strathspey Archive: Lost messages of Feb 12/13, 1998 -- 2nd installment

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Lost messages of Feb 12/13, 1998 -- 2nd installment

Message 10903 · Anselm Lingnau · 13 Feb 1998 11:08:49 · Top

Here's another few messages. I'm sending them out in installments so
the `digests' don't become too big.

From: Benjamin Stein <>
Date: Thu, 12 Feb 1998 13:22:52 -0500
Subject: Re: Dance pseudonyms
Message-ID: <>

Some years ago at Pinewoods (20 years perhaps?), Maurice Whitby put
together a whole program in what we are now calling "dance psuedonyms",
luckily with sources listed. Calling up my fading memory I recall a few.

My He's Sweatting Obvious: Mairi's Wedding
The Dead Mouse The Red House

And a few of the "Eggsters"
Chicken and Rum The Conundrum
Morris Whitby's Thirsty Chicken The Reel of the 51st Division.

When I get some time I will dig through my old programs and see if I can
find this one-it was much fun.

We were early intermediates at the time and when I weighed some 20 pounds
more than I do now I was infamous for my tendance to sweat heavily. In the
class Tony Morretti (Sr. that is) dedicated Mairi's Wedding to me. When the
class asked why he said "See Maurices program for tomorrow night". "Nuff

Ben Stein
Burlington, Vt. USA
From: "Simon Scott" <>
Date: Thu, 12 Feb 1998 11:04:48 -0800
Subject: Personal balance
Message-ID: <01bd37e9$16d976a0$LocalHost@sscott>

-----Original Message-----
From: Margaret Connors <>

>I also love dancing set to and turn corners using pas be basque, and then
>to fly into the reels of three - wonderful. The times it does work more
>than compensate for those times when it doesn't.
>Apart from maintaining firm arms, I'm not so sure that strength is as
>important as balance. In my experience, when both dancers are balanced
>with each other the pas de basque turn is magic.

I was very happy to hear Margaret mention 'balance' over 'strength'. I
believe that "personal balance" is one of the most important factors in
technique. With good personal balance, things like the evidence of strength
need not show and any pulling and toughing should not be necessary.

I think this applies to personal technique as well as technique within a
couple or group formation.

Simon Scott
From: Cecilia Stolzer Grote <>
Date: Thu, 12 Feb 1998 16:07:45 -0500
Subject: Re: unfortunate choice of words
Message-ID: <>

"I dance because I enjoy dancing and could never hope to contribute to a
technical discussion on
Strathspey if my life depended on it."

I agree with Robert Davidson. I (eyes averted and blushing profusely) must
admit that I usually just delete all of the technical discussions and get
right to the gossip!

Cecilia Stolzer Grote
RSCDS San Francisco Branch
From: Cecilia Stolzer Grote <>
Date: Thu, 12 Feb 1998 16:08:23 -0500
Subject: Re: Just a thought
Message-ID: <>

<Hence line dancing is easier than SCD. Q.E.D.>

Okay, I'm going to give away a little more about myself than I probably
should, but... In my experience, the country line dances Maghi is refering
to are those that must be able to be done with a system full of alcohol.
Where I grew up, (east San Diego county), country-western dancing was the
big thing, and anything more difficult than "Achey Breaky Heart" (actually
a bit after my time in San Diego), was likely to result in injuries.

Personally, I drink very little alcohol before or during SCD, it tends to
erase my memory and loosen up the technique too much.

Cecilia Stolzer Grote
RSCDS San Francisco Branch
From: "WPOB" <wpob@ix.NETCOM.COM>
Date: Thu, 12 Feb 1998 12:58:45 -0800
Subject: Re: Dance pseudonyms
Message-ID: <01bd37f9$01d40b20$LocalHost@uspppWPOB>


One of my favorite pseudonyms is "The Duchess of Atholl's Slip-up", which I
first heard from Kim McGarrity.

