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Choreo-WiseVolume 5, Issue 4

June, 2002

Hi There!

Well, I must say that I have been quite lazy over the last couple of months and have really enjoyed theexperience. I had been working too hard and too long and had been approaching burn-out. This issueis actually a little later than I had intended. Once I was ready to start writing again the computeracquired a virus and after that was fixed it suffered from a power surge that also caused someproblems. But things are back to normal now and I hope to get the next issue to you within a month.

I have had almost two complete months without writing anything for Choreo-wise, and I must say I feelreally good as a result. So good, in fact, that the material I am writing now for the June issue shouldbe really worth the wait – I hope that you enjoy the material and get a lot of good reactions fromdancers whenever and wherever you use the material.

There has been some quite good music coming out over the last couple of months. So much, in fact,that it has been impossible to devote space to all of the music that actually deserves a mention. I hopethat you enjoy the music reviews in this issue and get a chance to listen to the music and judge foryourselves – some of the square dance music labels are producing a consistently high quality product– I only hope that their efforts are rewarded with sufficient sales to justify the continuing expenditurewhich goes into producing the music that we use at dances.

On this note, this month sees the release of the CD, Two Strong Hearts. This is the tune made famousby John Farnham and is called by David Todd and me. The CD has an instrumental (Plus – it featuresan Eight Chain Four), an instrumental track and a harmony instrumental track. There are two differentmelodies, one for the Opener, Middle Break and Closer, and the other used for the Figures.Instruments featured include trumpets,

Coming out next month will be The Ballad Of Bonnie & Clyde – called by me (Plus – featuring anExtend from parallel ocean waves). The music has a jazzy big band style, an instrumentation featuringpiano, banjo, horns and clarinet – as well as police siren and gun-shot sound effects. There is acatchy change of melody and rhythm in the middle break and closer.

July sees the next full weekend function here at Medowie – the Pure Plus weekend with BarryWonson sharing the calling duties. At this point in time it has, again, been a sell-out. I’m lookingforward to calling with Barry again!

Kind regards until next time.

Glitches from Issue #43p. 500 – fourth routine – see page 509 of this issue for the correctionp. 503 – Scoot Chain Thru – finishes with Wrong Way Right & Left Grandp. 503 – Scoot Chain Thru – delete Half-sashay

Abbreviations Often Used In Choreo-Wise:SS = Squared Set (or Static Square)L1p = Zero Line (i.e. Heads Lead Right and Circle To A Line)B1c = Zero Box (i.e. Heads Square Thru)W1c = Zero Wave (i.e. Heads Square Thru and Make a Wave)DYP = Do Your Part

Choreo-Wise 5.4 p. 508 David Cox (2002)-

Hinges,Trades &Cast-off

The theme for this month’smainstream pages is choreographycontaining Hinge, Trade and Cast-offcalls – I hope that you like the material– it lends itself to nice flowingcombinations.

In the previous issue, one of the ideasthat saw print was the Crazy PartnerTrade. The routine has quite nice bodyflow and is a little different. It is quiteeasy to call it step by step rather thanby introducing it as a Crazy Concept.

L1pEveryone Partner TradeCentres TradeEveryone TradeCentres TradeEveryone Partner TradePass ThruBend the Line L1p

It can be called from an out-facingline…

L1pPass ThruEveryone Partner TradeCentres TradeEveryone TradeCentres Trade L1p


This sort of routine can also be calledfrom a 3x1 line…

SSHeads Lead RightVeer LeftLadies Walk & DodgeEveryone TradeCentres TradeEveryone TradeCentres TradeCentres Pass the OceanMen CirculateLadies HingeBend the Line L1p

The next variation starts with a samegender trade, where the previousroutines have started withmale/female couples…

SSHeads Pass ThruSeparate ‘round 1 to a LinePass ThruSame Sex TradeCentres TradeEveryone TradeCentres TradeTouch a QuarterLadies RunCentres Star ThruCloverleafCentres Turn ThruAllemande LeftRight & Left GrandYou’re Home

The next routine features a 3x1 line, asame sex trade and a nifty get-out…

SSHeads Touch a QuarterSides Squeeze In BetweenAll Eight CirculateSame Sex TradeCentres TradeEveryone TradeCentres TradeCentres Pass the OceanEnds CirculateCentres HingeAllemande Left

Combinations of Trades, Hinges andCast-off Three-quarters allows us tocreate choreography that has nicebody flow, featuring the use ofalternating hands…

B1cSwing ThruHingeCentres TradeCast-off Three-quartersCentres TradeWalk & DodgePartner TradePass the OceanRecycle B1c

