which I taught to the Loch Leven Dancers (Naomi Lasher's NY performance troupe, which they raved over) and I want to see whether or not he is a one dance wonder. I am willing to give any Tim Wilson dance a try - that's why Measures of Pleasure and Just Desserts.
The hard part is that many of the interesting dances I am finding require 4 couples and the classes over the summer are not likely to draw those numbers consistently leading to that aforementioned backlog.
Anyway back to dancing,
Last night's dances were:
The Elusive Muse (32 J 3 set) Tim Wilson
Greyfriar's Bobby (32 S 3 set) B. Priddey
New Biggin (48 J 3) Leaflet 33/1
Gifts (32 S 3 set) Maarseveen
Carlaverock Castle (32 R 3) P. Price
Maurice (32 S 2) G. Thomas
**********
The Elusive Muse, or Easily Led:- By Tim Wilson from Measures of Pleasures. It is a sweet little dance! It landed on my short list for the next Kilts and Ghilllies's Ball the moment I danced it. Easy but interesting and nothing weird about it.
Greyfriars Bobby:- Another wonderful dance by Barry Priddey. It requires constant attention. You can't relax your guard, especially not during the last figure where the dynamic changes each round depending on who is leads the chases. It also has a very interesting transition from reel of three on sides into Allemande. But ever so sweet a dance. I have been using the Dave Wiesler-Mara Shea recording of strathspeys for the dance Forget Me Knot. (Wow! and yet again wow!).
I have taught this dance 3 times now and the response is unfailingly positive and it has received a Dancer's Choice Award. Obviously I have short listed it for the K&G 2012 Ball.
New Biggin:- While I was a regular at Pinewoods dance camp, there was on open glade among the pines where a dance pavilion once stood - Named for an Englich Country Dance (one guess -...) - that's right New Biggin - it stands again having finally been rebuild a few year ago.
I haven't checked the ECD sources to compare interpretations but this is an old dance with slightly crank choreography. i.e. it doesn't have the smooth flow that we now expect in a dance. So some liked it and some didn't. A matter of taste.
I have never liked the "usual" method of transitioning from a circle of three with couple x to a circle of three with couple y - in most cases the 'flip' has never felt right to me and I have seen few dancers handle it gracefully. So I tried something different last night - The prior LH turn lent itself to starting the first (LH) circle with 1st C (lady up, man down) in the center, back to back with partner. But I had the dancers end that circle in place on the side lines and start their RH circle (with the other couple) from the sides and that worked well. Especially for those in the class with 'new' knees.
It is a long dance, 1C centric in that 2nd and 3rd couples don't have a lot to do. For some boring, for others a relief, especially if the dance is programmed later in a program. Time to rest and socialize.
Gifts:- From Many Happy Hours. This is a quiet gem! Since I know of, and certainly don't have, a SCD recording of the hymn simple Gifts I had to use a generic, sweet, 3 times through strathspey. Good, but not sufficient. The consensus is that the dance needs its proper tune, and would approach the sublime. I agree. This dance needs Simple Gifts, played three times as tune + variation(s). I wasn't expecting much having only read the dance but boy am I glad to be wrong. This dance is a gift. A keeper.
Carlaverock Castle:- 2006, while listening to cd music became inspired by the laid back nature of Muriel Johnstone's recording of Lady Dumfries. This dance (one of my better efforts) is the result. I will get it up on 8x32 Real Soon Now.
I have received another shipment from TACBooks: Measures of Pleasure (San Francisco); Many Happy Hours (Pretoria); Just Desserts (SW Washington/Vancouver); Oaks in Autumn (Bevin Shaw-NZ); Dunedin Dances Book 4 (which Dunedin I don't know); and, I am taking a long overdue look at the Pinewoods collections where I am finding some sleepers.
I bought Many Happy Hours because the related thread on Strathspey had so many positive reviews. Oaks in Autumn I bought because it includes Those Russians which I taught to the Loch Leven Dancers (Naomi Lasher's NY performance troupe, which they raved over) and I want to see whether or not he is a one dance wonder. I am willing to give any Tim Wilson dance a try - that's why Measures of Pleasure and Just Desserts.