Pat O'Brien
-----Original Message-----
From: Alan Twhigg <>
Date: Wednesday, February 11, 1998 10:00 AM
Subject: Re: Dance pseudonyms

>Our local "favourites" have included:
>The Glens of Anguish (Angus)
>Lady Harriet Hopeless
>Lady Awkward's Reel (Lady Auckland's Reel)
>The Cumbersome Reel
>I'm sure there are others I'm forgetting...
>-Alan Twhigg, SF Bay Area.
>Alan Twhigg <>
Date: Thu, 12 Feb 1998 16:07:53 EST
Subject: re: (Set to) and turn corners (3)
Message-ID: <>

Jim said:
>Simply put, how many of you programme compilers out there would
>_not_ put Duke of Perth or Mrs Macleod on a beginners/intermediate
>programme because it contains set to and turn corners? I would
>submit - damn few - and that is what concerns me.

Hmm. A difficult hypothetical position to place myself in, since
social programs here are all mixed basic, intermediate, and advanced
(weighted towards the latter two).

Because most of our socials/balls use STTC at least once, and the
overwhelming default here is to use PDB, I teach it to beginners. I
don't expect everyone to do it well in their first 6 months. Some will
get it, some will take a year, others >1 years.

This makes it no different from other "difficult" figures. Tournee
(ack, T!) occurs about every other ball, and yet we expect
intermediate dancers to take a stab at it, and many "advanced" dancers
will screw it up too. I don't think that means we should look for an
easier way to do tournee.

As a first couple man, I would prefer to encounter a weak armed,
inexperienced corner during STTC than during corner partner. After
all, in STTC I have four bars after I set to 1stC before I am supposed
to *turn* another person, whereas corner-partner gives me no such
flexibility; turning the second corner in STTC usually leads into a
reel with a similar non-critical start time.

So if we are going to start looking for figures to make easier for
beginners, let's do it to Corner-Partner first! :)

From: Freeman & Pavey <>
Date: Thu, 12 Feb 1998 16:28:18 -0500
Subject: Re: SCD musician site
Message-ID: <>

Somebody wrote (and others asked much the same):
> What will the musician's site be like? and what sort of
> information will be appropriate?

It will be what each musician wants to put in it, but I would suggest
any of the following

a brief history (who are you or your group)

description of what you do, or have done


address, phone, fax, email, to get prices etc

human interest stuff

It can be the same as your website bio, but I would think it might
likely be a bit different.


I guess the primary motivation will be the hope that the site may
increase the number of gigs you get, either directly or indirectly by
making you more known. It can perhaps be one more small cog in the
publicity wheel. I should think one should not expect very much
response from the website, but that's just my opinion.

The bio can be brief or long, I don't really care. (Mind you, you don't
want it so long that people lose interest.) I'm just the vehicle for
the info and I am not going to get involved in format or content.

My motives are:
1) It is easy for me to do so I might as well do it. Maybe somebody
will enjoy it or benefit from it.
2) It will add a slight enhancement to our website, because it will
mention our main website near the heading.
3) What the hell, why not, might be fun in a way.

Maybe this will explain why I don't want to get involved in composition
or format.


From: Hugh Goldie <>
Date: Thu, 12 Feb 1998 15:29:56 -0600 (CST)
Subject: Re: Dance pseudonyms (was Golden Pheasant etc. etc.)
Message-ID: <>
In-Reply-To: <>

We used to use "D.O.P." which, of course stands for "Damn Old Perth".
(Right Jane?)

Hugh Goldie Saskatoon, Saskatchewan, Canada

Disclaymore: I like pas de basque turns, even wearing a leg brace!

From: "Ron Mackey" <Ron.Mackey@BTInternet.COM>
Date: Thu, 12 Feb 1998 22:30:23 +0000
Message-ID: <E0y378v-0004DN-00@neodymium>
In-Reply-To: <01BD314B.F5A8F1C0@IANB>

> From: "Ian Brockbank, DIGITAL Software Engineering"
> <>
> To: "'strathspey'" <>
> Subject: RE: IRISH ROVER
> Date: Wed, 4 Feb 1998 09:06:43 -0000
> Reply-to:

> An open question to all:
> In the Irish Rover by Cosh, on bar 12, at the end of the first
>half reel of four; beginning of the second half reel of four, does
>the dancing couple
> ---- pass by right or left shoulders? -----
> > In Scottish country dancing, a reel of four is danced right shoulders on
> > the outside and left shoulders in the middle. For about five dances, the
> > deviser has decided to change the half reel of four with corners figure
>> by specifying that the first couple pass right shoulders between
>>half reels.
> Officially that may be the case, but I can't remember _ever_ seeing anyone
> pass left shoulder. Time to accept that SCD is a living tradition and that
> "two half diagonal reels" has become a figure in its own right with
> slightly different semantics on bars 4-5 than most reels of 4?
> (I hope whoever's examining us in May doesn't read this message...)
> Cheers,
> Ian "heretic" Brockbank
> --
I always teach my classes to pass LSh and they smile and do as I ask.
--- Then they go to the dance and it all goes to pot !!!
Love from Dad :) Xs & (_)s & ^VW's to all.
From: "Ron Mackey" <Ron.Mackey@BTInternet.COM>
Date: Thu, 12 Feb 1998 22:30:23 +0000
Subject: Request for music
Message-ID: <E0y378s-0004DN-00@neodymium>
In-Reply-To: <>

To. William Crawford, and any other sympathetic
producer / musician:-

I teach from taped music. To loosen up , rather than warm up, my
classes I use 4 of Muriel's 32 bar Waltz tunes for a
regular stretching routine. I am told off if I attempt to omit it
now - but ---
I cannot find any other recordings of this length for
exercises nor can I find a series of 8, 16 etc bars of R, J, or S to
use for step practise.
It is irritating to keep re-winding to the beginning of a
chosen tape when doing footwork & it is difficult to pick up
from part way through a band. It would be super to have a set of say
4x8 bar sequences of reel each preceded by an introductory note
(not a chord) as for 'ready and', to continue teaching without having
to re-wind between each attempt.
A single instrument would be best and any pianist, fiddler or
'boxer' who has accompanied at a W/E school would know what is
required by un-accompanied teachers.
'Is anybody there' the horseman cried, knocking on the moonlit
Love from Dad :) Xs & (_)s & ^VW's to all.
From: "Ron Mackey" <Ron.Mackey@BTInternet.COM>
Date: Thu, 12 Feb 1998 22:30:23 +0000
Subject: Re: Irish Rover/Mairi's Wedding
Message-ID: <E0y378x-0004DN-00@neodymium>
In-Reply-To: <>

> Date: Wed, 04 Feb 1998 08:57:49 -0500
> From: Freeman & Pavey <>
> To:
> Subject: Re: Irish Rover/Mairi's Wedding
> Reply-to:

> For young (in body) athletic dancers the wide sweeping cloverleafs of
> right shoulders is a hell of a lot of fun.

Oh dear. What a condescending thing to say.

> For dancers who prefer or require a more sedate pace left shoulders is
> much prefered.

How about those who prefer grace to pace - of any age ?

> Does it really matter which, since it is immaterial to the rest of the
> dancers in the set?

I think it does.

Love from Dad :) Xs & (_)s & ^VW's to all.
From: "Ron Mackey" <Ron.Mackey@BTInternet.COM>
Date: Thu, 12 Feb 1998 22:38:37 +0000
Subject: Red Face
Message-ID: <E0y37IM-0006Wo-00@neodymium>
In-Reply-To: <>

> Love from Dad :) Xs & (_)s & ^VW's to all.
> --
> "Ron Mackey" <>

Hi, Sorry for going all paternal on Strathspey.
Should have changed my signature No.