This next routine has the Centresworking their way across the square…

B1cSwing ThruHingeCentres Cast-off Three-quartersVery Centres TradeCentres Cast-off Three QuartersEveryone Swing ThruMen RunPass the OceanAll Eight CirculateCast-off Three-quartersMen Run L1p


This routine has several interestingfeatures – a Recycle from a half-sashayed wave, a same-sex Slide Thruand a Centres Trade from an invertedline…

SSHeads Right & Left ThruHeads Pass the OceanCentres Swing ThruRecyclePass ThruSlide ThruCast-off Three-quartersCentres TradeSquare Thru Three-quartersAllemande LeftYou’re Home

And in the same vein…

SSHeads Right & Left ThruHeads Half-sashaySides Half Square ThruSlide ThruCast-off Three-quartersCentres TradePartner TradeSquare Thru Three-quartersAllemande LeftRight & Left GrandYou’re Home

This time we utilize a columnformation…

B1cSlide ThruTouch a QuarterSingle File CirculateHingeLadies TradeCast-off Three-quartersMen RunPass ThruEnds CloverleafCentres Left Touch a QuarterCentres Walk & DodgeFind Corner – Allemande Left

Using a similar routine can lead to aslick Right & Left Grand get-out…

B1cSlide ThruTouch a QuarterSingle File CirculateHingeLadies TradeSpin the TopAll Eight CirculateRight & Left Grand

This next routine builds upon theprevious routine…L1pTouch a QuarterSingle File CirculateHingeLadies TradeCentre Men TradeCast-off Three-quartersMen RunSquare Thru Three-quartersAllemande Left

We can go one step further…L1pPass the OceanAll Eight CirculateSpin the TopHingeSingle File CirculateHingeMen TradeCentre Ladies TradeVery End Ladies TradeHingeMen RunPass ThruTrade By B1c


SingingCallsHeads Half Square ThruSwing ThruCast-off Three-quartersWalk & DodgePartner TradePass the OceanAll Eight CirculateHingeScootbackSwing CornerPromenade

Heads Half Square ThruTouch a QuarterSplit CirculateHingeCentres TradeCast-off Three-quartersScootbackCast-off Three-quartersAll Eight CirculateSwing CornerPromenade

Heads Half Square ThruSwing ThruHingeCentres TradeSwing ThruMen RunPass ThruWheel & DealDouble Pass ThruLeaders TradeSwing CornerPromenade


MoreDiamondMaterial

Speaking for myself, I find Diamondsquite a fascinating formation, becausethere is so much variety that can beused with this formation.

Before going into this month’smaterial, I suspect that I should fix upa problem from one of last month’sroutines.

The fourth routine on page 500 shouldhave looked like this…

L1pRight & Left ThruTouch a QuarterCirculate Once and a HalfCentre Six TradeLadies RollCentre Men Slide ApartLadies Swing ThruLadies Trade the WaveMen Diamond CirculateWave of Six – Swing ThruWave of Six – Swing ThruMen Facing Diamond CirculateOutside 4 Facing Diamond CirculateLadies Diamond CirculateMen Explode &Men Touch a QuarterAll Eight Half-circulateMen RunEight Chain TwoSlide Thru L1p


The next routine uses DiamondCirculate from a non-diamondformation – the key is good, clearcommunication between the caller andthe dancers…

SSHeads Pass the OceanPing Pong CirculateEnds RollCentres Swing ThruEnds Pass ThruCentres Swing ThruMen DYP Diamond CirculateMen in the Line and the Girl youare looking at Diamond CirculateLadies Explode the WaveMen Pass ThruWheel & DealDouble Pass ThruPeel OffBend the LinePass ThruWheel & DealZoomCentres Pass Thru B1cAllemande Left

And…

L1pPass ThruWheel & DealZoom& RollCentres Swing ThruLadies DYP Diamond CirculateLadies of the End of the Line andthe Men you are looking atDiamond CirculateMen Linear CyclePass the OceanMen RunPass ThruWheel & DealZoomCentres Swing ThruOutsides Half-sashayExtendSwing Partner


The next two routines feature acombination of Trapezoid Circulatesfor Men/Women and also a DiamondFormation…

L1pPass ThruThree Quarter Tag the LineCentres Swing ThruLeaders Face RightLadies CirculateFlip the DiamondCentres TradeMen RunPass ThruWheel & DealCentres Wheel AroundPass ThruAllemande Left It helps to ask the Ladies to identifythemselves before asking them tocirculate.

