choreo-wise · choreo-wise volume 2, issue 10 december, 1999 hi there! here we are, rapidly...

Choreo-WiseVolume 2, Issue 10

December, 1999

Hi There!

Here we are, rapidly approaching the end of another year. Thank you for subscribing to Choreo-wise– as I look at the 19 previous issues I am struck at how quickly the two years have gone and howmuch time and effort has gone into the 249 pages that have already appeared in print.

Choreo-wise currently has 94 subscribers in 11 different countries. I appreciate the comments that Ireceive from you and try to provide the sort of material that you have enquired about.

At this point in time I am looking forward to 5 weeks holiday over December and January. I find thatthe break from square dancing gives me a chance to look at how things have gone over thepreceding 12 months and work out what I can do to improve over the following 12 months.

This time the break will seem rather shorter than usual. Our A-2/C-1 group resumes during the middleof January – they didn’t want to miss any more dancing than necessary, they are enjoying it toomuch. We have been invited, by Ian Mitchem, down to Corowa (Victoria) for a Square Dance festivalon the weekend of January 21-23 – it will be the first time that Jenny and I have visited Victoria for aSquare Dance function and we are certainly looking forward to it. ‘Mitch’ has joined Seven C’s recordsand will be releasing a record some time next year. I am also looking forward to meeting Melbourne’sDave Tucker at Corowa. Dave has just made a vocal for a new release on the Seven C’s label. As Iam writing this, the master tape of Dave’s vocal for Waltzing Matilda is heading over to the US forpressing. I have already used the music quite a bit and have always got a fabulous reaction fromdancers, non-dancers and from callers. Our regular dances resume on the last weekend in January –and I suspect that the time will go fairly quickly.

On the reverse side of the front cover I am now listing products for sale. This month also advertises amagazine called CALLING. This is produced by callers in the Czech Republic. I was very impressedwith the first issue, which came out a couple of months ago. The price is comparable to Choreo-wise.Calling comes out only 4 times a year but does have 28 pages of material. It contains a good mix ofchoreography and general articles. CALLING can be purchased through Steve & Susan Turner andSteve was one of the featured callers in the first issue.

Thanks again, for your support and interest over the last 12 months. I hope that you all have a safeand enjoyable holiday season and a rewarding year 2000. I hope to dance with many of you during2000.

Kind regards until next time.

Glitches from Issue #19There were no glitches as such – but the last figure on page 219 was a ring-in from the previous issue.

Adjustment from last issue - Bill and I will be calling an A-level Pre-convention dance in FOOTSCRAY(not Frankston - all of Melbourne’s ‘F’ suburbs sound the same to me) on the Wednesday prior to the National Convention in Geelong. If you know of A-level dancers attending next year’s convention, please let them know.

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)

Choreo-Wise 2.10 - - David Cox –-222

Choreo-Wise 2.10 - - David Cox –-223

Square Thru –How Many?

Nearly a year and a half ago, Global MusicProductions released a record called ‘Wild OnA Saturday Night’ (GMP-403 – called by JonJones and Brian Hotchkies). The tune is newmusic to an old tune that had been previouslyreleased on Brian’s J-Bar-L label. There are acouple of interesting aspects to the record. Ithas a 64 beat Opener, Middle Break andCloser, but has an 80 beat figure. The actualchoreography on the record is also ratherinteresting as it has a Square Thru wheresome dancers do a full Square Thru, whileothers do only a Square Thru Three-quarters. Ithought I might explore that concept and seesome of the things that we can do with it. Thefigures used on the record is listed below(please note – if you have the record, there isa mistake on the cue-sheet – the printed figuredoesn’t work, the figures below, taken from therecord, do!)…

Singing Call - Corner Progression

Heads Promenade HalfwayHeads Right & Left ThruHeads Half-sashaySides Square ThruSwing ThruCentres TradeCentres RunWheel & DealSquare Thru –Men Go three HandsLadies Go Four HandsMen CloverleafSwing CornerPromenade