Cheers Ron :)

Ron Mackey London UK
< o +---------------------------------------------------+
`O> |EMail Ron Mackey |
/#\ | or via -----+--+---|
|> | or -------+-----+-----+-|
- +---------------------------------------------------+
From: Rebecca Sager <>
Date: Thu, 12 Feb 1998 18:01:54 -0800
Subject: Minard Castle
Message-ID: <>

This is related to the Set and Turn Corners, pas de basque/skip change
This dance from Book 22 is on our monthly social program tomorrow, and I
taught it to one of our Atlanta classes on Monday. One figure is Double
Triangles, beginning with 1W facing up, 1M down, which means the return
to own sides in the last two bars is a quite daunting leap through 450
degrees. (Unlike the similar figure in "The Whistling Wind" which begins
with 1W facing down and 1M up so the final two bars are a relaxed 270,
easier than the 360 degree turn in standard Double Triangles)
I introduced the dance with a little pas de basque turning practice,
leading up to the turn as in the dance. We learned that it is possible to
do it, but the transition from this pas de basque leap into the final
figure, circle 6 hands round and back, is not the greatest. A dancer who
had worked on Minard Castle in another class commented that he had found
it easier to dance the two bars in question with skip change, and we did
find that made for a smoother transition.
Normally, I like turning and travelling with pas de basque, and am
particularly fond of Hamilton House with its 24 solid bars of pdb, the
first two bars where you bounce down the set, toying with the affections
of 2nd man and leaving him to turn 3rd man, are great, and I can't
imagine them being near as much fun in skip change.
Incidentally, the rest of Minard Castle is most enjoyable, can't imagine
why I never seem to have danced it before. I really love dances where a
reel in one orientation flows into a reel in a different orientation. For
me, the best moment in MW or IR is not the old LS/RS pass in the middle,
but the opportunity that 2nd corners have for looping from the diagonal
half reels into the reels across. Shades of Bratach Bana (or St.Patrick's
Jig which takes those half reels all the way round the set.)

Becky Sager,
Marietta GA USA

From: "Richard L. Walker" <>
Date: Thu, 12 Feb 1998 20:26:15 -6
Subject: Micmac Rotary
Message-ID: <199802122025.UAA03755@shale.GRANIS.NET>

A question about the Micmac Rotary.

On the leaflet version under Figure 2, bars
09-16 W2 and M4, and W4 and M1 repeat bars 01-08.

In the Brodie book version under Figure 2,
09-16 W2 and M3, and M4 repeat bars 01-08.

We did this at Thistle School last year, so I thought I had a copy I
could use as a tie breaker, but I was wrong.

Richard L. Walker
Pensacola FL (City of Five Flags) USA

From: Jim and Donna Ferguson <>
Date: Fri, 13 Feb 1998 00:09:47 -0800
Subject: Re: Class levels
Message-ID: <>

Murray Wilson wrote:
> Hi all, in New Zealand we have a system of grading for classes that goes
> like this. If a dancer wishes to attend a day or weekend school, their
> enrolement or application form must be signed by their club (class)
> tutor with the nominated class level the dancer wishes to attend. This
> system is not infalable as some teachers
> are frightened to tell the truth and possibly offend. Apart from the usual
> classes,we have advanced social,
> for older dancers capable of advanced dances with less emphasis on technique
> and we have recently started classes for intermediate social,once again with
> less emphasis on technique and less challenging dances. Lets face it some
> people will never become advanced dancers no matter how hard they
> try,usually because they start dancing later in life. There is of course a
> place in SCD for them and these classes are very popular. In an attempt to
> help overcome the problem of the right class for the right person,the
> Auckland Teachers Group put together a phamphlet on what standard of dancing
> and which formations should be danced with confidence, before a student
> progresses to the next level,this booklet is available to dancers and gives
> them a chance to judge
> their own ability. If there is any interest,I am quite happy to put the main
> points on strathspey, patience will be required as my keyboard skills leave
> a lot to be desired.
> Perhaps a Tadd, Great stuff!! Cheers, Murray Wilson
I think your booklet sounds interesting and helpful! Donna F.

From: (Shirley Lanktree)
Date: Thu, 12 Feb 1998 19:11:28 -0500 (EST)
Subject: Assistance, please
Message-ID: <>

Does anyone have a mailing address for Jackie Johnstone of Dumfries?

Does anyone know a dance called Hector's Delight. The index says its in
the Cobham Hall Collection but it isnt.

Does anyone know the current whereabouts of James E. Gaffne, previously
from Drexel Hill, PA who in 1982 produced the Complete Scottish Dance

These are enquiries from our customers. Many thanks if you can help.
Shirley Lanktree TACBooks

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