to the September issue.

Transcription

N
The Northeast Square
DANCER
W
September
2016
E
S
The kids are
And we are
Dancing
Again
“ Our Only Excuse For Existence Is To Be Of Service
Service””
Northeast Square Dancer
782 Jays Way
Ringgold GA 30736
Copy 770
www.squaredance.ws
[email protected]
706-413-0146
Pages 41
Ed Foote
Corben Geis
Phil Gatchell
Volume 66 - Number 1
Publishers and Editors
Ed & Pat Juaire
Contributing Editors
Birgit Maguire
Jim Mayo
Paul Moore
September 2016
Karen Reichardt
Ken Ritucci
Buddy Weaver
DEADLINE for AD and NEWS COPY
for November 2016 is September 17
38 Cartoon
9 Club News
Riverside Squares
8 Comment
- Jim Mayo
41 Dances
3 In My Own Words
- Glenn Ickler
39 Lack of Smooth Dancing
- Ed Foote
10 Moore Thoughts
- Paul Moore
4 Reviewing Round Dances
- Phil Gatchell
40 Round Dance
of the Month
- Birgit Maguire
12 Sew It Goes
- Karen Reichardt
14 Square Dance
Music Review
- Buddy Weaver
41 Workshops
Bradford Country Squares ...................... 30
Callers Black Book ................................... 29
DOSADO Music ....................................... 16
Fairs ’n Squares ....................................... 16
Great Plain Squares................................. 27
Hayloft Steppers ........................................ 6
Heel & Toe ................................................ 19
Maguire, Birgit & Richard....................... 36
Northeast Callers School ......................... 24
Nubble Lighthouse Keepers .................... 22
Riverside Squares .................................... 21
Silver Sounds ........................................... 33
Tumbling Leaves Festival ....................... 26
Winnipesaukee Squares .......................... 34
Wolf Rockers ............................................. 17
The Northeast Square Dancer Magazine is published by PEJ Enterprises and is available at www.squaredance.ws.
All rights reserved. The Northeast Square Dancer, New England Square Dance Caller and associated logos are copyrighted.
Northeast Square Dancer, September 2016
2
In my on Words
When Progress Goes Too Far
submitted by Glenn Ickler, Fairs ’n Squares
Some of us who attended this year’s New England Convention learned to square dance
when nobody would think of attending a dance – ANY dance, much less a convention –
wearing sloppy shorts and a mustard-stained T-shirt.
However, “casual wear” has been acceptable at conventions for several years now and
at this year’s convention it was not uncommon to see dancing couples who looked like they
just finished weeding the garden or wandered in from a homeless shelter. What I’m saying
is, casual has progressed (or is it regressed?) to downright sloppy and some people are
dancing in clothes they wouldn’t wear to K-Mart.
After I hung up my creased, wrinkle-proof dancing trousers at the end of the
convention, I picked a book titled “Needle Notes for Square Dancers” off the closet shelf.
Jo bought this book at our first New England Convention in 1986 because she planned to
make some of our dancing duds. It was written by a creative seamstress named Judy Ross
Smith and was first printed in 1971, and reprinted in 1972, 1974, 1975, 1976, 1978, 1980
and 1982.
The first 83 pages are directions for constructing women’s skirts, blouses, dresses,
shrugs and belts. But it is the section labeled “KEEP YOUR MAN NEAT” that intrigues
me. A few excerpts about men’s dance apparel illustrate how times have changed:
“Short sleeves – I hardly need to mention them! There is only one rule that
applies, and that is DON’T!! … A wet, hairy arm is just no fun to hold onto.”
“Ties – Always worn to a dance.”
“Trousers should be trim fitting. They don’t have to be Western cut, but most
men find they look slimmer and trimmer if they are Western style. They can
be bought for as little as $4.00 in the discount stores {remember, this was
1971}. … Do not presume to wear dungarees at any time, as we are not barn
dancing anymore.”
Poor Judy Ross Smith would have been horrified at this year’s convention where
dungarees looked downright dressy compared to some of the lower-limb covers I observed
– everything from sweat pants to the aforementioned baggy shorts.
But Judy Ross Smith would have loved the Fairs ’n Squares. I am proud to say every
club member I saw at the convention was properly and attractively dressed. Good show!
Do you have comments?
Send them to: [email protected]
3
Reviewing
Round Dances
PHIL GATCHELL
40 Vine St, Melrose MA 02176
[email protected]
I’M NO STRANGER TO THE RAIN by Carolyn and Tony Ahart
Phase 3, Two Step; available from Amazon. Music note; please cut the first 24 seconds of
the music then slow to 41 rpm, per the Ahart’s. Traveling box, hitch 6, twirl/vine 2, forward two steps, turning two steps, progressive scissors, fishtail, side stairs eight, strolling
vine, face to face and back to back, basketball turn, circle away, strut, Susie q’s, twisty
vine 4, traveling doors, lace across, maneuver, pivot 2 and step apart, point.
NOW AND THEN by Charlie Brown and Linda Cooley
Phase 2 + 1 (Fishtail) + 1 (Lariat) Two Step; available on MCA 79070 (flip of “Drinking
Champagne”). Forward two steps, progressive scissors, fishtail, forward locks, face to face
and back to back, basketball turn, turning two steps, circle box, lariat, broken box, traveling box, left turning box and quick side closes.
THAT’D BE ALRIGHT by Jerry Carmen (Jerry sent this to me)
Phase 2 Two Step; available from Amazon. Circle away 2 two steps, strut together 4, left
turning box, progressive scissors, forward-lock-forward, hitch, hitch and scissors, vine
apart and together, forward two steps, turning two steps, face to face and back to back,
scissors thru, basketball, turn, limp 4, vine 3-wrap-unwrap-change sides, traveling box,
lace up, twirl/vine 3 and acknowledge.
YOU DUN STOMPED MY HEART by Charlie Brown
Phase 2 Two Step; available from Amazon. This is an excellent dance for teaching or reviewing because of its repetitiveness. Side draw close, forward two steps, scoot, lace up,
face to face, back to back, rock side-recover, circle away and together, vine-wrap-unwrapchange sides, right turning box, vine eight and apart point.
EVERYDAY I LOVE YOU by Jerry Buckmaster and Zodie Reigel
Phase 3 + 1 (Alemana) Rumba; available from Amazon. Note: Head Cues ONLY. Alemana,
lariat, time steps, chase, shoulder to shoulder, side close-vine 4, fence line, through to serpiente, crabwalks, new yorker, progressive walks, cucaracha, wheel and side corte.
UNCHAINED WALTZ by Debbie and Paul Taylor
Phase 3 + 1 (Diamond Turn) + 1 (Syncopated Vine) Waltz; available on CD “Music Takes
Control: Standard” volume 1. Box finish, diamond turn, left turns, hover, maneuver, impetus, through-syncopated vine 2, interrupted box, spin turn, cross hovers, man roll, lady
roll, turn left-chasse banjo, back-back/lock-back, whisk, through hover, back-turn-chasse,
canter, dip back-twist and reward.
There’s always light at the end of the tunnel.
4
ME & THE I.R.S. by Charlie Brown & Linda Cooley
Phase 2 + 1 (Fishtail) Two Step; available from Amazon. Forward twos steps, hitch double,
face to face and back to back, basketball, turn, scoot, progressive scissors, vine, wrap, unwrap, change sides, back away, strut, box, side close, left turning box, side two step, fishtail, broken box, traveling doors, forward-lock-forward and side touch.
WHAT’S THE PRESSURE by Guido and Ingrid Gircour
Phase 3 + 2 (Alemana, Triple Cha) Cha Cha; available from Amazon. This song was the
Belgian entry to the Eurovision Song Contest 2016. It made 10th place. Circle Cha, alemana, open break, crab walks, spot turn, break back to open, sliding door, back basic, cucaracha, chase with triple chas – interrupted with fence lines – finish the chase, vine 4, chase
peek-a-boo, traveling door, whip, chug apart and hold.
MAY IT BE by Lee and Irene Rogers
Phase 4 + 2 (Right Turning Lock, Hover Cross Ending) Waltz; available from Casa-Musica. Chair-recover-slip, left turn, back waltz, open impetus, through-semi chasse, weave 6,
forward-forward/lock-forward, maneuver, over spin turn, semi chasse, slow side lock, right
turning lock, diamond turn, cross hovers, hover cross ending, double whisk, wing, closed
telemark, man chasse roll right to skaters, open right turn, sway right and left, slow cross
lunge with arm sweep to over sway line.
ON MY WAY by Carolyn and Tony Ahart
Phase 4 + 1 (Change of Sway) Waltz; available from Casa-Musica. Step forward ronde,
box finish, open reverse turn, hover corte, back whisk, diamond weave 6, urn, hover, wing,
open telemark, in and out runs, drag hesitation, back-back/lock-back, outside change,
hover fallaway, slip pivot, check-develope, back-hover semi, progressive cross hovers, open
natural, impetus, spin overturn draw, canter, through promenade sway and change sway.
WAKE UP DANCIN’ by Fred and Lina Ayers
Phase 4 + 2 (Triple Traveler, Riff Turn) + 1 (The Square); available from Amazon. Lunge
apart with arm sweep, basic, underarm turn, reverse underarm turn, lunge basic, right
turn outside roll, man switch, open basic, lariat, traveling cross chasses, lunge side and roll,
triple traveler, twisty basics, the square, slow riff turns, promenade sway and over sway.
WHENEVER YOU COME BACK TO ME by Jerry Carmen (Jerry sent this to me also)
Phase 4 + 1 (Open Hip Twist) Rumba; available from iTunes and Amazon. 1/2 basic, underarm turn, hand to hand, crabwalks, new yorker, spot turn, fence lines, break back to
open, progressive walks, doors, circle away and together, chase, cross body, aida, switch
rock, whip to a handshake, open hip twist, fan, hockey stick, merengue, alemana, back
corte – raise left arms and hold.
ASHOKEN FAREWELL by Tim Eum
Phase 6 Waltz; available on CD by HarpSong “Sean’s Dance”, track 6. First taught May
2016 at Dixie Round Dance Council in Chattanooga, TN with Pauline Angress. Serpiente,
cross hesitation, pivot to hairpin and shape, back passing change, double reverse, split
ronde, contra check and switch, outside spin, turning lock, open natural, same foot lunge,
quick open reverse transition, open finish, through jete point and through to quick throwaway over sway. There is MUCH more in this dance. If you teach Phase 6 Waltz, then
please check this out.
5
The HAYLOFT STEPPERS
PODUNK ROAD - STURBRIDGE, MA 01566
HOME OF THE
Off Route 49
Saturday Square Dancing in September
Early Rounds 7:30 pm ~ Square Dancing 8 - 10:30 ~ MS & PL
3 Kevin Bersing / Roy Williams - Salute to Books
24 Phil Farmer / Beverly MacKay
Sunday 25 ~ Advanced Dance ~ 2 - 4:30 pm - no rounds
Phil Farmer
A BANNER
CLUB
Info: 413-967-9048 www.hayloftsteppers.org
RENT THE BARN ~ Contact Richard Eckert ~ 413-967-9048 ~ [email protected]
PENNY ARCADE 2016 by Jerry Buckmaster and Zodie Reigel
Phase 2 Two Step; available from Amazon. Note, cue sheet has ‘head cues’ only. Traveling
box, forward two steps, strut, circle away and together, double hitch, lace across and back,
left turning box, back away, together-lift-turn, vine, wrap, unwrap, change sides, traveling
doors, slow open vine 4 and side-draw-close.
MAY THE FORCE BE WITH YOU by Russ Booz
Phase 3 Cha Cha and Foxtrot; available from iTunes and Amazon. Cucarachas, alemana,
lariat, new yorker, open break, whip, crabwalks, shoulder to shoulder, break back to open,