Choreo-Wise 2.10 - - David Cox-224

Heads Promenade HalfwayHeads Right & Left ThruHeads Half-sashaySides Square ThruSwing ThruEnds U-turn BackCentres TradeWheel & DealSquare ThruLadies Go Three HandsMen Go Four HandsLadies CloverleafSwing CornerPromenade

In either of the previous routines, by removingthe Promenade Half and right & Left Thru ANDcalling Sides Square thru and Heads Half-sashay and then continuing the call you willconvert the routine from 80 beats to astandard 64 beat routine.

Let’s see what else we can do with thisconcept…

SS

Heads Pass Thru

Separate ‘round 1 to a Line

Pass Thru

Wheel & Deal

Centres/Ladies Sweep a Quarter

Ladies Back-away

Men Square Thru

Everyone Square Thru

Men Go Three Hands

Ladies Go Four Hands

Men Dosado

Men Swing Thru

Centre Men Run

Men Bend the Line

Ladies/Ends Run

Pass the Ocean

Swing Thru

Centres Trade

Men Run

Pass Thru

Wheel & Deal

Zoom

Pass Thru B1c

Allemande Left

Right & Left Grand

Meet at HomeIt is absolutely crucial to have the Men executea Dosado in the centre, before calling SwingThru, otherwise the Men will have poor hand-work due to having to use the Right Hand twicein succession.You can also utilise this type of material from lines. Again, keeping sexes together…

SS

Heads Pass Thru


Square Thru

Men Go Three Hands

Ladies Go Four Hands

Men Trade

Girls Face In

Star Thru

Centres Right & Left Thru

Zoom

Centres Swing Thru

Centres Swing Thru – AGAIN

Extend B1c

And…

SS

Heads Star Thru

Double Pass thru

Face In

Square Thru

Ladies Go three Hands

Men Go Four Hands

Men Face In

Couples Circulate

Bend the Line

Star Thru

Right & Left Thru

Zoom

Pass Thru B1c

After having the dancers accustomed to theconcept, we can change it a little by havingHeads/Sides determining the number of hands,rather than gender. It is a good idea, especiallyat the start, to go straight into this sort ofmaterial – before dancers have a chance tobecome mixed or to forget whether they areHeads or Sides…


SS

Heads Half Square Thru


Sides Go three Hands

Heads Go Four Hands

Sides Separate ‘round 1 to a Line

New Ends Run

Everyone Star Thru

Centres Pass Thru B1c

Allemande Left

Walk Back – You Should Be Home

This routine will also give dancers a goodtryout on Square Thru…

SS

Heads Square Thru


Bend the Line

Square Thru

Centres Square Thru

Everyone U-turn Back

Centres Square Thru


Bend the Line

Square Thru

Right & Left Grand

The next half-sashayed Square Thru gives us aZero Line…

SS

Head Men and Corner –

Forward & Back

Square Thru

Split the Outsides


Forward & Back L1p

SS

Heads Pass Thru


Lines Pass thru

Wheel & Deal

Centres/Ladies Square Thru

Centres/Ladies Step Ahead

Men Square Thru

Ladies Trade

Square Thru


Wheel & Deal

Centres Square Thru

Step Ahead

Others Square Thru 3/4s

Ends Trade

Allemande Left


Turn ThruI find Turn Thru a very misunderstood andmisinterpreted figure – and have found itso for a very long time.

I assume that you are aware that a TurnThru is a very precise call, when dancedcorrectly. The dancers designated do aright Arm Turn (180 degrees) and thenstep ahead to finish back to back with thedancer with whom they did the Arm Turn.

Let me tell you two stories. The first is apersonal experience from over 20 yearsago. A caller with much more experiencethan me said, “I don’t know why dancershave so much trouble with Turn Thru –after all, it’s just the same as anAllemande Right.” My thought at the timewas that type of misunderstanding bycallers was a large contributing factor inthe problem.