The hard part is that many of the interesting dances I am finding require 4 couples and the classes over the summer are not likely to draw those numbers consistently leading to that aforementioned backlog.
Anyway back to dancing,
Last night's dances were:
The Elusive Muse (32 J 3 set) Tim Wilson
Greyfriar's Bobby (32 S 3 set) B. Priddey
New Biggin (48 J 3) Leaflet 33/1
Gifts (32 S 3 set) Maarseveen
Carlaverock Castle (32 R 3) P. Price
Maurice (32 S 2) G. Thomas
**********
The Elusive Muse, or Easily Led:- By Tim Wilson from Measures of Pleasures. It is a sweet little dance! It landed on my short list for the next Kilts and Ghilllies's Ball the moment I danced it. Easy but interesting and nothing weird about it.
Greyfriars Bobby:- Another wonderful dance by Barry Priddey. It requires constant attention. You can't relax your guard, especially not during the last figure where the dynamic changes each round depending on who is leads the chases. It also has a very interesting transition from reel of three on sides into Allemande. But ever so sweet a dance. I have been using the Dave Wiesler-Mara Shea recording of strathspeys for the dance Forget Me Knot. (Wow! and yet again wow!).
I have taught this dance 3 times now and the response is unfailingly positive and it has received a Dancer's Choice Award. Obviously I have short listed it for the K&G 2012 Ball.
New Biggin:- While I was a regular at Pinewoods dance camp, there was on open glade among the pines where a dance pavilion once stood - Named for an Englich Country Dance (one guess -...) - that's right New Biggin - it stands again having finally been rebuild a few year ago.
I haven't checked the ECD sources to compare interpretations but this is an old dance with slightly crank choreography. i.e. it doesn't have the smooth flow that we now expect in a dance. So some liked it and some didn't. A matter of taste.
I have never liked the "usual" method of transitioning from a circle of three with couple x to a circle of three with couple y - in most cases the 'flip' has never felt right to me and I have seen few dancers handle it gracefully. So I tried something different last night - The prior LH turn lent itself to starting the first (LH) circle with 1st C (lady up, man down) in the center, back to back with partner. But I had the dancers end that circle in place on the side lines and start their RH circle (with the other couple) from the sides and that worked well. Especially for those in the class with 'new' knees.
It is a long dance, 1C centric in that 2nd and 3rd couples don't have a lot to do. For some boring, for others a relief, especially if the dance is programmed later in a program. Time to rest and socialize.
Gifts:- From Many Happy Hours. This is a quiet gem! Since I know of, and certainly don't have, a SCD recording of the hymn simple Gifts I had to use a generic, sweet, 3 times through strathspey. Good, but not sufficient. The consensus is that the dance needs its proper tune, and would approach the sublime. I agree. This dance needs Simple Gifts, played three times as tune + variation(s). I wasn't expecting much having only read the dance but boy am I glad to be wrong. This dance is a gift. A keeper.
Carlaverock Castle:- 2006, while listening to cd music became inspired by the laid back nature of Muriel Johnstone's recording of Lady Dumfries. This dance (one of my better efforts) is the result. I will get it up on 8x32 Real Soon Now.
Wednesday, June 8, 2011
New Haven Summer Social - 7 June 2011
What can I say? Four dancers showed tonight, all men. Which left me with very little choice in what I taught, Terry Glasspool, more Terry Glasspool, and yet more Terry Glasspool.
Tonights Dances were: -
Four of Diamonds (32 J 4-some) T. Glasspool
This One's Four Isobel (32 S 4-some) T. Glasspool
The Four Winds (32 R 4-some) T. Glasspool
The Four Poster (32 S 4-some) T. Glasspool
Maurice (32 S 2) G. Thomas
**********
I have taught all of these dances before, I have commented on all of these dances before. There really isn't any need for me to say more except that tonight I had the easiest time ever teaching Maurice which was a very pleasant surprise. Kudos to Bob Gregg, Marque, George and Harold.
