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playing for dancers you cannot but help consider all the different ways
you can enhance the dance experience - constantly evaluating and re-evaluating
what is the optimum length of the set, tempo and arrangement. To take
these in turn:
- Length
of set: Though the caller can use feet and words to
communicate with musicians once the dance is underway, as
most dances require a particular pattern of music and as
patterns may need to be further broken down for teaching
purposes, it is useful if musicians have a chance to liaise
with the caller before the dance starts - whether its well
in advance of the date or just five minutes before a bracket.
The caller may have different needs at different times,
want musicians to play a short fixed length sets once through,
stop, then dance it two or three times straight through
or want a dance of no fixed length to finish on a signal
(e.g. a foot-up) or on a certain number of times through
the tune. The dance leader may also want couples dance music
to be available in small lumps while parts of a sequence
or different variants are taught.
- Tempo:
What is appropriate will depend on the capabilities of the
dancers (a first attempt at a complicated set, for example,
the tempo might best be on the slow side and for a final
encore on the fast side), the context (a free waltz or a
contra at the end of a bracket can afford to be played quicker
than a figured waltz or a contra straight after a supper
break), the style of dance (ballroom polkas, galops, schottisches,
mazurkas and polskas generally require a slower tempo than
folk instinct suggest), the character of the tune (a jazzy
tune to which dancers can move with a swing in their step
does not need to be played quickly, while a pretty tune
in triple time doesn't need to be played slowly. Bows and
flourishes are no substitute for being able to step comfortably
in time to the music. A snatch of the planned set as soon
as people are called to take partners, a few words between
caller and musicians while people find partners, a short
musical introduction to the set proper and then a certain
amount of non-verbal communication during the dance may
all help tempo In the absence of any guidance, start on
the slow side and watch the dancers' feet.
- Arrangements:
The possibilities are endless. Its often helpful to keep
it straight forward early in the set but mid-set changes
in instrument, key, octave or form of rhythmic accompaniment
can all lift the dancing considerably. Do not be afraid
to introduce unconventional instruments or unexpected moods.
You can drift from a particularly traditional arrangement
into something quite unorthodox in the sure knowledge that
invention and fun have always been, and always will be,
part of traditional social dance music.
If
playing tunes the band Earthly Delights has recorded or which
John Garden has published, please feel free to to interpret
the music as you feel appropriate- and indeed use individual
tunes as you see fit. Accompanying are just suggestions, so
don't hesitate to adapt them to your tastes. Similarly, introductions,
tempos or dronal accompaniments, are intentionally not specified
in the notated music - leaving you to do that which appeals
given your own instrument, band dynamic and preference.
It
has also often been suggested that the best dance musicians
are good dancers (so take the opportunity when it presents to
have a dance), play within their limits, watch the dancers and
will take the opportunity to learn by occasionally playing solo
for dances or listening critically to themselves or others.
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