The second story I have only receivedsecond hand – and so I apologize if Ihaven’t got it quite right. It has been apoint of contention whether or not callersshould call Turn Thru from an Alamo-stylering, prior to calling Allemande Left. Mybelief is that it should be avoided – I feelthat dancers need to Arm Turn 270degrees from an Alamo to get to anAllemande Left. Never the less, it isindisputable that if it is called dancers willhave no trouble dancing exactly what thecaller intends.

There is a story about Ed Foote (I think)calling Turn Thru from an Alamo-style ringand Jack Lasry (who was present at thedance) pulling a face at him. Ed’scontention was if the dancers would do it,what is the problem?

I feel that the problem is that dancers,when Turn Thru is called requiring a 180degree turn, will not dance it withcertainty, as they have danced it othertimes when 180 degree turn has not beenexpected.

With this in mind, this month’sMainstream pages will feature someroutines that use Turn Thru. As a generalrule, the routines will require the dancersto be precise with their finishingformation.

Let’s start…

SSHeads Turn ThruSeparate ‘round 1 to a LineEveryone Right & Left ThruSlide Thru B1c

SSHeads Swing ThruTurn ThruSeparate ‘round 1 to a LineEveryone Pass ThruTag the LineLeaders U-turn BackSwing ThruMen RunPass the OceanSwing ThruMen TradeAll Eight CirculateRight & Left Grand

SSHeads Right & Left ThruHeads Half-sashayHeads Turn ThruSeparate ‘round 2 to a LineEveryone Forward & BackTurn ThruCourtesy TurnDixie Style to a WaveFan the TopStep ThruAllemande Left

B1cSwing ThruTurn ThruTrade By


Star ThruPass ThruWheel & DealCentres Pass Thru B1cL1pPass the OceanSpin the TopTurn ThruPartner TradeReverse Flutterwheel L1p

SSHeads Square ThruTurn ThruCentres Left Turn thruEveryone CloverleafLook for PartnerRight & Left GrandThe above routine works better if you waituntil the Lead Dancers are starting to turninto the Centre of the square BEFORE yousay right & Left Grand.

B1cTurn ThruCentres Pass ThruCloverleafCentres Turn ThruLeft Turn ThruCentres Pass ThruEveryone Face InPass ThruPartner TradeSlide ThruPass to the CentreCentres Touch a QuarterAllemande Left

And some same sex Turn Thru…

SSHeads Pass ThruSeparate ‘round 1 to a LinePass ThruWheel & DealCentres/Ladies Turn ThruCourtesy Turn

Pass ThruBend the LineSlide Thru B1c


SSHeads Pass ThruSeparate ‘round 1 to a LinePass ThruWheel & DealZoomMen Turn ThruLeft Touch a QuarterLadies TradeLadies RunBend the LineFlutterwheelSlide Thru B1c

Singing Call - Corner Progression

Heads Swing ThruCentres Turn ThruCloverleafSides Pass ThruSwing ThruMen RunBend the LinePass ThruWheel & DealCentres Swing ThruTurn ThruSwing & Promenade

Heads turn ThruSeparate ‘round 1 to a LinePass ThruWheel & DealCentres Pass ThruTouch a QuarterSplit CirculateMen RunPass ThruWheel & DealCentres Swing ThruTurn ThruLeft AllemandeSwing & Promenade

Heads Promenade HalfwayHeads Pass the OceanExtendLadies TradeSwing Thru


Men RunTag the LineCloverleafLadies Turn ThruStar Thru

Promenade

Looking For A Formation

I think that one of the easiest ways to addinterest to a dance program is to utilisedifferent formations. Often, formationsexist within other formations – it is up tous to look for these formations withinformations. In the process, we givedancers the opportunity to improve theirskills as, they too, develop an awarenessof formations within formations. It alsogives them reason to develop greaterlevels of precision in the way that theyexecute dance calls.