B1cTouch a QuarterLadies RunPass ThruThree quarter Tag the LineCentres Swing ThruLeaders Face RightMen CirculateFlip the DiamondLeaders FoldCentres Square Thru ¾’sAllemande Left

SingingCallsHeads Star ThruDouble Pass ThruBoys Track TwoLead Girl U-turn BackGirls Touch a QuarterDiamond CirculateFlip the DiamondExplode the WaveBend the LinePass ThruWheel & DealCentres Pass ThruAllemande LeftPromenade

Heads Pass ThruHeads CloverleafDouble Pass ThruBoys Track TwoLead Girl U-turn BackGirls Touch a QuarterFlip the DiamondExplode &Spin the TopLadies Cross-runAllemande LeftCorner SwingPromenade

Heads Pass the OceanRecycleVeer LeftVery Centres HingeSides Square Thru Three-quartersSides CloverleafCentres Flip the DiamondCentres Fan the TopPing Pong CirculateEnds RollEnds Star ThruExtendSwing CornerPromenade


EndsBend

I hope this month’s material allows you tofeature Ends Bend with nice variety.

The first module features an inverted line,and a nice way to set-up the invertedline…

L1pPass ThruTag the LineFace RightMen RunEnds BendEveryone Star ThruCalifornia TwirlCentres Pass the OceanPing Pong CirculateExtendExplode the WavePartner Trade L1pNotice that upon the call Men Run, twomen run right while two men run left.

A nice feature in this next module also hastwo men running right, while two men runleft…

L1pPass In& SpreadCentres Pass the SeaEnds Pass ThruCentres HingeEnds BendEnds Touch a QuarterMen RunDouble Pass ThruPeel Off

Right & Left ThruL1p


To call Ends Bend & Roll, is the same ascalling Ends Fold…

L1pPass ThruEnds Bend& RollSwing ThruRecyclePass In L1p

In this next routine, the Ends Bend iscalled from an in-facing line…

SSHeads Pass InDouble Pass ThruFace RightFerris Wheel& SpreadPass ThruTag the LinePeel OffEnds BendLadies Pass the OceanLadies RecycleLadies Pass ThruEveryone Pass ThruTrade BySwing Partner

This time the Men perform the EndsBend…

SSHeads Pass InDouble Pass ThruFace RightFerris Wheel& SpreadPass thruBend the LineBend the LinePass ThruTag the LinePeel OffEnds BendMen Pass The OceanVery Centres TradeExtendAll Eight Circulate

Swing Partner

Trail-offOver the last couple of years, whentraveling and calling A-2 material, Ihave found that there are three calls inparticular which dancers will havetrouble with. These calls are Trail-off,Scoot Chain Thru (from a Quarter Tagformation) and Pass & Roll (fromfacing couples and from parallel mini-waves). I suspect this may be becausethey are not called that often. I hopeto rectify that over the next threeissues.

Trail-off works smoothly from a left orright hand ‘z’ or column formations,but not so nicely from a completeddouble pass thru formation.

The problem with the completeddouble pass thru is that dancers feelas though they are passing leftshoulders. The definition is for leaddancers to Half-Sashay and then PeelOff, while trailing dancers move up,Half-Sashay and then Peel Off. Fordancers to Half-Sashay and Peel Offdoesn’t actually have a good feel dueto the habit of passing rightshoulders.

This issue looks at the ‘Z’ formationand columns – next issue looks at TrailOff from a completed Double PassThru formation.

L1pPass the OceanMen FoldTrail OffPromenade


L1pPass the SeaLadies FoldTrail OffWrong Way Promenade

L1pTouch a QuarterSingle File CirculateTrail OffBend the LinePass the SeaLockitLockitAllemande Left

L1pPass the SeaLockitHingeSingle File CirculateTrail OffBend the LinePass the SeaAll Eight CirculateAllemande Left

L1pPass the SeaLockitHingeSingle File CirculateTrail OffBend the LinePass the OceanCross-over CirculateAllemande Left

B1cSwing ThruLadies FoldTrail OffBend the LineFlutterwheelCircle LeftAllemande Left


SimpleAsymmetric

The following routines are very simpleto set up and very easy to keep controlof, even using sight calling and sightresolution.

The key to the routines is that theinitial calls set up an asymmetricsituation where you will have threepeople of one gender in the sameformation as one person of thedifferent gender.

Do NOT use the terms Men or Ladies –limit your calls to using the terms Endsand Centres and there will be noproblem.