sliding door, swivel 2 and cha, traveling doors, twirl vine, reverse twirl vine, step kicktwice, marchessi, strolling vine, point step-twice, hover, maneuver, spin turn, ½ box back,
diamond turn, step back to back and guard your partner.
PROVOCAME by Terri and Tim Wilaby
Phase 3 + 1 (Triple Cha) + 2 (* in 4, Side Chase) Cha Cha; available on CD: GRANDES
EXITOS. Reverse underarm turn in 4, new yorker, lariat, break back, forward and back
basic, circle away and together, crabwalks, fence line, hand to hand, basic, whip to triple
chas, chase with underarm pass, traveling door, time steps, spot turn, side chase and
side corte.
UNCHAINED WALTZ by Debbie and Paul Taylor
Phase 3 + 1 (Diamond Turn) + 1 (Syncopated Vine) Waltz; available on CD: MUSIC
TAKES CONTROL. Box finish, left turns, diamond turn, left turns, hover, maneuver,
impetus, thru-syncopated vine, interrupted box, spin turn, cross hovers, turn left-chasse,
back-back/lock-back, thru hover, canter, dip back and twist.
DEEP PURPLE 4 by Lee and Irene Rogers
Phase 4 Foxtrot; available on CD: GREAT ROCK AND ROLL LOVE SONGS. Start in
‘skaters,’ sway left and right, open reverse turn, back lilt, man man-thru & chasse/ladyroll 3, chair-recover-slip, reverse wave, back feather, weave ending, hover, promenade
weave, change of direction, closed telemark, ½ natural, quick heel pull & run 2, drag hesitation, ½ diamond, quick diamond 4, 3 step, monkey walks and much more.
6
SHE THINKS MY TRACTOR’S SEXY by Charlie Brown and Linda Cooley
Phase 4 + 2 (Open Hip Twist, Sweetheart) Cha Cha; available from Amazon. Chase, fence
line, alemana, lariat, hand to hand, open break, whip, new yorker, time step, open hip
twist, fan, flirt, sweethearts, aida, switch cross, chase with peek-a-boo, break back to triple
chas, underarm turn, traveling doors and side lunge.
SUNNY AFTERNOON by Dale and Leslie Simpson
Phase 4 + 1 (Triple Traveler) + 1 (Tunnel Exit) Slow Two Step; available from Amazon &
iTunes. Vine 8, face to face and back to back, basic, switches, open basic, solo turn 6, lunge
basic, side basic, sweetheart runs, underarm turn, triple traveler, tunnel exit, outside roll,
left turn inside roll, right turn outside roll, traveling cross chasse and side corte.
ONE MORE SHOT by Ed and Gloria Kilner
Phase 4 West Coast Swing; available on WARNER BROS 0490, originally released in
July 1989 at URDC. Coaster, sugar push, basic, throwout, underarm turn, chicken walks,
shuffle away, and together, lady change point, strut and turning basic.
RIGHT HERE WAITING FOR YOU by Randy and Marie Preskitt
Phase 5 + 1 (Continuous Top) + 1 Alternative Basic) Rumba; available on Album CFD 11
or download CD from VNDANCE. Cucaracha, develope, hockey stick ending, open hip
twist, figurehead, continuous top, open break, sweethearts, skaters wheel, progressive
walk and spiral, aida, switch rock, underarm turn, alternative basics, cuddles, lady spiral,
fan, spot turn, circular serpiente, trade places, chase with underarm pass, natural top 3
and slow contra check.
AT THIS MOMENT by David Goss and Ulla Figwer
Phase 6 Waltz; available from Amazon. Explode, roll across, lunge with arm sweep, hover,
banjo wheel, closed change, maneuver, over spin turn, quick lock-slow lock, slow hinge,
pivot -quick fallaway whisk, big top, change of direction, telespin, right lunge, running
open finish, double reverse, double reverse overspin, throwaway oversway, link, curved
feather, back passing change, tumble turn, continuous cross hovers, open reverse turn,
outside spin & twist, promenade sway and embrace.
WEAVE ME by Harold and Meredith Sears
Phase 6 Foxtrot; available from Amazon. Feather, feather finish, corte and recover, weave
6, promenade weave, diamond turn, drag hesitation, outside change, bounce back 4, open
reverse turn, change of direction, check and weave, whisk, front vine 8, chair-recover-slip,
quick feather finish, impetus, turn right and chasse, back rising lock, quick 3 fallaways,
natural telemark, continuous hover cross, zigzag 4, traveling hover cross, teleweave, hover
telemark, same foot lunge and change of sway.
Only those dances that have readily available un-modified, per ROUND-A-LAB Guidelines, music are reviewed (music modified per RAL guidelines are reviewed). Enjoy these
dances and remember to LISTEN to the music before you buy it – it may not be your style.
If you would like a copy of a cue sheet of a reviewed dance, please ask.
Anyone wishing to have their dance reviewed in this column should e-mail a FULL cue
sheet and an mp3 of the music (cued if possible) [note: I destroy all music sent to me after
the review is completed] to Phil at [email protected].
7
Comment
JIM MAYO
Callers worry that dancers will be bored. Not all callers, certainly but a solid majority.
For the last 30 years, at least, callers have been trying to make square dancing “more
interesting”. Before CALLERLAB, in the early 1970’s, we had a method that many
dancers who remember those days say they really liked. At every dance you went to the
caller taught one or two calls in the early sets that no one (or at least few) had ever heard
before. They then used those calls for the rest of the evening. That was a great floor
leveler because it gave both new and experienced dancers a near equal chance at dancing
successfully.
Today we’ve done away with “new” calls. We have lists that all have accepted and
callers now must provide variety with calls that everyone knows. That is, they must
provide variety if that’s what they think dancers want. I’m not so sure. I think that a large
share of dancers would be happy if they could just spend the night dancing successfully
the figures they know well. I think the ones who are bored are the callers, not the dancers.
I think just dancing to a different caller is variety enough. Maybe your club caller needs
some variety but a guest caller that you dance to only occasionally is variety enough
without any fancy choreography.
I have lots of experience to support this point of view. I’ve danced to a caller who
apologized to me for using the same figure in the first three singing calls. I hadn’t noticed.
I also did an experiment with a group of callers. I called two sequences for them and then
stopped and asked if any of them could repeat those figures for me. They could not. When
I repeated the exercise with only one sequence, only one of the four callers in the square
could repeat the figure for me – and they knew I was going to ask. Dancing distracts you
from the choreography.
Callers and caller schools spend a lot of time trying to teach callers how to provide
variety. I think dancers would be happier if caller schools spent more time teaching callers
to make the dancing smoother and better timed. Few callers can manage choreography
well enough to keep it changing and well timed in the same tip. I gave up using different
figures in a single singing call more than 30 years ago. Today few callers use only one
figure four times through. I can assure you that few dancers would notice if you did.
How To Contact NESDM
[email protected]
706-413-0146
NSD
782 Jays Way
Ringgold GA 30736
8
CLUB News
RIVERSIDE SQUARES, Danvers, MA
By Peter and Anne Schwind
Come on down to Riverside! Our fall Fun Night is September 7 at 7:00 with an introduction to modern square dancing by Ted Lizotte, a former Riverside class caller. Enjoy
a FREE night of dancing and refreshments, including soup, chili and other goodies. The
multi-cycle classes will begin on September 14 with Ken Ritucci, class caller. And if you
are booked on the 7 and 14, come September 21! There is usually a review at 6:30 and
class is 7:00. Where? In September, back to our regular location, All Saints Episcopal
Church of the North Shore in Danvers.
Lots of things have been happening! The pictures
say it all. See our May 2016 class graduates (left) with
their certificates. Ken Ritucci is kneeling in front and
Joyce Kutz (a member/caller who conducts the reviews) is
standing in the center. One graduate could not attend the
ceremony. On our Facebook page you can access two videos of class, April 7 and Halloween dancers in costumes.
The Peabody Centennial celebration was May 15. Riverside presented a demonstration with audience participation and distributed new eye-catching brochures.
On May 23, Joyce Kutz called a fantastic class
dance. Three guest callers (also Riverside members)
also participated. What a special treat! In the picture
right to left Bill Ackerman, Joyce, Peter Baldwin, and
Dave Smith. Thank you!!!
On June 11 Riverside presented our
first summer dance. What a great time
with caller Don Bachelder and cuer Jo
Yakimowski (check photo)! We welcomed many folks from several clubs.
Our first dance of the regular season will be September 10. Bill Mager
will be calling and Bob Boudrow cueing this Mainstream dance with two
Plus tips. As usual there is early A1 at 7:30. Join us!
For more information about all activities and the complete schedule, see
our ad on page 21 or www.riversidesquares.org or www.facebook.com/riversidesquaresinc.
Now that September is here, we hope to see you in Danvers in a square!
9
Moore
Thoughts
PAUL MOORE
Unintended Consequences
When some activity we are involved in does not go as well as we hoped (or we didn’t get
our way), we often look for someone or something to blame. When we can place the blame,
we get excited because identifying the culprit is a big step to solving the problem.
I hope no one took that first paragraph seriously. Assigning fault does next to nothing
in fixing a problem. But we can feel better because we can say, “It’s his fault, not mine. He
set up the situation I am stuck in. All I can do is make the best of a bad situation.”
Ever since the number of people involved in square dancing began to decrease, square
dancers and callers have tried to figure out why. The blame game began. The most obvious
target was CALLERLAB. For example, some critics say since CALLERLAB held its first
convention in 1974, it worked its way into the National Square Dance Convention.
The critics continue that in 1976, when the largest National was held in Anaheim,
there were CALLERLAB level or program signs all over the place – Mainstream, Plus
One, Basic, etc. The numbers attending National Conventions began to drop.
Twenty-five years later, when the National was again in Anaheim there were less than
half the number that attended in 1976. The 50th NSDC held in 2001 was the largest one in
the twenty-first century. The fault must lie with CALLERLAB because of all of the levels:
Basic, Plus (not Plus I & II, but a combined list), Advanced, Challenge, not to mention levels in Round Dancing and even in Contra Dancing.
The critics say that CALLERLAB with all of its complexity of levels, and figure definitions, etc., took the fun out of square dancing.
Of course these critics and blame setters rarely look at what has happened in society
as a whole. Occasionally they mention TV and DVDs. They do not see that participation in
almost all social group activities have fallen off. The membership in groups like the Elks
and the Shriners are not near what they had been in the 1960s or 1970s.
But, once we can say with certainty that CALLERLAB is at fault, we can now look at