Follow Your Neighbour is usually executedfrom parallel mini-waves. This formationcan also be found in the centre of paralleltwo-faced lines and in the centre ofparallel ocean waves.

The first few routines have the samegender in the centre position. I think thisis a good way to start using this type ofmaterial, as it makes it easier for dancersto locate who they are working with. Italso makes it easier for the caller to usecues to reassure dancers that they are inthe correct position. Later routines willmix the gender.

B1cSwing ThruMen RunLadies Follow Your Neighbour& SpreadDiamond CirculateFlip the Diamond W1c


Now with Men involved in the Follow YourNeighbour…

B1cSwing ThruMen RunTag the LineFace RightMen Follow Your Neighbour& SpreadCut the DiamondCouples CirculateHalf-tagFollow Your Neighbour& SpreadLadies TradeLinear CycleSlide Thru B1c

The next routine may be a good one tostart with as it has the same genderarrangement as occurs most often withFollow Your Neighbour…

B1cTouch a QuarterCentres TradeCentres RunNew Centres –Follow Your NeighbourEnds CirculateCentres Trade The WaveEveryone Flip the DiamondWalk & DodgePartner TradePass the OceanSwing ThruAcey DeuceyExtendRight & Left Grand

The next routine features some Diamonds, aswell, that may require clear explanation for thedancers to be successful…

B1cTouch a QuarterCentres TradeCentres RunNew Centres –Follow Your NeighbourEnds Circulate Half a PositionMen Diamond CirculateIn the Wave of 6 – Right Hand HingeLadies RollMen Wheel & DealMen Sweep a QuarterEveryone Pass ThruTag the LineFace RightFerris WheelZoomCentres Square Thru 3/4sAllemande Left

Likewise, we can utilise this formation as wefind it in a left hand wave…

L1pRight & Left ThruDixie Style to an Ocean WaveMen Follow Your NeighbourLadies CirculateMen HingeMen RunLadies TradeLinear CyclePass the OceanTrade the WaveAllemande Left

We can also find some diamonds inunexpected places…

L1p


Touch a QuarterCirculate Once and a HalfLadies TradeLadies Slide ApartLadies CirculateMen Flip the DiamondEveryone Flip the DiamondExplode & L1p

Chase Right is called from Couples thatare back-to-back. We can find thisformation in some 3x1 lines…

L1pPass ThruTag the LineFace RightCentres Walk & DodgeEnds CirculateCentres Chase RightEveryone Half-tagCentres TradeMen RunRight & Left ThruPass ThruThree-quarter Tag the LineLeaders CloverleafCentres Spin the TopCentres Turn ThruAllemande Left

I hope you like this one – make sure thatyou don’t overdo this type of material…

SSSides Pass Thru & Step AheadHeads Pass the OceanVery Centres TradeSides Chase Right <through theheads>Sides HingeMen Diamond CirculateVery Centres HingeIn the Wave – Linear CycleOthers Hinge & RollMake a LineEveryone Pass ThruWheel & Deal


Double Pass ThruDixie Grand – but go two handsSwing Original Partner

Split Square ThruSplit Square Thru is a figure that buildsupon one of the most often used callsfrom the Basic level.

Definition:From a Static Square of T-bone (from a StaticSquare, those designated step forward, toform two side-by-side T-bones). Those facingRight Pull By, Quarter In (to face those whodidn’t Pull By), and all Left Square Thru three-quarters.

It can also be done fractionally, or for a givennumber of hands. In these cases, the fractionor number of hands applies to those who startthe call.