Tonights Dances were: -
Four of Diamonds (32 J 4-some) T. Glasspool
This One's Four Isobel (32 S 4-some) T. Glasspool
The Four Winds (32 R 4-some) T. Glasspool
The Four Poster (32 S 4-some) T. Glasspool
Maurice (32 S 2) G. Thomas
**********
I have taught all of these dances before, I have commented on all of these dances before. There really isn't any need for me to say more except that tonight I had the easiest time ever teaching Maurice which was a very pleasant surprise. Kudos to Bob Gregg, Marque, George and Harold.
Tuesday, May 10, 2011
Dancing on the Heights - 9 May 2011
Well the Kilts and Ghillies ball prep season is done and I can finally get back to trying out new and infrequently done dances in preparation of next years Kilts and Ghilllies Tea Dance. Summer seems to be the only time I get for this but summer always seems to go by too fast for what I want to try. During the dance season the cries for ball prep seem to get louder and louder as dancers get older and their memory falters. Oh well, it is what it is.
Last night's dances were:
The Haggis Tree (32 S 2) Drewry
The Silver Nutmeg (40 J 3) Price
Solway Reel (48 R 4) Carlisle & Border
The Dance Wizard (32 R 4) W. Joubert - Many Happy Hours (Pretoria)
Echoes of Strathglass (32 S 3 set) M. Brown - Many Happy Hours
The Captain (32 R 3) R. King - Solstice Party (San Francisco)
A Winter's Walk (32 J 3) P. Stephans - Between the Rivers
**********
The Haggis Tree - On the 2009 Kilts and Ghillies' Ball it is time to consider repeating it. It is on my "Top 50" list and every time I dance it I remember why - it is a beautiful dance to a beautiful Scott Skinner air (Herr Horloff's Farewell). When the NY Times reviews a restaurant the ratings run from "Do Not Miss" to "Worth It" to, well, skip-able. On that scale this dance is a Do-Not-Miss (in my ever so humble opinion of course).
But I know I am a little on the strange side because I like formations like La Baratte and Tournee. When they are right they are so right.
The Silver Nutmeg - One of my dance compositions. I find it worthwhile to revisit a dance after a couple of years of "sitting on it" as the Quakers would say. Time gives you a new perspective, a lessening of personal attachment and a clear, less partisan, eye. An OK dance with some nice elements but not worth a slot on a ball program. I wrote the dance to honor the 25th anniversary of the New Haven Branch, but inspiration came a little late and I missed the deadline by a month or so.
The Solway Reel - One of my favourite dances. When I ran across the dance I had no recording so I used Jimmy Blair's version of Lady Sophia Anne of Bute. I still prefer that set to any other I have heard. Colin Dewar's set is a disappointment.
The dancers liked it but there wasn't the enthusiasm that would warrant putting it on a ball program. Struck from the short list.
The Dance Wizard - Oh my. We have a winner! Thank you Wouter Joubert: this is a great dance. Don't Miss It! Definitely on the short list for next year's ball. Receives both a Teacher's choice and a Dancer's Choice Award. Can be found in the Pretoria Branch's publication Many Happy Hours.
See also Iain Boyd's dance The Red Baron from Katherine's Book where I found the "dogfight" figure eight.
Echoes of Strathglass - The key is when supporting couples step up and down. When synced with 1C the effects are striking and were mentioned by the dancers; note: I did not emphasize that aspect when I taught the dance, they found it out for themselves. It was also nice to see one of Terry Glasspool's figures being picked up and used by another dance devisor.
I don't have a recording of Wouter's music so I was forced to punt yet again. Luckily there is a wonderful 3x32 set by Dave Wiesler and Mara Shea on their CD Heather Hill. Another Don't Miss It. Several dancers made the point that the dance and that music worked well together.
The Captain - Granted that there are many similarities between this dance and Mrs Stewart's Jig. It works and is original enough to stand on it's own. But choose your music carefully. R. King calls for "any good reel" but not any reel will do. It needs a really good tune. I chose Mara Shea's and Dave Wiesler's set for "Sleepwalking" off their CD Heather Hills and got lucky. Oh my! That pairing earned the dance a Dancer's Choice Award, from two different classes, and definitely puts the dance on the short list for next year's tea dance.