what CALLERLAB has done, then undo it. Well, square dancing became very fractionalized, so we need to go back to just square dancing. One floor for all.
Send your club news & photos to:
[email protected]
10
Starting in the early 1960s, before there was a CALLERLAB, callers and dancers were
complaining about too many new figures. And they had good reason to complain. As many
as 200 new figures a year were being published in callers’ note services. CALLERLAB set
out to analyze the figures to see which ones were truly new (not just combinations of old
figures jammed together and given a name). For a call to survive it must be danceable,
that is flow smoothly, time out with music, etc. Most of all, the figures must meet the approval of callers and dancers alike.
To measure the approval rating of calls, CALLERLAB asked a large number of callers
from around the country and the world to respond to suggested calls that could end on the
lists. That endeavor was pretty successful in helping to update and stabilize the lists.
But said some, where is the input from the dancers? So they tried counting how many
times a figure was actually called at dances. This frequency counting has been used by
several groups with the theory that if the lists change to what dancers want to dance and
callers want to call, people will come flooding back into square dancing.
That idea was a big flop.
Callers thought they had solved the problem, but it did not really cross their minds
that non-dancers have no idea about lists. Non-dancers are attracted to square dancing
because of what they see and hear of it. If dancers are enthusiastic about square dancing,
they are more likely to bring new dancers in. On the other hand, if people try square dancing and feel like they have been driven out because they cannot keep up with the number
of figures and the ways that callers can put them into sequences, they drop out. And they
tell their friends that they tried and it was no fun.
There have been a number of attempts to create programs where there is much less to learn.
There are two kinds of simpler programs: one is an entry program, whose goal is to
get people hooked on square dancing and then send them up the ladder of programs. The
other kind of program is a destination program. One example of this type of program is
the Community Dance Program, which limited the number of figures to be learned, but
it did use those figures in a variety of formations and with a greater variety of music. In
the same style is the modern, live-music contra dance – attend the pre-dance workshop to
learn the basics, then dance the rest of the night.
The Community Dance Program did not catch on with modern square dance callers.
And contra dance became a separate world.
So, the problem remains: how to attract and retain dancers. One plan is to create and
advertise a program that lasts only 15 weeks (not a whole year) and obviously has a shortened list. The vote is not in on this program, but it has attracted the attention of a number
of callers nationwide. The unproven part of the program is what do the new dancers do after
they have completed the 15 week course? Are the callers/teachers going to offer an on-going
series of dances at that level? Or is it expected that the new dancers will then move into a
new program with more figures? Can these new dancers mix with dancers who have gone
through the traditional CALLERLAB program? Does the new program meet the needs of
dancers and callers across the country, or is it designed for RV park residents and callers?
continued on page 13
11
Sew it goes
KAREN REICHARDT
WWW.SQUAREDANCESEWING.COM
[email protected]
Sewing for Style
What we choose to wear says a lot about us. If you and I are walking down the street
toward each other as strangers, before we are close enough to speak, we have already
communicated. What you wear has already spoken to me about a number to things. Your
gender (usually), your age, your social class, and perhaps even a good guess at your occupation. I can also make assumptions about your personality, your ethnic origins, your
opinions and what kind of mood you are in. You can say the same things about me. The
way we dress is a form of language. It is important to know what we want our clothing to
say about us and how to have it say the most flattering things.
People in the theater and movie business know all about wardrobe. They take the
greatest care with all parts of their costumes. Clothes define their character before the actor says a word. Con-artists know this and they spend much of their money on their wardrobe to make a good “front.”
How you are dressed effects your mood and attitude. If you are hanging around the house in
your robe and slippers you are relaxed and will not be getting much done. If you take a shower,
fix your hair and get dressed, you will be energized and ready to accomplish something.
People want to belong. Look at the number of people wearing ‘team’ T-shirts. Showing
‘support’ for ‘their team’ makes them part of a group. When you are a player suiting up for
a game makes you part of the team and puts you in a competitive mood. Dressing up for
a square dance puts you in a party mood. It doesn’t have to be an eighty-yard crinoline. A
simple prairie skirt and a peasant blouse can have the same effect. They are your special
clothes for dancing. A friend once told me, “You look good in square dance clothes.” I wondered about this for a while until I realized I am happy in square dance clothes. That happiness makes the clothes look good. Square dance clothes make you feel like a dancer and
when you feel like a dancer, you are a dancer.
Color - Depending on your skin tone and hair color certain colors look great on you
while others make you look like ‘creature feature’. There is nothing you can do to change
this fact. Putting on more foundation make-up and dying your hair will only make it
worse. You can dye your hair as long as it is a shade that goes with your skin tone. I ‘went
blonde’ once and with my olive skin tone I looked sea sick.
We usually choose the colors that are right for us instinctively. They are the colors that
make us feel happy. If people compliment you when you are wearing your green sweater
you will gravitate toward another green item when shopping. The seasonal color system
works well for most people. Once you have your colors and an understanding of what
works and what doesn’t, you will be able to save a lot of time energy and money.
12
There are volumes written about what to wear to look thinner. Those rules may be
effective when applied to a tailored business suit but on a full skirted square dance dress
with a 80 yard petticoat the rules get bent. Black is often touted as a fashion cure all.
Black will not make you look slimmer, more fashionable or younger. Black is a color, not
a magic spell. It will just make you look black and everybody knows that you are wearing
black to look thinner. If you have the right skin tone for black it can be very dramatic but
it is not the right color for everybody.
Every year the fashion dictators come out with a new decree. Brown is the new black.
Purple is the new black. This is just a ploy to get to your purse. If you know what colors
are best for you and what styles suit your body you will not be rushing out to buy the ‘latest color’ or ‘newest style’. Be true to yourself. Looking good does not mean looking like a
movie star. It means being comfortable in what you are wearing and dressing appropriately for the occasion. Listen to your Mother, “Stand up straight, shoulders back, and head
high. Walk with confidence and pride.”
The most important accessory for any dancer is a smile. Most people won’t remember
exactly what you were wearing, but they will remember the nice person. Talk to everybody
in the hall. Find something nice to say about everything. Good moods are contagious. If
you see someone without a smile give them one of yours.
Moore Thoughts - continued from page 11
Those who have designed and are promoting this new program are very sincerely trying to increase participation in square dancing. Unfortunately, I see a lot of unanticipated
consequences that will not be easy to repair.
If we are looking for a program that is both entry and destination, I can’t think of
anything better than the CALLERLAB Basic program. I have not met a new dancer who
wouldn’t love to stop at Basic and just dance for a length of time. If somehow we could let
new dancers get comfortable with the Basics and give the dancers time to learn to dance
with grace and style, we would retain more dancers than we lose. How much better it is to
make our dancers happy with square dancing and thereby change the reputation of square
dancing.
Bob Osgood said it well when he said that “No one ever dropped out of dancing because
it was smooth and comfortable.”
[email protected]
706-413-0146
NSD
782 Jays Way
Ringgold GA 30736
13
Square Dance
Music Review
BUDDY WEAVER
[email protected] ~ www.buddyweaver.com
A SIMPLE TIP TO HELP DANCERS
So many times we’ve seen the callers who are singing along while the dancers are doing
the Promenade Home, then call out “Sides Face, Grand Square” but the dancers are still
4-6 beats (steps) away from home.
Some dancers will abruptly stop short and attempt the call even though it can’t be
done; some will get to home position and begin the call but the caller is 4-6 beats ahead
of them. The dancers may cut short the Grand Square in an attempt to catch up with the
caller crying out “Allemande Left and Weave the Ring,” Others never catch up.
The bottom-line is the dancers are out-of-sync with the music because of the caller. You
may be the caller who has found himself in this situation many times and don’t know what
to do. Let’s address it.
Prior to the call Promenade, there was a string of calls that probably started at Home
Position moving the dancers toward the Swing and Promenade. One of the most common
sequences used in singing calls today is HEADS SQUARE THRU – DO SA DO – SWING
THRU – BOYS RUN – BEND THE LINE – RIGHT & LEFT THRU – FLUTTERWHEEL –
SLIDE THRU – SWING & PROMENADE.
Using the CALLERLAB Timing Chart, which details how many beats each call should
take to execute, this sequence of calls should take 68 beats. The problem is our square
dance music stanza is 64 beats so this figure will cause the dancers to fall 4 beats or 4
steps behind every time it’s called.
Fix it. Omit the call DO SA DO. By dropping that call you have given the dancers 6
more beats which would allow them enough time to keep up.
How about the popular sequence of HEADS SQUARE THRU- DO SA DO –SWING
THRU – SPIN THE TOP – RIGHT & LEFT THRU – SQUARE THRU THREE – SWING
& PROMENADE? It times to 64 beats, which pairs perfectly with 64 beats of music in
the stanza designated for the figure, so why aren’t some dancers able to dance a perfectly
timed figure?
Because perfection doesn’t allow for sticky floors, bad sound, dancer mistakes,
physically impaired dancers or callers who don’t start calling ahead of beat number one.
Think about the last comment. If the caller says “well now those Heads Square Thru…”
then the dancers are 3 beats behind. It took 3 beats for the caller to say the words “well
now those.” What if the caller was waiting for people to finish the last sequence?