The routine, to have a ‘normal’ SquareThru, starts with the active dancers half-sashayed…

SSHeads Box the GnatHeads Split Square ThruTrade ByPass the SeaLockitCrossover Circulate W1c

Or, to modify it slightly for a slick get-out…

SSHeads Right & Left ThruHeads Half-sashayHeads Split Square ThruTrade ByPass the OceanLockitCrossover CirculateAllemande LeftWalk Back – You Should Be Home


Split Square Thru can also be started bythe outside/end dancers rather than thecentres…

SSHeads Pass the OceanSwing ThruPing Pong Circulate& (Ends) RollCentres Fan the TopExplode the WaveEnds Start – Split Square ThruClover &Slide ThruDixie GrandAllemande LeftDancers execute the Ping Pong Circulatefrom a half-sashayed wave, so that theSplit Square Thru will feel as ‘normal’ aspossible. Another nice feature is that thecentre dancers have their left handavailable, after the Explode the Wave,ready to start their part of the Split SquareThru.

Keeping this hand work in mind, the nextroutine has equally well balanced handwork…

B1cRight & Left ThruCentres Half-sashayPass to the Centre(Ends) RollCentres Square Thru 3/4s(Ends Start) Split Square ThruClover &Square Thru Three-quartersClover &Pass Thru B1c

We can even call Split Square Thru &Everyone Go Four hands!…

SSHeads Pass OutSides Face – Split Square ThruEveryone Go 4 HandsCross-clover &Centres TradeDixie GrandAllemande Left


The ‘Split’Concept

Building on the Split Square Thru, whichwas introduced on the previous page, Ithought that it would make sense todevelop the “Split” concept even further.

The concept is that when doing “Split”calls, the dancers do not cross to theother side of the square - dancers stay intheir own group of 4 on one side of thesquare (interestingly, the definition forSplit Swap Around doesn’t really seem tofit perfectly with this idea).

In Challenge 1 level there is a figure calledSplit Dixie Style to an Ocean Wave. Thedesignated dancers join right hands topull by, and then Quarter In (to face thedancer next to them, on their side of thesquare) and do a Left Touch a Quarter.

SSHeads Right & Left ThruHeads Half-sashayHeads Split Dixie Style to a WaveMen Run LeftPass ThruEnds BendSplit Dixie Style to a WaveCrossover CirculateSwing ThruMen RunPass ThruStep & SlideHorseshoe TurnPass InCentres RollEnds Pull By

Allemande Left


And…

SSHeads Right & Left ThruHeads Half-sashaySides Split Dixie Style to a WaveCentres TradeLeft Swing ThruLadies Run LeftStar ThruDive ThruPass Thru B1c

For those of you calling Plus, the call SplitDixie Diamond may be useful. Dancers doa Split Dixie Style to a Wave – the centresof the New Wave Hinge while the otherdancers U-turn Back to finish in aDiamond formation…

SSHeads Pass ThruSeparate ‘round 1 to a LineForward & BackEnds Slide ThruCentres Start – Split Dixie DiamondFlip the Diamond

Follow Your Neighbour & Spread W1c

Split Swap Around – Belles step forwardand Quarter Right, while Beaus PartnerTag – finishes with couples back to back…

SSHeads Split Swap AroundPass & RollSwing ThruMen RunTrade CirculateCouples CirculateBend the Line L1p

SSHeads Split Swap AroundTouch a QuarterSplit TransferCheckmate the ColumnMini BusyExtendSlipMen Run L1p

December 1999 Record Review . . . By Brian Hotchkies

8 Kato Close, Kanwal, NSW, 2259Phone 02-4392-0336 Mobile 015-29-0010 International 61+2+43920336

JINGLE BELL ROCKRoyal 322 / Tony & Jerry / Mainstream

Several good versions of this seasonal tunehave released as Square Dances over theyears, but in my opinion, this Royal releaseis by far the best. The arrangement has anice, gentle, rolling rhythm, which allowsthe Caller to present a steady, un-hurrieddelivery of the original lyrics. Vocal side iswell called, and has good balance andfidelity. Choreography is nothing out ofthe box, but is interesting and well timed.It should not pose problems for mostmainstream groups. Minor figure uses abasic “Circle & Weave” routine.