SS#1 Couple Promenade Halfway#1 Couple Squeeze InLine of 4 Cast-off three-quartersSame Ones Pass ThruThe Way You Are FacingPromenade Behind the SidesSides Right & Left ThruDouble Pass ThruFace InPass ThruWheel & DealCentres Swing ThruTurn ThruSwing Partner


SS#2 Couple Promenade HalfwaySqueeze In Between Couple #4Move into the MiddleBend the LineCentres Pass ThruSwing ThruEnds CirculateCentres TradeMen RunLeaders California TwirlSlide ThruPass ThruAllemande Left

SS#3 Couple Split the OppositeSeparate ‘round 1 to a LineMove into the MiddleBend the LineDouble Pass ThruFace OutBend the LineStar Thru B1cAllemande Left

From a Tidal Wave things don’tnecessarily work out quite assmoothly…

SS#4 Couple Half-sashay#4 Split the OppositeSeparate ‘round 1 to a LineMove into the MiddleBend the LineDouble Pass ThruLeaders TradeTouch a QuarterWalk & DodgePartner TradePass ThruWheel & DealZoomCentres Square ThruOn the 3rd Hand

Everyone Swing Partner

Is ThereLifeAfter

Hilton?I may have been the first Australiancaller to import a set of Hiltonequipment into Australia, back in1979. Since then I have been usingHilton sound systems exclusively –up until two months ago!

Hilton sound systems have been thestandard by which other soundsystems are judged, for many years.Admittedly, many callers like usingYak Stak speakers rather than Hiltonspeakers.

I believe that there are several reasonsto explain the popularity of the Hilton.

In the first place, they are anextremely efficient and compactsystem. Callers who want a powerfulsystem that is relatively light and easyto carry need look no further.

For years callers have been looking fora system that combines a variable-speed turntable built into an amplifier.Again, the Hilton fills the bill verynicely.

Possibly the most impressive featureof the Hilton is the fact that itcombines two separate pre-amplifiersinto the one amplifier. This allows thetone for voice to be set separately tothe tone for the music.


On top of this, the two pre-amplifiershave totally different pre-sets. By this Imean that the voice channels havebasic settings that are designed tomake the voice clear. The musicchannel has totally different settings,specifically set for music. If you wereto play the same signal through boththe music and voice preamplifiers of aHilton you would find that the soundcoming out of each preamplifier wouldbe quite different in regards to tonequality.

Late last year I was talking soundsystems with another caller. I wassaying that if a caller were to useMinidisks or CDs exclusively would bebetter using Professional/PA audioequipment. I maintained that theywould get a better quality sound andat a cheaper price.

For the last two months I have beenusing non-Hilton equipment, and havebeen very happy with the results.

The speakers that I have selected areElectro-Voice SxA100 speakers. TheSxA100 is an active speaker (i.e. it hasan amplifier built into the chassis ofthe speaker). It has a 12” speaker anda separate horn – each speaker has itsown amplifier – the unit puts out atotal of 200 watts. The speaker has itsown volume and tone controls on theback of the amplifier.

Because of the two speakers built intothe chassis I have noticed thefollowing differences from thespeakers that I had been usingpreviously. The bass response isdeeper, richer and smoother. Thetreble response is crisper and cleaner.The voice is smoother. The voice ismore clearly dominant over the musicand the overall result is that lessvolume is required to allow dancers toeasily hear the calls.

To be continued…


New Releases – February ‘02By David Cox

Because quite a few good records have been released since the last issue of Choreo-wise, I will not supply the choreography used on each record, so as to allow comments about more records to be included in this issue.

Yellow SubmarineDown Under 112 / Jeff Garbutt

This is an old Bealtes song (anyone heardany new Beatles’ songs lately?) which isbeautifully played. The music features verystrong changes of rhythm in each 64 beatsequence. The instrumentation featurestuba and SONAR sound effects. Jeff usesgood humour in the calling.

Born To Be AliveMarble 205 / Leif Ekblad

I have been very impressed with all recordsthat have been released on the Marblelabel, and this is no exception. It has astrong beat and a disco-type feel. Part ofthe melody is similar to “Loving Her WasEasier”, although the middle break andcloser have a change or melody and a nicerhythm break. The band uses, amongstother instruments, some nice horn work.

I Wanna Talk About MeDesert 97 / Wes Dyer & Kenny Jarvis

The music is played almost in Rap-style.There are a lot of lyrics and it is almost atongue-twister to get around the lyrics. Themusic is quite unusual and doesn’t actuallyhave a pronounced down-beat played bythe band, but the rhythm of the musicmakes the beat very easy to follow. Thereis a change of melody in the middle breakand closer.