Fix it. Omit the call DO SA DO. By dropping that call you have given the dancers 6
more beats which would allow them enough time to keep up.
14
In fact the call DO SA DO, aside from it’s historic value, plays one important role in
modern square dancing as it is a terrific call when there is a change of body direction from
one call to another. An example of this change and the value of DO SA DO can be seen in
the sequence: CIRCLE LEFT – ALLEMANDE LEFT – DO SA DO – BOYS STAR LEFT.
Without the DO SA DO, the flow of Allemande to Boys Star Left would be awful. In
singing call figures, the DO SA DO is often used as a filler and is probably not necessary.
For example:
The call sequence HEADS SQUARE THRU – SWING THRU offers perfect body
flow. Adding the call DO SA DO is like adding the word “like” or “basically” to
your conversation. It’s not necessary and in most cases ruins the flow of what you
are saying.
A singing call in this month’s review uses the sequence HEADS SQUARE THRU – DO
SA DO - TOUCH A QUARTER – SCOOT BACK – BOYS RUN – RIGHT & LEFT THRU –
DIXIE STYLE TO A WAVE – BOYS CROSS FOLD – SWING.
The figure is well timed but if the dancers are falling behind then removing DO SA DO
would help them keep in time with the music. Coming from a SQUARE THRU most calls
that start with a Right Hand, TOUCH A QUARTER, RIGHT & LEFT THRU, BOX THE
GNAT, SPIN THE TOP, etc. tend to flow better WITHOUT a DO SA DO.
The call sequence HEADS SQUARE THRU – DO SA DO – STAR THRU offers nice
flow. Removing the DO SA DO would make the girls use their left hand twice in a row
and that is the mark of a poor caller. So the call DO SA DO is necessary before the STAR
THRU but is NOT necessary if the calls were HEADS SQUARE THRU – SLIDE THRU.
The latter helps dancers keep in time with the music and offers much better body flow.
On a personal note, a few years back, I was dancing at a convention and after a few
hours felt pain in my right hip. As I thought about this ache, I realized how many times
“DO SA DO TO A SWING THRU” had been called that day. This combination had me
walking forward to the right, backing up to the left then abruptly pivoting forward on my
right hip. That combination is a “DO SA DON’T.”
In closing, a well timed dance figure delivered by a caller giving the dancers the first
beat of music while the dancers are able to move in time with the musical phrase, should
be everyone’s goal but for those times when perfection is out-of-reach, fix it. Examine your
dance sequences to determine when the call DO SA DO is needed and delete the filler to
help your dancers stay in time with the music and dance longer into the night.
SLOW HAND
Acme 125 by Scott Bennett
MP3 from Acme web site
Tempo: 126 Rhythm: Shuffle
SINGING CALLS
Great dance beat with a two-step feel. Clear leads played by guitar, piano, and steel make
the tune easy to follow. Lots of fill notes from the same instruments. A relaxing, modern
country rendition of a contemporary classic country song originally done by Conway
Twitty. A great vocal by Scott Bennett using proper word meter.
Heads Square Thru – Do Sa Do – Swing Thru – Spin the Top – Right & Left Thru – Square
Thru Three – Swing
15
Fairs
’n Squares
Saturday, September 24 ~ 8:00-10:30 PM ~ MS & PL
JERRY MAURICE - Calling & DAVID GOSS - Cuing
Square Dance Workshops for New Dancers and Brush-ups!
Starting September 15 7:30-9:30 PM
Fall Session - 12 Thursday Nights
Round Dance Workshops for New Dancers and Brush-ups!
Starting September 19
7:00-8:30 PM
Initial Session is 6 Monday Nights
Info: 978-368-8272
www.fairsnsquares.com
Dances & Workshops at Scott Hall, First Parish Church, 24 Vernon St, Framingham MA
HOOKED ON A FEELING
Arrowhead 101 by Dean Singleton
MP3 from Arrow web site
Cool introduction using vocal “ooh gah chaka” capturing the feel of the original song. Good
dance beat. Music is chords played by guitar and organ. Lots of great guitar work in the
background. A keyboard plays a light lead on the breaks. Pretty music on a contemporary
classic pop song (Blue Swede). Callers will have to know the tune. A relaxer. Dean does a
good vocal using proper word meter.
Heads Promenade Three-Quarters – Sides Square Thru Three – Circle to a Line – Touch a
Quarter – Circulate – Boy Run – Pass Thru – Left Allemande – Promenade
LUCKY STRIKE
Strong dance beat. The tune is easy to follow with strong leads played by keyboard
instruments. Vocal “oohs” on many stanzas offer nice filler. Many places where the
instrumental drops out to feature the percussion. This is a modern pop song (Maroon 5)
that is played in the same style. Could be a driver. Dean does another good vocal using
proper word meter. Tracks include music with and without leads or background vocals.
Adjust speed.
Four Ladies Chain – Heads Promenade Halfway – Lead Right – Circle to a Line – Pass the
Ocean – Eight Circulate Once and a Half – Box the Gnat – Swing
Square and Round Dance music is available from DOSADO.com
Paul & Mary Ellen Cote ~ 9727 Sugar Tree Court, Houston TX 77070
www.DOSADO.com ~ 713-955-5957
16
Pie Night
Caller: Ted Lizotte Cuer: Bernie Porter
Saturday, September 24 ~ 7:30-10 pm ~ MS/PL
Mason Town Hall, Valley Rd (Rte 123) Mason, NH 03048
Banner: Ken & Marge Manwiller 603-878-1718 ~ www.wolfrockers.com
SHE’S A LADY
Good dance beat. Clear leads from keyboard make the tune obvious. Lots of keyboard and
electric guitar work in the background making a full sound. The tune is seventies pop
(Tom Jones) that is played in a modern pop/rock style. Mid-way up the energy scale. Dean
does a good vocal using proper word meter.
Heads Promenade Halfway – Pass the Ocean – Extend – Swing Thru – Boy Run - Half Tag
– Scoot Back – Boy Run – Slide Thru – Swing
BECAUSE
Chic 1012 by Tom Miller
MP3 from Chic website
Great dance beat. Easy to follow the song with clear leads from guitar and keyboard. The
guitar also brings fill notes. Pretty music. The song is sixties pop (Dave Clark Five) that
is played in a contemporary country/pop style that should relax the dancers. Tom makes a
guest appearance doing a great vocal using proper word meter. Tracks include music with
and without leads or background vocals.
BECAUSE
Chic 2012 by Shauna Kaaria
Producer Shauna again does the same song in two different keys – one suited for male
vocals and the other for female vocals. Musically, the same as Chic 1012. Pretty music.
Shauna does another good vocal using proper word meter.
Heads Flutterwheel – Sweep a Quarter – Pass Thru – Swing Thru – Boy Trade – Boy Run –
Bend the Line – Square Thru Three – Swing
[email protected]
706-413-0146
NSD
782 Jays Way
Ringgold GA 30736
17
TREAT HER LIKE A LADY
Cheyenne 2032 by Bryan Bush
MP3/CD from Cheyenne website or dealers
Danceable beat. Tune is easy to follow with clear leads from guitar, keyboard, and steel.
Electric guitar reinforcing the sound throughout. Background vocals on every stanza
add to sound. Mid-way up the energy chart and key change on close adds enthusiasm.
A seventies Motown song (Brother Cornelius and Sister Rose) that is played in a
contemporary country/pop style. Bryan makes his recording debut with a great vocal using
proper word meter. Adjust speed.
TRUE BELIEVERS
Crown 216 by Charlie Robertson
Good dance beat. Strong leads played by guitar and keyboard make the tune
unmistakable. Lots of fill notes from the same instruments. The tune is a current
country song (Darius Rucker) that is played in a similar style. The caller who could
belt this song out would really make it pop. Charlie does one of his best vocals using
proper word meter. Tracks include music with and without background vocals. BGV are
courtesy of Shauna Kaaria.
Heads Promenade Halfway – Square Thru – Right & Left Thru – Veer Left – Ferris Wheel –
Square Thru Three – Swing
HARPER VALLEY PTA
Gold Rush 240 by Lisa Minton
MP3/CD from dealers
Good dance beat. Music is chords played by dobro, piano, and guitar. A laid-back countrysounding rendition of a contemporary classic country song by Jeannie C. Riley. Pretty
music and key change on close adds interest. Callers will have to know the tune. Lisa does
another good vocal using proper word meter. Adjust speed.
Heads Promenade – Square Thru – Right & Left Thru – Eight Chain Six – Swing
RETURN TO HARPER VALLEY
Gold Rush 241 by Lisa Minton
MP3/CD from dealers
Dance beat is good. Tune is easy to follow with clear lead played by guitar. Chords are
done by keyboard with electric guitar in the background throughout. Interesting approach
by the producer releasing both “Harper Valley PTA,” a story song from 1968 and the
sequel story song, “Return To Harper Valley” from 1984. Lisa does a good vocal for both
using proper word meter and similar figures. Adjust speed.
Heads Promenade – Sides Square Thru – Right & Left Thru – Eight Chain Six – Swing
Your magnetic personality will draw people to you!!
18
Heel & Toe Square Dance Club
Manchester, NH
Welcome Back
Saturday, September 17
Ralph Peacock Calling
Margene Jervis Cuing
7:30 - 10:00 pm MS w/PL Tips
Bishop O’Neil Youth Center
30 South Elm St, Manchester, NH 03103
Presidents: Roger & Irene Maurier
603-644-0446 or 603-391-7804 (cell)
[email protected]
Banner: Dick & Jeannine Mattson
603-424-9342 ~ [email protected]
www.heelandtoesdc.freeservers.com
ADDICTED TO LOVE
Crest 138 by Scott Bennett
MP3 from Crest web site
Strong dance beat. Leads are clear making it easy to follow the melody. Lots of great fills
around the caller. All music from organ, saxophone, and electric guitar. Musical dropouts
on every stanza add a dramatic effect that captures the feel of the original song. This is a
contemporary classic pop/rock song (Robert Palmer) that is played in a modern pop/rock
style. Could be a driver. Scott does his usual best using proper word meter. Tracks include
music with and without leads.
Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Ferris Wheel – Cntrs Pass Thru
– Touch a Quarter – Scoot Back – Swing
PHILADELPHIA FREEDOM
Gold Rush 239 by Shawn Brown
MP3/CD from dealers
Danceable beat. The tune is clearly played by piano lead throughout. Keyboard in the
background on most stanzas and electric guitar kicks in on middle and closing breaks.
Watch out for high notes on breaks. A seventies pop/rock hit (Elton John) that is played in
a contemporary pop style. Mid-way up the energy scale. Shawn does his usual best with
proper word meter. Adjust speed.
Heads Promenade Halfway – Pass the Ocean – Extend – Swing Thru – Boy Run – Bend the
Line – Reverse Flutter – Dixie Style to a Wave – Boy Cross Run – Swing
FRIDAY NIGHT BLUES
Peak 103 by Rob Baird
MP3 from Peak web site
Pretty piano introduction trademark of the original song. Good dance beat with a two-step
feel. Tune is clearly played by guitar, piano, and steel. Lots of fill notes from the same
instruments. A contemporary classic song (John Conlee) that is played in a laid-back
contemporary country style. Rob makes his recording debut with a good vocal using proper
word meter. Tracks include music with and without leads.
19
HELP ME MAKE IT THROUGH THE NIGHT
Rawhide Music 1141 by Buddy Weaver
MP3/CD from Rawhide website or dealers
Tempo: 120 Rhythm: Boom-Chuck
Good dance beat. Unmistakable tune with leads clearly played by steel, piano, and guitar.