A Winter's Walk - Another of my personal favourites, this one from "Between the Rivers" I have not yet found that special set of tunes that brings it alive and puts it over the top. Yet it is still a good dance, liked by most of the dancers and that is going to be enough to keep it on the short list. Mind you it has been on the short list for the last four years and has not yet made it onto the final program. Maybe this year?
Last night's dances were:
The Haggis Tree (32 S 2) Drewry
The Silver Nutmeg (40 J 3) Price
Solway Reel (48 R 4) Carlisle & Border
The Dance Wizard (32 R 4) W. Joubert - Many Happy Hours (Pretoria)
Echoes of Strathglass (32 S 3 set) M. Brown - Many Happy Hours
The Captain (32 R 3) R. King - Solstice Party (San Francisco)
A Winter's Walk (32 J 3) P. Stephans - Between the Rivers
**********
The Haggis Tree - On the 2009 Kilts and Ghillies' Ball it is time to consider repeating it. It is on my "Top 50" list and every time I dance it I remember why - it is a beautiful dance to a beautiful Scott Skinner air (Herr Horloff's Farewell). When the NY Times reviews a restaurant the ratings run from "Do Not Miss" to "Worth It" to, well, skip-able. On that scale this dance is a Do-Not-Miss (in my ever so humble opinion of course).
But I know I am a little on the strange side because I like formations like La Baratte and Tournee. When they are right they are so right.
The Silver Nutmeg - One of my dance compositions. I find it worthwhile to revisit a dance after a couple of years of "sitting on it" as the Quakers would say. Time gives you a new perspective, a lessening of personal attachment and a clear, less partisan, eye. An OK dance with some nice elements but not worth a slot on a ball program. I wrote the dance to honor the 25th anniversary of the New Haven Branch, but inspiration came a little late and I missed the deadline by a month or so.
The Solway Reel - One of my favourite dances. When I ran across the dance I had no recording so I used Jimmy Blair's version of Lady Sophia Anne of Bute. I still prefer that set to any other I have heard. Colin Dewar's set is a disappointment.
The dancers liked it but there wasn't the enthusiasm that would warrant putting it on a ball program. Struck from the short list.
The Dance Wizard - Oh my. We have a winner! Thank you Wouter Joubert: this is a great dance. Don't Miss It! Definitely on the short list for next year's ball. Receives both a Teacher's choice and a Dancer's Choice Award. Can be found in the Pretoria Branch's publication Many Happy Hours.
See also Iain Boyd's dance The Red Baron from Katherine's Book where I found the "dogfight" figure eight.
Echoes of Strathglass - The key is when supporting couples step up and down. When synced with 1C the effects are striking and were mentioned by the dancers; note: I did not emphasize that aspect when I taught the dance, they found it out for themselves. It was also nice to see one of Terry Glasspool's figures being picked up and used by another dance devisor.
I don't have a recording of Wouter's music so I was forced to punt yet again. Luckily there is a wonderful 3x32 set by Dave Wiesler and Mara Shea on their CD Heather Hill. Another Don't Miss It. Several dancers made the point that the dance and that music worked well together.
The Captain - Granted that there are many similarities between this dance and Mrs Stewart's Jig. It works and is original enough to stand on it's own. But choose your music carefully. R. King calls for "any good reel" but not any reel will do. It needs a really good tune. I chose Mara Shea's and Dave Wiesler's set for "Sleepwalking" off their CD Heather Hills and got lucky. Oh my! That pairing earned the dance a Dancer's Choice Award, from two different classes, and definitely puts the dance on the short list for next year's tea dance.
A Winter's Walk - Another of my personal favourites, this one from "Between the Rivers" I have not yet found that special set of tunes that brings it alive and puts it over the top. Yet it is still a good dance, liked by most of the dancers and that is going to be enough to keep it on the short list. Mind you it has been on the short list for the last four years and has not yet made it onto the final program. Maybe this year?
Wednesday, May 4, 2011
Wilton Class - 3 May 2011
Well, the ball is done and that means it is time to start developing a short list for next year's Tea Dance.
And that means new dances, experiments and not a few crash and burns, and I had one tonight.