Crazy Days / CappucinoSting 508

Both hoedowns on this record featuremodern, contemporary-style music. Ipersonally prefer the Crazy Days side as Ifeel it has more melody and is brighter as aresult. Amongst other instruments, there isnice use made of piano.

ButterflyGlobal 508 / Bronc Wise

Following on from their Scottish hoedown,Braveheart, Global has now released ahoedown with a distinct Irish flavour. Themusic is bright and lively and is played in6/8 time. Amongst other instruments apiccolo is featured.

Best Sellers from May1. That’s The Way I Like It

Aussie Tempos 10222. Yellow Submarine

Down Under 1123. Butterfly

Global 5084. Ob-La-Di Ob-La-Da

Global 8075. All My Loving

Global 707

Best Sellers from April1. Diana

Sting 9022. Man Of Me

ESP 10663. 4 Strong Winds

Double M 1064. Rosalia

Tar-Heel 1195. It’s Hard To Be Humble

Kalox 1250

Best Sellers Information supplied by:Nev & Bev McLachlan - Maverick’s:Dance Supplies, Records & Tape ServiceP.O. Box 248Buderim 4556 QueenslandPh – 07 5445 1540Fax – 07 5476 5648Mobile – 0417 092928Email – [email protected]


mailto:[email protected]

The Professional Tape & Record ServiceFor Callers, Cuers & Dancers

Brian & Lorraine8 K a t o C l o s e

K an wa l , NS W 22 59

AustraliaPhone/FAX: 02/4392-0336 (International: +61+2+4392-0336). Email: [email protected]

GARDEN PARTYSti-1001 / Soren Christensen / Mainstream

This is a familiar song by Rick Nelson that hasbeen done as a Square Dance several times inthe past, but it’s quite awhile since we’ve seenit as a new release. Instrumental is wellarranged & played. It comes into the categoryof what we usually refer to as a “change ofpace” dance. Vocal by Soren is good, andworth a spin. Main Figure choreo is a wellworn, standard routine which most Dancerscould do in their sleep. Minor Figure choreo isthoughtfully designed to allow use of originallyrics.#30 on our Jan/Feb. 2002 catalogue tape.

FIGURE: Heads Square Thru, Do-Sa-Do,Swing Thru, Spin The Top, R & L Thru,Square Thru ¾, Corner Swing, Prom.

ONE OF THOSE SONGSGM-932 / Tony Oxendine / Mainstream

This is a popular tune, which has beenrecorded as a square dance many timesin the past. This new version is as good asany of the previous releases, if not better.Global Records always have superbfidelity and instrumentation. Whencombined with Tony “O”’s class callingstyle, you’ve just gotta sit up and take asecond look! Vocal side is well worthspending some time with. Choreo isnothing out-of-the-box, but is interestingyet simple (old Basic standard).Instrumental features two keymodulations: one at the beginning of theMiddle Break, and the other at thebeginning of the Closer.#14 on our March 2002 catalogue tape.

FIGURE: Heads Square Thru, Do-Sa-Do,Swing Thru, Girls Circulate, Boys Trade,Boys Run, Bend The Line, Star Thru,Square Thru ¾, Corner Swing, Prom.

B R A V E H E A R TGM-507 / Darryl Lipscomb / A2

This is actually a patter (without a cue sheet).However, the instrumental is a medley of twowell-known Scottish melodies: “Scotland TheBrave” & “Loch Lomond (You Take the HighRoad & I’ll Take The Low Road)”, which couldalso be used as a theme Singing Call. Themusical phrases are standard 64 beats, soyour favourite S/C routine will transplantwithout any additional messing around. Themusic has been well recorded and should notbe difficult to call. Darryl’s vocal will be achallenge for most Advanced 2 dancers. Hisroutines are very interesting asymmetricalcombinations which are not for those whoare just learning the Advanced programmes.#13 on our March 2002 catalogue tape.

F O U R S T R O N G W I N D SDM-106 / Monk Moore / Plus

A great, smooth, rolling-rhythm dancefrom “Double M” records, which providesan opportunity for the Caller to giveDancers a change of pace interlude.Although this record will suit good singersright down to the ground, it’s not the typeof number for which you need to have agood voice to put over well. The MajorFig. choreo will time better (in myopinion), if you call “Heads Prom ½,Sides Pass The Ocean, etc.”. Minor Fig.features Grand Square. There is also aPhase II Round Dance cue sheet byPenny Lewis provided with the record.#10 on our March 2002 catalogue tape.

FIGURE: Heads Prom. ½,Pass The Ocean, Extend,Swing Thru, Boys Run,Ferris Wheel, Double Pass Thru,Track II, Corner Swing, Prom.


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