Some nice guitar fills. A singing call to croon if the high notes are okay with the caller.
Musically a country rendition of a contemporary classic country song (Sammie Smith).
Good vocal using proper word meter. From Blue Star vinyl. May need to adjust speed.
Heads Square Thru – Do Sa Do – Touch a Quarter – Scoot Back – Boy Run – Right & Left
Thru – Dixie Style to a Wave – Boys Cross Fold – Swing
FROM ME TO YOU
Rawhide Music 1142 by Jay Henderson
Dance beat is good. Strong leads make the tune easy to find. Music from guitar, keyboard,
and harmonica. A laid-back version of a Beatles song that will relax the dancers. Jay does
a good vocal using proper word meter. Tracks include music with and without harmony.
Originally done on Hi Hat Records. Adjust speed.
Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Ferris Wheel – Pass Thru –
Touch a Quarter – Scoot Back – Swing
WKRP IN CINCINNATTI”
Acme 126 by Scott Bennett
MP3 from Acme web site
What a great blast from the past. Good dance beat with a Latin feel. Clear leads played
by guitar, piano, and flute make the tune easy to follow. Lots of fill notes from the same
instruments with an overall modern jazz feel. A relaxing singing call.
The song is originally the theme song from a television series of the same name. Callers
should be aware the key changes up mid-way in each stanza and down for the next stanza.
A great vocal by Scott Bennett using proper word meter. Tracks include music with and
without lead.
Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Ferris Wheel - Right & Left
Thru – Square Thru Three – Swing
MRS. BROWN
Riverboat 508 by Elmer Sheffield
MP3 from Riverboat web site
Strong dance beat with an emphasis on the bass. Clear leads played by guitar, keyboard,
and mandolin. Lots of fill notes from the same instruments. Tune is easy to follow.
The song is known as “Mrs. Brown, You’ve Got A Lovely Daughter,” a sixties pop song
(Herman’s Hermits) that is played in a contemporary country style. Mid-way up the
energy chart. Elmer does a good vocal using proper word meter. Adjust speed.
Heads Flutterwheel – Sweep a Quarter – Pass Thru – Swing Thru – Boy Run – Half Tag –
Walk & Dodge – Partner Trade – Reverse Flutter – Promenade
20
Riverside Squares
PO Box 382, Danvers, MA 01923 www.RiversideSquares.org
All Saints Episcopal Church hall, 9 Holten St at Cherry St, Danvers MA
Saturday, September 10 ~ 7:30 - Early A-1 ~ 8:00 - 10:30 pm - MS/2 PL
Caller: Bill Mager
Cuer: Bob Boudreau
Free Fun Night – September 7 at 7:00
Wednesday Square Dance Workshops ~ September 14, 21 & 28
Ken Ritucci - Class Caller
MS class 7-8:30 ~ PL 8:30-9:30 ~ Angel Plus Tip 9:30-9:45
Presidents: Linda & Dave Caron ~ 978-232-3559 ~ [email protected]
Banner: The Schwinds & the Baldwins ~ [email protected]
MAGGIE MAY
Rhythm 1309 by Wade Driver
MP3 from Rhythm web site
Great dance beat. Clear leads playing the tune are guitar, mandolin, and fiddle. The same
instruments play lots of fill notes around the caller. The song is a seventies pop song (Rod
Stewart) that is played in contemporary country style. Mid-way up the energy scale. Wade
does a good vocal using proper word meter. Adjust speed.
Heads Pass Thru – Heads Promenade Halfway – Sides Square Thru – Swing Thru – Spin
the Top – Slide Thru Twice and Roll – Swing
THE UNICORN
Riverboat 509 by Jack O’Leary
Dance beat is strong with an emphasis on the bass. Melody is clearly played by guitar,
fiddle and flute. The song is a sixties pop favorite (The Irish Rovers) that is played in a
contemporary country/pop style. Middle of the energy scale. Jack does a good vocal using
proper word meter on a figure that will have the dancer’s hustling.
Heads Square Thru – Right Hand Star – Heads Star Left – Right & Left Thru – Rollaway
a Half Sashay (sic) – Touch a Quarter – Scoot Back – Star Thru – Promenade
LET IT GO
Riverboat 520 by Lydia Morrow/ Kumi Takahashi
Strong dance beat with an emphasis on bass. Tune is unmistakable with strong leads
played by piano, saxophone, and guitar. The same instruments plus keyboard provide
lots of fill notes. A recent Disney hit from the movie Frozen with an instrumental that
is country/pop. Could be a sing along. Two vocals, one in English, the other in Japanese.
Both callers sound good and use proper word meter. Watch out one of the figures does not
provide proper body flow. Multiple figures
Take no risks with your reputation!!!
21
EDSARDA - NSSARDA
No Banner Raids
50/50
Refreshments
Hearing Enhancement
NUBBLE LIGHTHOUSE KEEPERS
SQUARE & ROUND DANCING
CALLER: Kip Moulton & CUER: Linda Moulton
Sunday Nights - September 11 & 18
2 FREE Fun Nights 6:30-7:30 ~ followed by Plus teach 7:30-8:00
then MS/PL Dancing with Rounds 8:00-9:30
Sunday Night - September 25
WOOD
EN
SOFT FLOOR
S
SHOE OLED
S
Couple PLEASE
s & Sin
Welcom gles
e
Class: 6:00 - 7:15 ~ PLUS 7:15-8:00 ~ MS/PL with Rounds ~ 8:00-9:30
WELLS ACTIVITY CENTER ~ 113 Sanford Rd (Rte 109) Wells, ME
Contact: President: 603-742-0282
Website: http://nubblelighthousekeepers.squaredanceme.us
e-mail: [email protected]
JOHNNY BE GOOD
Riverboat 630 by Masaru Wada
Good dance beat, one of only two boom-chuck rhythms this month. Strong leads make the
tune easy to follow. Music from guitar and piano. Taken from a vinyl record and not up to
Riverboat’s standards. The tune is classic fifties rock (Chuck Berry) and is known as “Johnny
B. Goode” played in country style that could drive the excitement of the dance. Masaru makes
a guest appearance doing a good vocal using proper word meter. From Red Boot vinyl.
Heads Promenade Halfway – Pass the Ocean – Extend – Swing Thru – Boy Run - Couple
Circulate – Chain Down the Line – Star Thru – Pass Thru – Trade By – Swing
DON’T BE CRUEL
Riverboat 534 by Hiroshi Nakagawa
Dance beat is good. Strong leads playing the melody are guitar and electronic sax. Lots of
keyboard instruments around the melody to make a full sound. Another fifties rock classic
(Elvis Presley) that is played in country/pop style. Could be a driver depending on the
caller. Hiroshi does a good job. Adjust speed and word meter. From Red Boot vinyl and a
better production quality.
Heads Lead Right – Circle to a Line – Right & Left Thru – Dixie Style to a Wave – Girls
Circulate – Boys Trade – Recycle – Veer Right – Bend the Line – Slide Thru – Swing
ELECTION YEAR RAG
Riverboat 642 by Darryl Lipscomb
Great dance beat. Strong leads playing the tune are dobro, clarinet, and kazoo. Yep,
kazoo. A real ragtime feel on this instrumental with lots of fill notes and jazzy horn
parts. The song was originally written as a topical spoof for NPR in the late seventies by
a little known songwriter, Steve Goodman. This instrument is full and should raise the
enthusiasm of the dance floor. Darryl does a good job using proper word meter.
Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Bend the Line – Square Thru on
third hand Pass the Ocean – Recycle – Swing
22
SEVENTH SON
Royal 196 by Jerry Story
MP3 from Royal web site
Good dance beat. Clear leads from guitar, steel, and saxophone. Lots of fill notes from
the same instruments plus fiddle. Nice feel with instrumental dropout on the first half of
every stanza then adding hand clapping to the second half of every stanza. The song is
another fifties rock offering that is played in a contemporary country style. Mid-way up
the energy scale and a key change in the close adds enthusiasm. Jerry does a fine vocal
using proper word meter. Adjust speed.
Heads Promenade Halfway – Sides Square Thru – Right & Left Thru – Eight Chain Six – Swing
YOU SHOULDN’T KISS ME LIKE THIS
Sting 21414 by Thorsten Geppart
CD/MP3 from Sting web site or dealers
Dance beat sits behind the music on the break stanzas and gets a boost from added percussion
in the figure stanzas. Strong leads playing the tune are fiddle, steel, piano, and guitar. A song
to croon. Contemporary country (Toby Keith) played in the same style. Key change on close
adds to the feel. Thorsten sounds good and uses proper word meter. Adjust speed.
WHAT MAKES YOU BEAUTIFUL
MP3 from Arrowhead web site
Excellent guitar introduction. Strong dance beat with percussion reinforcement including
a cowbell. Music is mostly chords played in a contemporary style by a keyboard. The break
and close have clear lead played by keyboard with even more percussive instrumentation.
Lots of great guitar work in the background.
The song is a recent radio hit (One Direction) and could drive the energy of the dance
depending on the caller. Watch out for high notes on the breaks. Dean does a good vocal
using proper word meter. Tracks include music with and without background vocals.
Cntrs Touch a Quarter – Box Circulate Twice – Swing
I WILL
Chic 1013 by Joe Saltel
Dancers will enjoy the beat reinforced with a bass vocal scat singing. Melody is clearly
played by guitar and keyboard. Piano, guitar and keyboard instruments in the background
to make a full sound. A softly played relaxing singing call from a Beatles tune. Joe does
a good vocal using proper word meter. Tracks include music with and without leads or
background vocals.
Heads Promenade Halfway – Pass the Ocean – Extend – Swing Thru – Spin the Top –
Right & Left Thru – Two Ladies Chain Twice - Promenade
23
NORTHE AST CALLERS SCHOOL
KEN
KE
N RITUCCI
(CALLERLAB ACCREDITED CALLER COACH)
Wi t h S p e c i a l G u e s t I n s t r u c t o r s
Bill HARRISON
STEVE KOPMAN
(Tennessee)
TER
REGIS !
!
TODAY
(Maryland)
WALT BULL
LIMIT
ED S
$400
P
per S ACE
tuden
t
When: OCTOBER 6 - 10
Where: Host Hotel & Hayloft Barn, Sturbridge, MA
(Maine)
Whether you are presently calling or desire to be a caller,
this school will help you with your calling career.
• Plenty of microphone time
• Understand what it takes to be a leader
• Professional assessment of your skills
• Full CALLERLAB curriculum
• Develop a calling career that is best for you
For an application and more information, contact Ken Ritucci at 413-734-0591 or e-mail
[email protected] ~ WWW.NORTHEASTCALLERSCHOOL.COM
I WILL
Chic 2013 by Shauna Kaaria
Musically the same as Chic 1013 except the key is different. Melody is clear and lots of
instruments in the background. Pretty music. Callers with low voices take note – you
could use the version keyed for women but sing one octave lower. This is a nice fit for
high or very low voices. Shauna does another good vocal using proper word meter on an
interesting figure.
Heads Box the Gnat – Slide Thru – Single Circle to a wave – Left Swing Thru – Fan the
Top – Right & Left Thru – Pass Thru – Chase Right – Swing
FEEL AGAIN
Arrowhead has some innovative introductions and this song is another example. Great
dance beat that breaks away on the 1st, 4th, 7th stanzas where percussion is light. Very
good music coming from keyboard instruments playing the chords. Lots of keyboard
instruments and light vocals playing in the background with added kettledrums. The song
is a recent pop hit (OneRepublic) and is mid-way up the energy scale. Dean does another
good vocal using proper word meter. Tracks include music with and without leads or
background vocals. Adjust speed.
Heads Promenade Halfway – Square Thru – Right & Left Thru – Veer Left – Couples
Circulate – Half Tag – Scoot Back – Swing
When two egotists meet, it’s an I for an I!!!
24
LEARNING TO FLY
