Dave wrote:
> Logistically, I think Greg's approach is difficult to make work. There's
> always a new move happening after the pass through, so in effect, you'll be
> calling four beats of "pass through, something something," usually "balance
> here" or whatnot. Because there's no break between the instruction "pass
> through" and the instruction that follows it, I don't think dancers
> generally realize from that phrasing that the pass through is intended to
> occur after exactly six beats of the circle.
>
You are absolutely correct Dave! Structuring calls precisely is often very
difficult and I sometimes simply drop a dance because the prompts become
too jumbled when actually given at the correct beat. I posted to this
thread because I was, coincidentally, working on a dance called Kiss the
Bride by Jeffery Spero.
Kiss the Bride is particularly difficult because it uses the circle 3/4,
pass through transition at the end and the last call I need to fit in is
"dosido" which takes two beats. Because it is where the progression takes
place I also want to say "With the NEXT" to make that clear as well. On my
current dance card I "solved" the problem by giving the "Pass Through" call
early. That is unacceptable to me and I was trying to come up with a good
way to make it work using calls that are precisely in time with the
phrasing.
My current card reads:
B2: _ _ _ _ [Hands Four and] Circle RIGHT!
_ [Three Places], Pass Through, with the NEXT Dosido
To fix the timing I'm considering something like:
B2: _ _ _ _ [Hands Four and] Circle RIGHT!
_ _ [Three Places], Pass Through, NEXT Dosido
...But that's a lot of words to cram in at the very end of the dance
phrase. If the dance started with "Balance and swing" for example, I could
fit in the word "Balance" which only takes one beat.
I'm thinking of just dropping the dance from my repertoire.
Thanks for reading.
Greg McKenzie
West Coast, USA