Figure: Heads Square Thru, Right HandStar, Heads Star Left, Right & Left Thru,Swing Thru, Men Run, Half-tag, Swing,Promenade.

BYE BYE LOVEGMP 927 / Jerry Jestin / Mainstream

This tune was released as a Square Danceon the Top label about 30 years ago, but Ithink that is the only other version, so thisnew record should be well received. Thetune will be familiar to most callers andDancers, and is well played and recorded(as you would expect from Global). Avariety of choreography is provided whichhas the central theme of: “Square Thru,Make a Right Hand Star – full Turn”, then


Jerry has provided (and called on the flip)four different endings. Suggested Intro.Uses a basic “Four Ladies Chain, Circle &Weave” routine, while the Break andCloser employ a “Grand Square”. Jerry’svocal is very professional and well worth aspin.

Figure: Heads Square Thru, Right HandStar, Ladies turn Around, Touch a Quarter,Scootback, Men Run, Pass the Ocean,Swing Thru – TWICE, Swing, Promenade.

LIVE, LAUGH & LOVEESP 1040 / Elmer Sheffield / Mainstream

Excellent music, played by a band you cantrust, and called by one of the masters inour activity. The instrumental features arhythm variation during the Middle Break,which gives the release character, and akey modulation at the beginning of thecloser allows the Caller to lift theexcitement level at that point. Minorfigures use a simple “Four Ladies Chain,Rollaway, Allemande & Weave” sequence,while for the main figure Elmer hassuggested using “Girls Rune Once and aHalf, Star Thru”, which I think is a tiny bitsuspect in it’s technical correctness.

Figure: Heads Square Thru, Dosado, SwingThru, Cast-off three-quarters, Walk &Dodge, Men Run, Ladies Run Once and aHalf, Star Thru, Promenade.

I LOVE YOU BECAUSEESP 1039 / Elmer & Darryl / Basic

It’s about time this tune became availableagain! It was a very popular release on theChaparral label ten years or so ago, buthas been unavailable now for many years.This new ESP version is slightly more “up-tempo” than the earlier release - a featurethat some callers will find more attractive,while others will wish it were more likethe Chaparral instrumental. Elmer andDarryl combine very well. Minor figuresadopt a simple “Chain, Rollaway, Circle &Weave” combination. There is a keymodulation at the beginning of the closer

Figure: Square Thru, Right Hand Star,Heads Star Left, Right & Left Thru, VeerLeft, Bend the Line, Men Walk AcrossCorner Swing, Promenade.


New Releases - December '99By David Cox

Waltzing MatildaSeven C’s 113 / Dave Tucker

Brand new music for a well-known tune.The music has been produced by Jack Bergand features the same quality of music thatyou would be familiar with on the ChicagoCountry label. The music has a country feeland features some nice work on theacoustic guitar. There is a key changehalfway through the closer that allows thecaller, very easily, to emphasise the lift inthe music. The music also allows the callerthe option to present the song in a gentleballad style, or to use it to really pump thecrowd. I have found that many dancerswill join in by singing the lyrics. Dave hasused several different pieces ofchoreography on the record – and the onelisted below has very nice body-flow. Welldone Dave Tucker!HEADS FLUTTERWHEEL – SWEEP A QUARTER –PASS THRU – DOSADO – SWING THRU – SPINTHE TOP – RIGHT & LEFT THRU – PASS THEOCEAN – LADIES TRADE – MEN CROSS-FOLD –SWING CORNER - PROMENADE

Early In The MorningHi Hat 5236 / Joe Saltel

This is a powerful piece of music. It has arock and roll feel to it and features asaxophone in the instrumentation. I’mlooking forward to using this one. I expectit to really get the floor pumping away.Nice calling by Joe.HEADS SQUARE THRU – SWING THRU – SPINTHE TOP – RIGHT & LEFT THRU – HALF-SASHAY –