Good dance beat. Music is chords played by keyboard and guitar. Middle and closing
breaks feature electric guitar. Added percussive effects on every stanza bring a good feel.
The song is contemporary classic pop (Tom Petty) and is played with a modern sound. Midway up the energy scale. Callers will have to know the tune. Dean does a good vocal using
proper word meter.
Heads Promenade Halfway – Pass the Ocean – Extend – Swing Thru – Spin the Top –
Right & Left Thru – Square Thru Three – Swing
SWEETER THAN THE DAY BEFORE
Cheyenne 2033 by Bryan Bush
Danceable beat with an emphasis on bass. Tune is easy to follow with clear leads from
saxophone and keyboard instruments. The keyboard also provides some nice effects. A
relaxing singing call played in contemporary style. A gospel song with lyrics that praise
the LORD. Bryan does another good vocal using proper word meter although he is a little
hard to hear. Adjust speed.
Heads Square Thru – Right Hand Star – Heads Star Left – Right & Left Thru – Dive Thru
– Square Thru Three – Swing
500 MILES
Cheyenne Gold 719 by Chuck Veldhuizen
Great dance beat. Strong leads from piano, harmonica, mandolin, organ, electric, acoustic
and steel guitar. Lots of the same instruments playing in the background make a full
sound. One of Cheyenne’s best musical releases. A contemporary classic country song
(Bobby Bare) that is played in a relaxing country style. Watch out for key change from
break into third figure. Chuck does a great vocal using proper word meter.
Heads Square Thru – Do Sa Do – Swing Thru – Spin the Top – Girls Trace – Spin the
Top - Swing
MIDNIGHT ME AND THE BLUES
ESP 353 by Tom Miller
MP3 from ESP web site and dealers
A different sound for ESP. Danceable beat with an emphasis the bass. Music is chords
played by piano with steel guitar in the background throughout. A laid-back singing call
played in country style. Originally a Mel Tillis country song. Callers will have to know the
tune. Tom does a good vocal using proper word meter. Adjust speed.
Heads Promenade Halfway – Right & Left Thru – Square Thru – Swing Thru – Spin the
Top – Slide Thru – Swing
Time flies like an arrow. Fruit flies like a banana!!!
25
26 th Annual TUMBLING LEAVES FESTIVAL
“aLL
aLL roads lead to bennington college, bennington vt
vt”
oCTOBER 14, 15 & 16
CALLERS: RED BATES, Bill Harrison, tim marriner
John marshall, don moger & KEN RITUCCI
CUERS: steve & irene bradt ~ BEVERLY MacKay
• 5 HALLS: MAINSTREAM THRU C-2
• MANY PACKAGES TO SELECT FROM
• LIMITED CAMPING AT THE FRONT DOOR
• GREAT MEAL PACKAGE - ALL YOU CAN EAT
• CLAUDIA’S SQUARE DANCE SHOP
For information, call or write: Red Bates ~ 941-223-0987 ~ [email protected]
BRING DOWN THE HOUSE
ESP 1167 by Elmer Sheffield
MP3 from ESP web site and dealers
ESP returns to their Southern Satisfaction Band for this release. Great dance beat
reinforced with a banjo throughout. Leads are clearly played by guitars (acoustic and
electric) with keyboard. Some hot guitar licks in the background add a rousing effect. A
contemporary country song (Dean Brody) played in the same style that could excite the
dancers. Elmer does a good vocal using proper word meter.
Heads Promenade Halfway – Pass the Ocean – Extend – Swing Thru – Boy Trade – Boy
Run – Bend the Line – Pass Thru – Chase Right – Swing
SNOOPY FOR PRESIDENT
Gold Rush 123 by Shawn Brown
MP3/CD from dealers
Good dance beat reinforced with banjo. Music is chords played by keyboard instruments.
The tune was first released in 1968 and re-issued around other election years. Lighthearted lyrics and pretty country music make a singing call that is middle of the energy
chart. Callers will have to know the tune but may also consider this for hoedown use.
Shawn has two vocals included; both use proper word meter.
Heads Promenade Halfway – Right & Left Thru – Square Thru – Do Sa Do – Swing Thru
–Boy Trade – Swing
LONELY GOATHERD
Riverboat 510 by Patty Greene/ Ko Iwata
Super dance beat. Clear leads played by guitar, fiddle, and harmonica. The same
instruments provide lots of fill notes. Tune is easy to follow and well suited for yodelers.
A movie classic (Sound of Music) that is played in a contemporary country style; middle
of the energy chart. Two called tracks are included – one in English and one in Japanese.
Both get lots of words in. Various figures
26
GREAT PLAIN
SQUARES
Carter Memorial Church
800 Highland Avenue
Needham MA
Wednesdays this fall
7:00-8:15 Square Dance Class
8:15 - 10:00 Plus with Rounds
Information: 781-801-0725
www.GreatPlainSquares.org
Great Plain Squares - The Place to Dance in 2016
October 29
FUN NIGHT
for square dancing
September 14 ~ 7:00 - 9:00 pm
and September 21
Carter Memorial Church
800 Highland Avenue
Needham, MA
Our Caller and Cuers:
Bob Butler
Phil Gatchell, Scott Cohen
Halloween Dance
Caller: Al Hipkins
Cuer: Lee Fremault
Costumes Encouraged!
Check www.GreatPlainSquares.org for details
RIDE CAPTAIN RIDE
Gold Rush 242 by Scott Brown
MP3/CD from dealers
Cool introduction reminiscent of the sixties style of music. Good dance beat. Tune is easy
to follow with leads clearly played by keyboard instruments. Guitar and excellent piano
work in the background make for great sound. The song is contemporary classic pop/rock
that is played in a contemporary pop style. A good caller could really make this singing
call pop. Scott does another good vocal using proper word meter. Adjust speed.
Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Ferris Wheel – Cntrs Pass Thru
– Star Thru – Square Thru Three – Swing
(DON’T WANT TO WRITE YOU A) LOVE SONG
Gold Rush 243 by Art LaVigne
MP3/CD from dealers
Great dance beat. Lead is clearly played by piano with keyboard in the background.
The song is a contemporary pop number (Sara Bareilles) that is played in a relaxing
contemporary style. Watch out for quite a few high notes. Caller should be familiar with
the tune. Art does a good job using proper word meter. Tracks include music with and
without leads. Adjust speed.
Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Bend the Line – Right & Left
Thru – Flutterwheel – Slide Thru – Swing
SHOW ME THE WAY TO GO HOME
Rawhide Music 1143 by Dan Preedy
Good dance beat. Tune is easy to follow with clear leads played by guitar, clarinet, steel,
and piano. Banjo in the background throughout fills out the sound. The tune is a popular
classic that will have the dancers singing along. Music is played in country style that is
mid-way up the energy scale. Dan does a great vocal using proper word meter. Previously
released on Rawhide Records. Adjust speed.
Heads Promenade Halfway – Square Thru – Right & Left Thru – Rollaway – Box the Gnat
– Square Thru Three – Trade By – Swing
27
IT’S BEEN A LONG, LONG TIME
Rawhide Music 1144 by Buddy Weaver
Great dance beat. Clear leads make the tune easy to find. Music from guitar, xylophone,
steel, and piano. Keyboard instruments in the background fill out the sound. Another
classic tune that is played in country style. Dancers will relax and sing along with this
one. Good vocal track with proper word meter. Previously released on Rawhide Records.
Heads Square Thru – Right Hand Star – Heads Star Left – Star Promenade Corner –
Circle Left – Girl Fold – Star Thru – Promenade
APPLE BLOSSOM TIME
Rawhide Music 1145 by Hiroyuki Kaneko, Jr.
Good square dance beat. The tune is unmistakable with strong leads played by guitar,
piano, and fiddle. Lots of fill notes around the caller from the same instruments plus
mandolin. This classic song is also known as “(I’ll Be With You) At Apple Blossom Time”
and is played in a lively country style. Dancers will probably sing along. Hiroyuki does a
fine vocal using proper word meter. Previously done on Eureka and Hi Hat Records.
Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Couples Circulate – Chain
Down the Line – Pass the Ocean – Circulate – Swing
5-1-5-0
Rhythm 1310 by Adam Christman
Good dance beat with an emphasis on bass. Clear leads playing the tune are piano,
harmonica, and electric guitar. Lots of fill notes from the same instruments make a full
sound. The song is a recent country radio play (Dierks Bentley) that is done in the same
style. The music should excite the dancers but some may find the lyrics objectionable.
Adam does a good vocal using proper word meter.
Heads Pass Thru – Separate Round One – Pass Thru – Wheel & Deal – Girls Swing
Thru – Cntrs Trade – Cast Off Three Quarter – Boys Courtesy Turn Girl – Two Ladies
Chain – Promenade
DANCE TONIGHT
Rhythm 1311 by Terry Hebert
Great dance beat. Tune is easy to follow with leads clearly played by mandolin, guitar,
and organ. The same instruments provide lots of fill notes. A lively, country music feel to
a Paul McCartney song. I’ve seen good callers drive the energy up with this singing call.
Terry does a good vocal using proper word meter.
Heads Promenade Halfway – Square Thru – Touch a Quarter – Scoot Back – Boy Run –
Star Thru – Pass Thru – Trade By – Swing
Get the most traction for your efforts.
28
The Callers
BLACK BOOK
ORDER ONLINE AT WWW.KENRITUCCI.COM
Only $10.00
For More Information Contact: Ken Ritucci
132 Autumn Road, West Springﬁeld, MA 01089
413-262-1875 • [email protected]
www.kenritucci.com
TINY BUBBLES
Riverboat 511 by Kinya Ishii and Tac Ozaki
Good dance beat with a Latin feel. Melody is clearly played by guitar, keyboard, and steel.
Some nice fills from the same instruments. A classic tune that many associate with Don
Ho from Hawaii. Musically, a contemporary country style that is mid-way up the energy
scale with a key change on the closer that adds lift. Kinya Ishii and Tac Ozaki sound good
with Kumi Takahashi adding harmonies. Various figures
AMANDA
Riverboat 512 by Mike Seastrom
Good square dance beat. Easy to find the tune as leads from guitar, fiddle, and steel are
clear. Plenty of fill notes from the same instruments. The song is contemporary classic
country (Waylon Jennings) that is played in a contemporary country style. Middle of the
energy scale. Mike does a good job and uses proper word meter.
Heads Pass Thru – Separate Round Two – Touch a Quarter – Boy Run – Right & Left Thru
- Swing Thru Twice – Swing
SOUTHERN NIGHTS
Riverboat 641 by Koji Harai
Danceable beat with an emphasis on the bass. Easy to follow the tune with strong leads
played by piano, saxophone, harmonica, mandolin, electric and acoustic guitar. Electric
guitar plays in the background throughout. It’s refreshing to hear a different lead
instrument in every stanza. The song is contemporary classic country (Glenn Campbell)
played in laid-back country style. Koji sounds good and uses proper word meter. From
Riverboat vinyl.
Heads Promenade Halfway – Square Thru – Right & Left Thru – Veer Left – Couples
Circulate – Half Tag – Scoot Back – Swing
29
BRADFORD COUNTRY SQUARES
Saturday - September 17
"Golden Rule Days"
$7.00 per person
Under 16 - Half Price
Under 12 - Free
Hearing Enhancement
Available
Jim Schell
Mike Alexander
7:00 Early Rounds ~ 7:30-10:00 ~ MS/PL + A-1 tip
Whipple Memorial Hall, 440 Main St at Seamans Rd, New London NH
Questions? Warren Sherburne, President ~ 603-863-6394
Alice Perry ~ 603-927-6347
[email protected] ~ www.bradfordcountrysquares.freeservers.com
SAYONARA
Riverboat 521 by Keiko Asano, Hiromi Keneko, Kuniko Kawashima
Strong dance beat with an emphasis on bass. Leads are clearly playing the melody.