The evening's dances were:
A City in Bloom (32 J 3 set) Irene van Maarseveen (Many Happy Hours)
Phyllis' Fancy (32 S 2) Barry Priddey (Sutton Coldfield Book)
Farquharson Fifty (32 J 3 set) Irene van Maarseveen
The Captain (32 R 3) R. King (SF - Solstice Party Book)
The Burn of Sorrow (32 S 2) Barry Priddey (Silver Rose book)
***********
A City in Bloom:- A disappointment with this class. We couldn't see our way around a awkward moment and make it feel right. I am definately going to do this again using different music as that might have been the real problem.
Phyllis' Fancy:- Received a DCA a few months back but still it doesn't stir my soul. I originally thought it would make a decent ball dance, it is simple enough, dancers like it, but it just doesn't lift me. Maybe a few more trials will make a difference in my outlook.
Farquharson Fifty:- It appears to be a pattern for teaching Promenade and not really a dance at all.
The Captain:- The third time the charm? I have taught this only twice before, in October of 2001 and November 2010. No strong response on any one's part until tonight when it caught fire. Music called for was 'any good reel" so I used Dave Wiesler & Mara Shea's recording of "Sleepwalking" off their CD "Heather Hills" which definately qualifies.
Class voted it a Dancers Choice Award on the basis of it's simple, but lovely, flow.
The Burn of Sorrow:- This one caused me problems. I don't deal well with simple dances that don't get danced well. Maybe it was mental burn out being the last dance of the evening after all. I still get thrown for a loop when experienced dancers can not handle Right Hands Across followed by loops, then LHA followed by subtly different loops. And after all the dances that I have taught that have the toubillon in them, for the dancers to have not clue one is mildly disturbing and raised my blood pressure. I did not do well. Sorry guys.
But it is a nice pleasant, mostly simple dance that enough dancers liked that they voted it a DCA and I will dance this again in a heartbeat.
And that means new dances, experiments and not a few crash and burns, and I had one tonight.
The evening's dances were:
A City in Bloom (32 J 3 set) Irene van Maarseveen (Many Happy Hours)
Phyllis' Fancy (32 S 2) Barry Priddey (Sutton Coldfield Book)
Farquharson Fifty (32 J 3 set) Irene van Maarseveen
The Captain (32 R 3) R. King (SF - Solstice Party Book)
The Burn of Sorrow (32 S 2) Barry Priddey (Silver Rose book)
***********
A City in Bloom:- A disappointment with this class. We couldn't see our way around a awkward moment and make it feel right. I am definately going to do this again using different music as that might have been the real problem.
Phyllis' Fancy:- Received a DCA a few months back but still it doesn't stir my soul. I originally thought it would make a decent ball dance, it is simple enough, dancers like it, but it just doesn't lift me. Maybe a few more trials will make a difference in my outlook.
Farquharson Fifty:- It appears to be a pattern for teaching Promenade and not really a dance at all.
The Captain:- The third time the charm? I have taught this only twice before, in October of 2001 and November 2010. No strong response on any one's part until tonight when it caught fire. Music called for was 'any good reel" so I used Dave Wiesler & Mara Shea's recording of "Sleepwalking" off their CD "Heather Hills" which definately qualifies.
Class voted it a Dancers Choice Award on the basis of it's simple, but lovely, flow.
The Burn of Sorrow:- This one caused me problems. I don't deal well with simple dances that don't get danced well. Maybe it was mental burn out being the last dance of the evening after all. I still get thrown for a loop when experienced dancers can not handle Right Hands Across followed by loops, then LHA followed by subtly different loops. And after all the dances that I have taught that have the toubillon in them, for the dancers to have not clue one is mildly disturbing and raised my blood pressure. I did not do well. Sorry guys.
But it is a nice pleasant, mostly simple dance that enough dancers liked that they voted it a DCA and I will dance this again in a heartbeat.
Kilts and Ghillies Tea Dance - 30 April 2011
A hit, a palpable hit.
Thank you to all who helped make it happen. And thank you to all who came and had a good time.
We had a really good band (Thistle Hill - Jim Stevenson-Mathews, Rebecca McCallum and Lisa Gutkin) playing superb music; we had a good program; and I think I can say we all had a really good time. We fluctuated between three and four sets on the floor for the entire afternoon and for the last dance there were still three sets on the floor, one of them with five couples. YES!