SINGLE CIRCLE – SLIDE THRU – SWING &PROMENADE

In the Misty MoonlightSilver Sounds 208 / Bruce Williamson

A well-known tune in a gentle rumbarhythm with a nice instrumentation.HEADS SQUARE THRU – STAR RIGHT – HEADSSTAR LEFT – SLIDE THRU – SQUARE THRU THREE-QUARTERS – SWING - PROMENADE

One Night At A Time4 Bar B 6143 / Dave Guille

A love song with a nice, gentle melody.There is a change in the melody for themiddle break and closer. It reminds me ofanother tune, but I can’t quite work outwhich one.HEADS SQUARE THRU – SWING THRU – SPINTHE TOP – RIGHT & LEFT THRU – TOUCH AQUARTER – LADIES RUN – SWING - PROMENADE

Best Sellers from October

1. Tears In HeavenGlobal 803

2. It’s A Good DayESP 1038

3. When The Saints Go Marching InChaparral 3509

4. Don’t Tell Me What To DoGlobal 1002

5. SunnyChaparral 511

Best Sellers from November

1. Bye Bye LoveGlobal 927

2. Happy TogetherEagle 3410

3.God Must Have Spent A Little More Time OnYou

Global 2094. Rockin’ In Rosalie’s Boat

Chaparral 1001


5. Who’s Sorry Who’s Crying Now?Kalox 1334

Best Sellers Information supplied by:

Steve & Susan TurnerTurner’s Record & Tape Service104 Cogill RoadBuderim 4556 QueenslandPh – 07 5445 1540Fax – 07 5476 5648Mobile – 0417 092928Email – [email protected]


BasicArky Style – p. 163Chain Down the Line – p. 137Circles, Stars & Thars – p. 123Flutterwheel – p. 200Left Hand – p. 211The New Program – p. 109See Saw – p. 176Separate – p. 149Sneaky Stuff – p. 138Square Thru – p. 223Stars – p. 200Texas Style – p. 175Texas Style – p. 187Texas Style – p. 199Zero Modules – p. 188

MainstreamAsymmetrical Stuff – p. 177Cross-fold – p. 189Cross-run – p. 201Fan the Top – p. 151Fan the Top – p. 165Fold – p. 189Left Hand – p. 213Lines & Waves of 3 & 6 – p. 139Run – p. 201Spin the Top – p. 111Turn Thru – p. 225Walk & Dodge – p. 125Zero Line set-ups – p. 166

Plus<Anything> & Roll – p. 179<Anything> & Roll – p. 191<Anything> & Spread – p. 113Diamonds (set-ups) – p. 153Diamonds (funny) – p. 167Formation Awareness – p. 227Gung-hoe (RTH material) – p. 141Left Hand – p. 215Peel the Top – p. 127Ping Pong Circulate – p. 203

A-level<Anything> & Mix – p. 217Belles & Beaus – p. 181Crossover Circulate – p. 115Crossover Circulate – p. 129Crossover Circulate – p. 143Hourglass Material – p. 155Pair Off – p. 205Singing Calls (A-2) – p. 193Six by Two Acey Deucey – p. 169Split Square Thru – p. 229

Singing CallsEasy Singing Calls – p. 132Jason Dean on Hi Hat – p. 118Separate – p. 158Unusual Openers – p. 145

Feature Concept/CallBoomerang – p. 117Danish Style – p. 219Flip the Chicken – p. 171Grand Slide Thru – p. 157Leaders & Trailers – p. 207Reverse Concept – p. 195Spin-along – p. 131The Split Concept – p. 230Split the Deucey – p. 183

HoedowningBody-flow – p. 130Hoedown Patter – p. 144Using MiniDisks – p. 135Music Styles – p. 156People Mover Modules – p. 194Problem Solving – p. 218Setting Up For Success – p. 170Un-modules – p. 206Variety vs. Complexity – p. 116Zero Modules – p. 182


choreo-wise · choreo-wise volume 2, issue 10 december, 1999 hi there! here we are, rapidly...

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