Lots of fill notes around the caller. All music from guitar, piano, and electronic flute.
This is also known as “Sayonara Daistuki Na Hito,”which translates to goodbye my
love. A Japanese pop song that is played in a contemporary pop style. All the lyrics
are in Japanese but a clever caller can find English translations and adjust them
to fit. Three callers sound good. Tracks include music with and without harmony.
Various figures
TIME TO BUM AGAIN
Riverboat 624 by Isao Nakagawa
Classic square dance feel. Strong leads played by banjo and guitar bring the tune frontand-center. Steel and banjo in the background throughout. A contemporary classic country
song (Waylon Jennings) that is played in country style. Mid-way up the energy scale with
a key change on the close to boost the feel. Isao does a good vocal using proper word meter.
From Riverboat vinyl.
DOWNTOWN
Riverboat 635 by Mac O’Jima and Mitchell Osawa
Terrific dance beat and overall feel. Tune is easy to follow with clear leads played
by guitar, piano, and harpsichord. The latter brings that original sixties feel to an
otherwise very modern sounding piece of music. Exciting music that dancers will enjoy
and probably sing along with the caller. Mac and Mitchell sound good together using
proper word meter.
Heads Promenade Halfway – Lead Right – Do Sa Do – Swing Thru – Boy Run – Half Tag –
Walk & Dodge – Partner Trade – Slide Thru – Square Thru Three – Swing
30
RIVER OF LOVE
Riverboat 639 by Kaneko Kawashima
Classic square dance feel and beat. Clear leads played by guitar, fiddle, and steel make the
tune easy to follow. The song is a contemporary classic country album cut (Juice Newton)
that is played in country style. Middle of the energy chart. Kaneko sounds good and uses
proper word meter. From Riverboat vinyl.
Heads Square Thru – Do Sa Do – Swing Thru Twice – Slide Thru – Right & Left Thru –
ON TOP OF THE WORLD
Riverboat 645 by Atsushi Tamada/ Kumi Takahashi
Classic square dance feel. Strong leads played by keyboard instruments make an easy to
follow singing call. A contemporary classic country song (Anne Murray) that is played in
country style. A definite sing-along song. The music is taken from a Red Boot vinyl record
and the production quality is not up to Riverboat’s usual standards. Tracks include two
vocals – one in English and one in Japanese plus a Japanese harmony track. Various figures
HONKY TONK SONG
Riverboat 647 by Ko Iwata
Great dance beat with a swing feel. Clear leads are playing the tune and there are lots
of fill notes. All the music from piano, saxophone, guitar, and organ. A full and lively
piece of music to a classic country song (Web Pierce). Another great Riverboat release
played in a modern country/jazz style. Ko sounds good and uses proper word meter on an
interesting figure.
Heads Promenade Halfway – Half Square Thru – Box the Gnat – Make a wave – Boy Trade
– Box the Gnat – Make a wave – Girls Trade – Girl Run – Bend the Line – Girl Walk/ Boy
Dodge – Boy Walk/ Girl Dodge – Swing
KARMA CHAMELEON
Sting 21405 by Paul & Cherish Bristow
Terrific introduction that captures the feel of the original song. Great dance beat. Easy to
follow tune with leads clearly played. Lots of fill notes. Music from keyboard, harmonica,
and guitar. The song is an eighties pop hit from Culture Club (Boy George). Music is
played in a contemporary country style that is mid-way up the energy chart. Be sure to
listen to the closing stanza finish – nice touch. Paul sounds good, gets lots of words in,
and uses proper word meter. Tracks include music with and without harmony by Cherish.
Many groups will have to workshop the figure first.
Heads Lead Right – Pass the Ocean – Fan the Top – Boy Circulate – Single Hinge – Split
Circulate Once and a Half – Flip the Diamond – Boy Trade – Swing Thru – Girl Run – Girl
Fold - Swing
31
TRUE OR FALSE
Recently, Pew Research found that a majority of American adults get their news
from social media like Facebook or Twitter. Sixty-two percent of adults in the U.S. have
“posts” as their source of facts and that is surprising when you consider how much bogus
information is on social media.
Who hasn’t seen the post about “Mr. Roger’s sweater” or “Jackie Chan’s death while
doing a stunt?” The stories are false. Research proves they are inaccurate, but it doesn’t
slow the spread of the bogus story on social media. As the saying goes - “don’t ruin a good
story with facts.”
Like so many stories read on social media, we have statements of “fact” in square
dancing that may or may not be true. Over the next few articles, I’m going to look at
commonly held beliefs, ask you if it’s true or false, and then reveal the research behind the
story to determine if what we believe is factual. Spoiler alert, this may dispel your favorite
square dance belief.
“Traditional square dance attire is the made-for-square dance dresses with yards of
fabric, full petticoat, and pettipants,” True or false?
FALSE Traditional square dance attire is the floor-length dress for the women and
jeans with long-or-short sleeves for the men. Square dance dresses became mid-calf in the
mid-fifties and what many people think is a traditional square dance dress came about in
the early-sixties. Early forms were sometimes called a Squaw Dress.
The hemline of the traditional floor-length square dance dress started rising as round
dancing became popular. An unconfirmed history is round dance students complained they
couldn’t see the woman’s footwork beneath the instructor’s floor-length dress of the time so
a creative round dance instructor raised the hemline for teaching purposes.
Whether the story is true or it was easier to dance more intricate actions in shorter
dresses, the idea caught on with dancers everywhere and a million-dollar industry was
built on square dance dresses, petticoats, dress shirts, etc. By the turn-of-the-century, that
industry was all but gone.
“Square dance classes have always been sponsored by clubs,” True or false?
FALSE City parks departments, military recreation services, and large corporations
originally sponsored square dance classes. In a post war America, square dancing was the
perfect fit for adult recreation programs that were put on for city residents, active duty
military new to an assignment and employees on large campuses like General Dynamics.
In one example - January 1946 a city park’s supervisor was charged with bringing a
caller from Texas to introduce square dancing in San Diego. 900 people showed up and
had to be divided into two shifts of classes. In another example – February 1946 the
commander of Pearl Harbor recognizes the value of square dancing to enlisted personnel
new to the islands and commissions the first classes in Hawaii. Square dancing proves so
popular that other bases start their own program and by the early sixties, almost every
installation had their own square dance hall provided by the base - FREE OF CHARGE.
“Without clubs, square dancing would die,” True or false?
32
TRUE In the above example of 900 people getting into square dancing in San Diego,
some of the new dancers became new callers and began square dance classes in their own
cities. From new classes came new clubs.
Most every military base had a square dance program that was started by base
recreation services. Many bases had more than one class, as officers were not allowed to
dance with enlisted. From new classes came new clubs.
As square dancing moved into it’s modern form – no more routines, more calls,
longer class times, organized dancer and caller associations – it no longer fit recreation
department needs.
The catalysts that created the square dance boom lost their best product to an
organized modern western square dance movement (MWSD). Today, almost every square
dance class is organized by an existing club, which ties the existence of dancing and the
club together.
Something to consider. California was the first to experience the “boom period” of
square dancing classes and clubs. Of the hundreds of clubs in hundreds of cities in the
early fifties, none of them are here today, which means that square dancing should have
died off completely.
So why didn’t it? Because new classes continued to form (outside existing club
sponsored classes) and from those new classes came new clubs. Thanks to an
entrepreneurial spirit, countless classes and clubs formed in the years between the midforties and early-seventies. Why did this practice die in the past few decades?
33
WINNIPESAUKEE SQUARES
PO Box 293, Moultonborough NH 03254
" Modern Western Square Dance Lessons"
Lessons "
Thursday, September 22, 7-8:30 pm - 1 st Lesson FREE
FREE!! ~ Pizza Party
Couples - Singles - Families are welcome!
Basic Mainstream Program - Caller: Jerry Maurice
Leavitt Park Club House, 334 Elm St, Laconia NH
Info: Randy & Sue ~ 603-253-9518 or Ron & Bonnie ~ 603-279-4548
email: [email protected]
“Square dancing will never see it’s boom years again.” True or false?
TRUE AND FALSE While it is impossible to know what the future holds, the fact is
during square dancing’s “boom years” (mid-forties to mid-fifties), square dancing bore little
resemblance to what it is today.
Dances were routines and as routines go, most dancers knew what was coming next
(see Paul Moore’s articles). Lessons took six to ten weeks and it was easy to leave then
come back to square dancing.
What we know as square dancing (aka Modern Western Square Dancing) NEVER SAW
THE “BOOM” PERIOD. Yes, there was growth as new classes formed in new areas that
became new clubs, but MWSD never experienced thousands of people dancing in Central
Park or Santa Monica.
Something else to consider. There is a correlation between the number of calls in our
program and the number of dancers in our program. More calls – fewer dancers. Since
implementing our dance programs in 1974, these programs have only grown in size and
complexity.
Also since 1974 the average attendance at a National Convention has gone from 17,000
to 4,000. Can we sharply cut our program size in the belief that we may again see growing
levels of participation? Can we save this good story with facts?
Next month will be taking on a hot potato. If you have any questions please send them
to [email protected]. Check out this month’s great releases and find all your new
music at www.musicforcaller.com.
HOEDOWNS
PURSUIT ESP 437
CD/MP3 from ESP web site or dealers
Strong dance beat with an emphasis on bass. Contemporary sound with music from
keyboard instruments with sound effects (sirens, jaw harp). Musical dropouts in the
second half of piece. A melody is lightly played but shouldn’t get in the caller’s way.
Includes vocal track by Tim Marriner calling material for the CALLERLAB Condensed
Teach Method, lessons 1-6.
34
NATIVE SPIRIT Arrowhead 901
CD/MP3 from Blue Star web site or dealers
Pretty guitar and soft vocals for the first 37 seconds then a strong dance beat kicks in.
Music is chords from keyboard instruments and soft “oohs” and “ahhs.” Music drops away
for emphasis on percussion including hand clapping. Includes called A-2 track by Dean
Singleton. Overall, two good hoedowns from Arrowhead Recordings.
SNAP DRAGON Arrowhead 900
CD/MP3 from Blue Star web site or dealers