Personally I think the first half was the best first half I have ever experienced. I had a huge grin on for most of the ball. When I didn't it was because I was briefing, didn't have a partner, and wasn't dancing.
Hooper's Jig turned out to be a better opener than I expected. Burn of Sorrow went onto my "Top 50 Strathspeys" list and Jim Stevenson-Mathews used Calum's Road, one of my favourite tunes, as the name tune. What a delightful surprise that was!
Auchindrain was also a delight. After hearing the midi file on Nigel Gatherer's web site I was so taken with the tune I just had to write a dance for it. The band really liked the tune too, but commented it was a very difficult tune to play. They certainly practiced it a lot I must say.
Mrs Stewart's Jig, Da Rain Dancin', and Monymusk are all good, solid, pleasant dances that have earned a spot in the standard repertoire and on my "Top 50" lists. The Cashmere Shawl is on my 'top' list but deserves wider acceptance - My humble opinion is that it belongs in the standard repertoire. It is certainly good enough, it is also easy enough, and it is just different enough to be crisply refreshing.
The Fireside Reel, with that music (Peat Fire Flame), is a winner and that 'knockout' moment for 1st and 2nd ladies is a magic moment when it works. And did I mention the music?
The second half didn't fly quite as high. It had too many esoteric dances grouped together. Don't get me wrong - esoteric isn't bad. The dances are all wonderful dances, some are my very favourites in fact. But they needed leavening, and having Quarrie's Jig and The Piper and the Penguin at the front end and Scottish Reform and Mairi's Wedding at the back end wasn't effective leavening. One or more of them should have been spread among the core of the half. And that is why the first half was the better one.
Gypsy Dreams is simply one of the most beautiful dances I have ever seen or danced. The box setting is a superb innovation and the flow of the dance approaches the sublime. It is so good that I have moved beyond mere toleration into admiration and actual liking of the Tournee.
Knights' Heys is a unanimous Dancers Choice selection. It was heartily cheered and then encored. After Linnea's Strathspey most of us were wearing broad smiles. Gordon of Straloch succeeded nicely. It fit it's music and the music was so beautiful it nearly brought the hall to silence.
The highlight of the Ball though, for me, were the youngsters. Paul and Clarissa McRanor brought several youngsters and both Katie and Margaret (11 and 9 respectively) from my class came. Margaret came up to me after with a huge grin on her face and proudly announced she had done four dances. It was the grin that said it all. It was all the grins from all the youngsters that I will treasure.
For me though the Tea Dance was only a qualified success because the one thing we didn't have was a full house. Financially we were slightly in the red. I don't have the numbers yet (so no exactitudes) but I believe we had a loss but that the loss was under $200.
Thank you to all who helped make it happen. And thank you to all who came and had a good time.
We had a really good band (Thistle Hill - Jim Stevenson-Mathews, Rebecca McCallum and Lisa Gutkin) playing superb music; we had a good program; and I think I can say we all had a really good time. We fluctuated between three and four sets on the floor for the entire afternoon and for the last dance there were still three sets on the floor, one of them with five couples. YES!
Personally I think the first half was the best first half I have ever experienced. I had a huge grin on for most of the ball. When I didn't it was because I was briefing, didn't have a partner, and wasn't dancing.
Hooper's Jig turned out to be a better opener than I expected. Burn of Sorrow went onto my "Top 50 Strathspeys" list and Jim Stevenson-Mathews used Calum's Road, one of my favourite tunes, as the name tune. What a delightful surprise that was!
Auchindrain was also a delight. After hearing the midi file on Nigel Gatherer's web site I was so taken with the tune I just had to write a dance for it. The band really liked the tune too, but commented it was a very difficult tune to play. They certainly practiced it a lot I must say.
Mrs Stewart's Jig, Da Rain Dancin', and Monymusk are all good, solid, pleasant dances that have earned a spot in the standard repertoire and on my "Top 50" lists. The Cashmere Shawl is on my 'top' list but deserves wider acceptance - My humble opinion is that it belongs in the standard repertoire. It is certainly good enough, it is also easy enough, and it is just different enough to be crisply refreshing.