Good dance beat. A modern sounding hoedown with chords played by keyboard and
electronic harmonica. Musical dropouts adds dramatic feel. Lots of electronic effects. Track
includes called Plus DBD vocal by Dean Singleton.
HAWAIIAN HOLIDAY Riverboat 631
Good dance beat. Music has a contemporary country sound with chords played by guitar
and keyboard instruments along with sound effects. Lots of fill notes and effects. The
production sounds somewhat muffled though.
BOUNCY Riverboat 632
Great dance beat. A modern sounding hoedown with chords played by guitar and
keyboard. Lots of fill notes and effects from keyboard, fiddle, mandolin, piano, jaw-harp,
and clarinet. Musical dropouts to feature percussion and fill notes add to an already great
piece of music. Tracks include called track but the caller is unidentified.
DOOR NUMBER ONE Riverboat 633
Good dance beat with a walking bass. Chords playing in a contemporary country style.
Lots of fill notes. Music from piano, guitar, and saxophone. A good hoedown for wind in
your face choreography.
COUNTY MOUNTY Rawhide 1583
MP3 from Rawhide web site
Good dance beat. Music has a classic country feel with chords played by guitar, banjo,
and steel. A lively hoedown. Originally on Hi Hat Records and now part of the 99¢
hoedown series.
TEARDROPS Riverboat 636
Great dance beat. Music has a contemporary country sound with chords played by steel,
harmonica, and guitar. Lots of fill notes. Another great Riverboat hoedown.
35
ROUND DANCE WITH
BIRGIT & RICHARD MAGUIRE
Mondays, Starting 9/19, at the Fairs ’n Squares, Framingham MA
7:00 - 8:30 pm - Beginner Rhumba
8:30 - 10:00 pm - Various rhythms
Tuesdays, Starting 9/15, at the Hayloft Barn, Sturbridge MA
7:00 - 8:30 pm - Beginner Two Step
8:30 - 10:00 pm - All Rhythms Phase 4-5
Sat 17 Single Squares, Burlington MA
Fri 23 South Windsor Squares, Enﬁeld CT
For rates and dates call Birgit or Richard Maguire ~ 508-584-0584 ~ www.breasyrounds.com
RED RIVER HOEDOWN Rawhide 1584
Danceable beat. Hoedown has a country feel with a melody played by multiple guitars.
Tune is the classic Red River Valley and should not get in the caller’s way. A classic
hoedown that was never released and now available for 99¢.
CHEROKEE MAIDEN HOEDOWN Rawhide 1585
Danceable beat. Hoedown has a classic square dance feel with bass after beat. The melody
is recognizable and there are musical dropouts every stanza to feature drums. Music from
guitar, piano, clarinet, fiddle, and steel. From Bee Sharp Records vinyl and part of the 99¢
collection. Adjust speed.
DON’T BE A BABY HOEDOWN Rawhide 1586
Beat is danceable. Another classic square dance feel with an unrecognized melody playing.
Music from piano, xylophone, saxophone, guitar, and clarinet. Pretty music. Originally on
Lucky Records and now a 99¢ hoedown.
MONDAY Riverboat 637
Super dance beat. A contemporary country sound on this hoedown. Music is chords played
by guitar, piano, and harmonica. Lots of fill notes. Could be used anywhere in the caller’s
program. Good job Riverboat.
RETURN Riverboat 638
Good dance beat. Chords playing in a contemporary country style. Lots of fill notes. Music
from guitar, mandolin, and fiddle. Another fine Riverboat hoedown.
36
GIBBERISH Sting 21452
MUMBO JUMBO Sting 21452
Two hoedowns for the price of one.
Gibberish has a good dance beat with an emphasis on the bass. Music is chords played in
a contemporary country style. Instruments are steel and keyboard.
Mumbo Jumbo has a danceable beat. Chords played in a contemporary country style
with music from piano, guitar, harmonica, and fiddle. Adjust speed on “Mumbo Jumbo.”
Both hoedowns could be used anywhere in the program but watch out – both have key
changes going into the last stanza.
GUITAR HOEDOWN Rawhide 1587
Good dance beat that goes into a “boogie” beat with added percussion on middle and
closing stanzas. Hoedown is chords played in a pop style with music from guitar,
mandolin, and electronic banjo. A lively hoedown. Taken from Bogan Records vinyl and
now part of the 99¢ hoedown series.
DAISETTA HOEDOWN Rawhide 1588
Classic square dance beat with an emphasis on the bass. Music is chords played by guitar
and fiddle throughout. A fast-moving country-sounding piece. Adjust speed. From Blue
Star vinyl and now available for 99¢.
EIGHTEEN WHEELER HOEDOWN Rawhide 1589
Good dance beat with an emphasis on the bass. Country style with a light melody playing.
Music from guitar, piano, and banjo. The tune is the classic “Wabash Cannonball.” From
Hi Hat vinyl and part of the 99¢ collection.
Do you have comments?
Send them to:
[email protected]
706-413-0146
NSD
782 Jays Way
Ringgold GA 30736
37
LIGHT IN THE WINDOW HOEDOWN Rawhide 1590
Classic square dance beat. The tune is clearly played by guitar, saxophone, and accordion
but should not get in the caller’s way. Fast moving and lively. From Swinging Square vinyl
and now a 99¢ hoedown.
Purchase the music reviewed from your local dealer or the on-line sources below
To search all music www.musicforcallers.com
DOSASO.com
A&S Records
Acme Music
Arrowhead Recordings
Cheyenne Music
Chic Music
Crest Recordings
Crown Music
ESP Music
Peak Recordings
Rawhide Music
Rhythm Records
Riverboat Music
Royal Music
Sting Productions
www.DOSADO.com
www.asrecordshop.com
www.acmerecordings.com
www.arrowheadrecording.com
www.cheyenne-records.com
www.chicrecordings.com
www.crestrecordings.com
www.crownrecords.net
www.esp-records.biz
www.peakrecordings.com
www.buddyweaver.com
www.rhythmrecords.biz
www.riverboat.com
www.royal-records.com
www.stingproductions.co.uk
38
ED FOOTE
THE LACK OF SMOOTH DANCING (continued)
In the June issue I discussed why callers use awkward material and gave specific examples of awkward call combinations that are often used. This month we look at an awkward call and also at stop-and-go dancing.
Do-Sa-Do. This is a call that has a double reversal of body flow and that attempts to
hide this reversal by rounding off the corners. It is well-known by callers who are interested in smooth dancing that: the fewer Do-Sa-Dos, the smoother the dance.
Unfortunately, callers have long been obsessed with Do-Sa-Do. Maybe because it is
square dancing’s most traditional call, or because it is something that even a brand-new
caller can call successfully, but this call is heavily overused.
From facing couples, any graduated dancer can do a Swing Thru without having to
do a Do-Sa-Do first, yet callers persist in preceding Swing Thru with this call. How many
times in a singing call do callers say: “Heads Square Thru 4, Do-Sa-Do, Swing Thru”? The
Do-Sa-Do is totally unnecessary and makes for unsmooth dancing, yet this combination is
consistently used. Why is it used? Because it is on the cue sheet that comes with the singing call. Who writes the cue sheet? Callers.
Ever notice people swinging on a Do-Sa-Do? Are they doing this to be rebellious against
the caller? No, they do it because their bodies instinctively know that a Swing is much
smoother than a Do-Sa-Do.
Fortunately, the pattern is beginning to change slightly. In the past year I have
learned that two top national callers have almost completely dropped this call. Hopefully,
more callers will do so.
Do-Sa-Do will always be with us, because it is a historical part of our activity. But callers would be doing a service for smooth dancing by limiting this call to no more than two
or three times a dance.
Stop-and-go dancing. In my June article I blamed the callers for much of this type of
jerky calling. But to be fair, it is not all the caller’s fault.
Due to weak floors being so prevalent in the U.S., along with so many people “walking”
instead of “dancing,” callers have to call even standard simple material in a stop-and-go
manner much of the time. This is why callers love to call in Europe and Asia, because
people there “dance” and can do the calls with proper timing.
Summary. Ultimately, the callers are responsible for the smoothness of the dance.
The smoother the dances, the better for our activity. The caller may or may not be at fault
when it comes to stop-and-go dancing, but the caller is responsible for awkward material.
As was mentioned in June, dancers should go to the caller after the tip and complain
when awkward material is used. Just be sure it was awkward because of the material, and
not because the dancers were awkward in doing it.
39
O UN
D
R
o f the M o n th
E
D
ANC
SELECTED BY
BIRGIT MAGUIRE
Syncopated Clock
COMPOSERS: Barbara Connelly
PO Box 18, Lower Waterford VT 05848
[email protected]
MUSIC: “Syncopated Clock” by Leroy Anderson
Album ‘The Typewriter’ Length 2:21
SPEED: Adjust for Comfort
FOOTWORK: Opposite unless noted
PHASE: 2+1
SEQUENCE: INTRO, A, A(mod), B, A, Bridge, B(mod), A, A, END
RHYTHM: Two Step
1 - 4 SCP WAIT 2 MEAS;;
INTRO
A
1 - 4 2 FWD TWO STEPS;; HITCH 4; SCOOT 4;
5 - 8 FWD TWO STEPS ;; VINE 4; HOLD,, SD, CL;
A (mod)
1 - 4 2 FWD TWO STEPS;; HITCH 4; SCOOT 4;
5 - 8 2 FWD TWO STEPS ;; VINE 4; HOLD,, WALK,, PU [CP LOD],;
B
1 - 8 LEFT TRNG BOX;;;; 2 PROG SCIS;; 2 TRNG TWO STEPS [SCP];;
BRIDGE
1 - 4 CIRCLE AWAY 2 TWO STEPS;; STRUT TOGETHER 4 w/ PU;;
B (mod)
1 - 8 LEFT TRNG BOX;;;; 2 PROG SCIS;; 2 TRNG TWO STEPS [CP LOD];;
WALK 2;
1 - 2 VINE 4;; APART PT
ENDING
Full cue-sheet available at www.mixed-up.com/round/all-over
or send self addressed, stamped envelope to
Birgit Maguire, PO Box 260, Holbrook MA 02343
40
Dances
** Always check the display ads for detail information. **
Sat
Wed
Sat
Sun
Wed
Sat
3
7
10
11
14
17
Sun
Wed
Thu
Fri
Sat
18
21
22
23
24
Sun 25
Wed 28
Hayloft Steppers
Riverside Squares
Riverside Squares
Nubble Lighthouse Keepers
Great Plain Squares
Bradford Country Squares
Heel & Toe
Single Squares
Great Plain Squares
Winnipesaukee Squares
South Windsor Squares
Fairs ’n Squares
Hayloft Steppers
Wolf Rockers
Hayloft Steppers
Great Plain Squares
Sturbridge MA
Danvers MA
Danvers MA
Wells ME
Needham MA
New London NH
Manchester NH
Burlington MA
Wells ME
Needham MA
Laconia NH
Enfield CT
Framingham MA
Sturbridge MA
Mason NH
Sturbridge MA
Wells ME
Needham MA
Bersing / Williams
ERO, MS & PL
Ritucci
Fun Night
Mager / Boudreau
EA-1, MS w/2PL
K Moulton / L Moulton Fun Night, MS & PL
Butler / Gatchell or Cohen
Fun Night
Schell / Alexander
ERO, MS & PL
Peacock / Jervis
MS & PL
/ Maguire
K Moulton / L Moulton Fun Night, MS & PL
Fun Night
Maurice
Fun Night
/ Maguire
Maurice / Goss
MS & PL
Farmer / MacKay
ERO, MS & PL
Lizotte / Porter
MS & PL
Farmer
ADV
K Moulton / L Moulton
MS & PL
PL
Workshops
Thursday
15-22-29
Fairs ’n Sqs
Sunday
11-18-25
Nubble Lighthouse Keepers Wells ME
Framingham MA SD Class
Class, PL
SQ
SQ
Monday
19-26
Fairs ’n Sqs
Framingham MA RD Class, Beg Rumba, Various
RO
Tuesday
13-20-27
B & R Maguire
Sturbridge MA
Beginner 2 Step, all rhythms P4 & 5
RO
Danvers MA
Needham MA
MS Class, PL
Class
SQ
SQ
Wednesday
14-21-28
Riverside Sqs
28
Great Plain Sqs
Don’t See Your Dance Listed Here?
Contact us at
[email protected]
41

to the September issue.

Transcription

Similar documents

2009-2010 Facts

Dinner Dance Dinner Dance - Franciscan Sisters of Chicago

View Promo - St. Michael`s Health Group

Clockwise from above left: Mark Edward as `Angina` Pavlova in the

Kretschmar Premium Boneless Bavarian Ham For

The Petronella Paper

ALL THAT DANCE

WHEN IT COMES TO PARry-INDUCING

Avenged Sevenfold

UNIVERSITY MUSICAL SOCIETY