The Fireside Reel, with that music (Peat Fire Flame), is a winner and that 'knockout' moment for 1st and 2nd ladies is a magic moment when it works. And did I mention the music?
The second half didn't fly quite as high. It had too many esoteric dances grouped together. Don't get me wrong - esoteric isn't bad. The dances are all wonderful dances, some are my very favourites in fact. But they needed leavening, and having Quarrie's Jig and The Piper and the Penguin at the front end and Scottish Reform and Mairi's Wedding at the back end wasn't effective leavening. One or more of them should have been spread among the core of the half. And that is why the first half was the better one.
Gypsy Dreams is simply one of the most beautiful dances I have ever seen or danced. The box setting is a superb innovation and the flow of the dance approaches the sublime. It is so good that I have moved beyond mere toleration into admiration and actual liking of the Tournee.
Knights' Heys is a unanimous Dancers Choice selection. It was heartily cheered and then encored. After Linnea's Strathspey most of us were wearing broad smiles. Gordon of Straloch succeeded nicely. It fit it's music and the music was so beautiful it nearly brought the hall to silence.
The highlight of the Ball though, for me, were the youngsters. Paul and Clarissa McRanor brought several youngsters and both Katie and Margaret (11 and 9 respectively) from my class came. Margaret came up to me after with a huge grin on her face and proudly announced she had done four dances. It was the grin that said it all. It was all the grins from all the youngsters that I will treasure.
For me though the Tea Dance was only a qualified success because the one thing we didn't have was a full house. Financially we were slightly in the red. I don't have the numbers yet (so no exactitudes) but I believe we had a loss but that the loss was under $200.
So what went wrong, why so few dancers wanting to come and share our ball?
Actually I don't think anything went wrong. Oh there were a lot of people with conflicts. Too many events happen in April. Easter (usually), The Rerr Terr ball in NJ, NEFFA festival in Mass., weddings, you name it.
All contributed to a drop in numbers as does the aging of our dance population with its issues of memory loss, dementia and declining physical abilities.
All the above are contributing factors, but the major reason is, I think, philosophical. We can break the population into three groups: those who look at a program to see how many they know and those who look to see how many they don't know. Too many unknown dances and the former won't go. Too many known dances and the latter won't go.
I belong in the latter group. I like new dances. Rather I like finding new beautiful dances with beautiful music and I like sharing them and a ball is a wonderful way to do that. The difficulty, I think, is when new for new's sake begins to drive the teachers. Which isn't quite what I want to say -- I love looking for new dances that are joys to dance. These dances should get exposure and a chance to become part of the repertoire. Finding new dances and simply moving on to other new dances serves no purpose. Finding new dances that are worth doing again, many times, and then doing them again, many times, does serve a purpose. It allows the dance to evolve, to stay fresh. And then we can go back to the 'standards', and they too are fresh, all over again.
Monday, April 18, 2011
Waterbury Class - 15 April 2011
The Waterbury Class is a joy. We had 6 couples tonight and that makes the teaching and dynamics easier and pleasanter.
Tonight's dances were, again, all from the upcoming Tea Dance program and were:
Quarrie's Jig (32 J 3) 36/3
Gypsy Dreams (32 S 2) T. Glasspool
The Piper and the Penguin (88 R 4 square) R. Goldring
Da Rain Dancin' (32 R 3) R. Wallace
**********
Quarrie's Jig:- Another modern dance from the Society that is just delightful and, deservidly, becoming part of the standard repertoire.
Gypsy Dreams:- One of the most beautiful dances I have ever seen. And worth learning the tournee for. And if you can make the tournee beautiful the dance tips over into the sublime.
The Piper and the Penguin:- Another 88 bar reel from Roy Goldring. He has several of these and overall deserves being Canonized. Why ? Because it means I never ever again have to put The Round Reel of Eight on another program.
And then there is this - the dance and it's music are fun!
Da Rain Dancin':- Good music, good dance, good time! I learned this dance from Ron Wallace one summer at Pinewoods (dance camp in Plymouth, Mass.). One point that he made then is not explicitly made in the written directions.
In the set to corner, turn partner figure: the first pas de basque is in place to 1st corner, the second pas de basque is a move to the left, turning slightly, not to face partner, but to have right shoulders facing partner ready for the right hand turn to face second corners.
Again, when setting to second corners, the 'goodbye' portion is a small move that leaves the dancers with shoulders pointing toward one another and setting up the RH turn.
It changes the character of the dance.
Tonight's dances were, again, all from the upcoming Tea Dance program and were:
Quarrie's Jig (32 J 3) 36/3
Gypsy Dreams (32 S 2) T. Glasspool
The Piper and the Penguin (88 R 4 square) R. Goldring
Da Rain Dancin' (32 R 3) R. Wallace
**********
Quarrie's Jig:- Another modern dance from the Society that is just delightful and, deservidly, becoming part of the standard repertoire.
Gypsy Dreams:- One of the most beautiful dances I have ever seen. And worth learning the tournee for. And if you can make the tournee beautiful the dance tips over into the sublime.
The Piper and the Penguin:- Another 88 bar reel from Roy Goldring. He has several of these and overall deserves being Canonized. Why ? Because it means I never ever again have to put The Round Reel of Eight on another program.
And then there is this - the dance and it's music are fun!
Da Rain Dancin':- Good music, good dance, good time! I learned this dance from Ron Wallace one summer at Pinewoods (dance camp in Plymouth, Mass.). One point that he made then is not explicitly made in the written directions.
In the set to corner, turn partner figure: the first pas de basque is in place to 1st corner, the second pas de basque is a move to the left, turning slightly, not to face partner, but to have right shoulders facing partner ready for the right hand turn to face second corners.
Again, when setting to second corners, the 'goodbye' portion is a small move that leaves the dancers with shoulders pointing toward one another and setting up the RH turn.
It changes the character of the dance.
Waterbury Class - 8 April 2011
Another installation in the continuing saga of ball prep.
Tonight it is Waterbury and the dances were:
Mrs Stewart's Jig (32 J 3) 35/1
Knights' Heys (32 H 3) T. Glasspool
Gordon of Straloch (32 S 3) Peter Price
Miss Muriel Johnstone's Jig (32 J 3) Dale Birdsall
**********
Mrs Stewart's Jig:- One of your everyday good enough jigs that a foundation stone of the dance.
Knights' Heys:- One of my favourite dances, recipient of a "Dancer's Choice Award" and every time I teach it I get positive responses from many of the dancers. Certainly deserving of a place on anyone's Top 50 list, and, in my humble opinion, deserving to be recognized more widely and incorporated into the standard repertoire.
Gordon of Straloch:- Yes I did write this dance. And the more I teach it the higher it rises in my estimation. I give most of the credit to Liz Donaldson for her arrangement that I could not resist and was so inspired by.
Miss Muriel Johnstone's Jig:- Oh my oh my. this one is far more confusing than I anticipated. The second teaching didn't go much better than the first. Ralph Page, the late celebrated caller of New England contra Dancers, had a category of dances that he called "little stinkers" because they played with experienced dancer's minds. This dance deserves the same sobriquet.
Tonight it is Waterbury and the dances were:
Mrs Stewart's Jig (32 J 3) 35/1
Knights' Heys (32 H 3) T. Glasspool
Gordon of Straloch (32 S 3) Peter Price
Miss Muriel Johnstone's Jig (32 J 3) Dale Birdsall
**********
Mrs Stewart's Jig:- One of your everyday good enough jigs that a foundation stone of the dance.
Knights' Heys:- One of my favourite dances, recipient of a "Dancer's Choice Award" and every time I teach it I get positive responses from many of the dancers. Certainly deserving of a place on anyone's Top 50 list, and, in my humble opinion, deserving to be recognized more widely and incorporated into the standard repertoire.
Gordon of Straloch:- Yes I did write this dance. And the more I teach it the higher it rises in my estimation. I give most of the credit to Liz Donaldson for her arrangement that I could not resist and was so inspired by.
Miss Muriel Johnstone's Jig:- Oh my oh my. this one is far more confusing than I anticipated. The second teaching didn't go much better than the first. Ralph Page, the late celebrated caller of New England contra Dancers, had a category of dances that he called "little stinkers" because they played with experienced dancer's minds. This dance deserves the same sobriquet.
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