The Dancehall Players More from Dan's Hall MUSIC FOR ENGLISH COUNTRY DANCE
SPECIAL EDITION DIGITAL BOOKLET
WELCOME AGAIN TO DAN’S HALL! Every Thursday, the Victoria English Country Dance Society hosts an evening workshop of live music, dancing and good fellowship, open to as many as will. Dan’s unique space continues to welcome eager dancers and callers. Our band, The Dancehall Players, has had the good fortune to play with many local and visiting musicians at those Thursday gatherings. We have put together another program for your enjoyment that contains easy, intermediate and more complex dances by a variety of choreographers. Recorded in July 2012, this set of tunes represents more of our favourite music. There is a short introduction to each tune and hopefully enough repetitions to provide a good dance experience as well as easy listening! We start with a grand march and end each half of the program with original waltzes, as is the custom at our larger dance gatherings, such as the Victoria English Country Dance Ball and the Mayne Island Ball. So open the door to Dan’s Hall once more and come into the warmth. Choose your partner, gather on the dance floor and take hands four. We love to play while you dance!
THE STORY OF THE DANCEHALL PLAYERS started and continues at Dan’s Hall, attached to an old farm house in Victoria. Dan’s Hall was used for various forms of folk dance long before the formation of the Victoria English Country Dance Society by Rosemary Lach in the spring of 2001. Soon there were weekly Thursday evening ECD workshops at Dan’s Hall. From the beginning, there was always live music. The first year or so, just Dan and Ann played, joined occasionally by visiting musical friends. Then Gregory, Karen, Keith and Susan, and, more recently, Lael started to play together regularly - for those Thursday evenings, and also for larger regional ECD events, such as the Victoria English Country Dance Ball, Hands Across the Water, Vancouver Ball and Mayne Island Ball. The nature of The Dancehall Players is flexible. We have played as duos, trios, quartet, quintet - and are happiest when all together! Many good friends have joined us on Thursday nights over the last 8 or so years. Special thanks go to Lael Whitehead, David Gallop, Anne Gower, Alan Greene, Jackie McDonald, David Cheatley, Kevin Budd and many others. Often the stage is crowded and instruments and players spill onto the dance floor! It’s a great English Country Dance community here in Victoria and we appreciate the opportunity provided us all to play, sightread, improvise, create and share “live” - every Thursday night at Dan’s Hall.
1. April’s March (6x) 4:42 2. Hunt The Squirrel (Geud Man Of Ballangigh) (7x) 3:56 3. St. Catherine (7x) 4:23 4. Quem Pastores (Shepherd’s Delight) (6x) 2:54 5. La Gavre (7x) 4:06 6. Tango In Toronto (6x) 4:55 7. A Trip To Paris (7x) 3:20 8. Twelfth Night At The Fireside/The Lass She Danced Alone 3:55 9. As Luck Will Have It (Halsway Sicilian) (7x) 4:08 10. Hambleton’s Round-o (7x) 3:16 11. Red And All Red (6x) 5:50 12. Frank Palmer (7x) 5:21 13. Elegant Dancer (5x) 4:22 14. Branle Des Chevaux (Horseplay) (7x) 4:09 15. Delia or The Amorous Goddess (3x) 3:56 16. Annika’s Waltz 3:23 Total Time 67:16
THE DANCEHALL PLAYERS: Gregory Brown, flute, guitar Susan Larkin, recorder, violin Keith Malcolm, violin Karen McIvor, cello Dan Page, mandolin Ann Schau, keyboards with Lael Whitehead, percussion, recorder
CREDITS: Producer: Ann Schau Concept: Ann Schau, Rosemary Lach Recorded: July 7-9, 2012 at Apparition Music Inc., Victoria, British Columbia Engineered by: Patrick Godfrey, Apparition Music, www.apparitionmusic.com Graphic Design & Layout: Wendy Wall, OffTheWallDesign@gmail.com Artwork: Joanne D. Thomson, www.joannethomson.com Liner Notes: Ann Schau Photo Credits: Sherry Kirkvold, Louise Hawksbury
MORE FROM DAN’S HALL English Country Dance Music
Most of the tunes on this CD were written between the 16th and 18th centuries, while a few are modern. They are all available in a variety of modern sources, some of which are listed below. A handful of these tunes are used for old dances and others have inspired modern choreographers to create new dances or to reconstruct or adapt the old ones. While we have not included any dance patterns here, instructions are often found with the musical sources along with a wealth of historical detail. This collection of tunes is designed for dancing, as well as listening. So there is a little introduction at the beginning of each number, to set the pace and to allow you to honour your partner. The number of repetitions of the tune depends on the dance type, as well as the character of the melody.
1. APRIL'S
MARCH
(Ann Schau, 2011, SOCAN)
A grand march is a great way to start an evening of dance! Inspired by the arrival of a new family member, this bright tune keeps a pace that treads the path between elegance and attitude. 6x. SOURCE: Ann Schau, aschau@shaw.ca
2. HUNT
THE SQUIRREL (1709)
A lively, even raucous, jig that is perfect for GEUD MAN OF BALLANGIGH, a relatively easy dance. Dan’s mandolin lead and the simple harmonies suit the mood. Duple minor longways, 7x. SOURCES: Peter Barnes, The Barnes Book of English Country Dance Tunes, Volume One (1996) and Kate Van Winkle Keller and Genevieve Shimer, The Playford Ball, CDSS, 1994 ARTWORK: Depiction of Geud Man of Ballangigh dance pattern by Joanne D. Thomson
3. ST.
CATHERINE
(John Barrett, 1701)
This jaunty tune, introduced to us by Trev Monson, has become a favorite of many of our dancers, as has the charming dance, reconstructed by Phillippe Callens. Duple minor longways, 7x. SOURCES: Peter Barnes, The Barnes Book of English Country Dance Tunes, Volume Two (2005) and Phillippe Callens, Antwerp Antics, 2004
4. QUEM
PASTORES
(Praetorius, 16th century)
This glorious old tune is used for the somewhat intricate modern dance, SHEPHERDS’ DELIGHT, created by Hilary Herbert (1997). Three couple set, 6x. SOURCE: Hilary Herbert, Hilary’s Humours 1
5. LA
GAVRE
(Pierre Trappeniers, 1777)
Another dance reconstruction by Phillippe Callens to the lively four-part jig published by Brussels dancing master Trappeniers. Both dance and tune really move! Duple minor longways, 7x. SOURCE: Phillippe Callens, Belgian Boutades, 2002
6. TANGO
IN TORONTO
(Colin Hume, 2010)
We love this Colin Hume tune, used by permission of composer. His unique choreography, a hint of tango rhythm and our Canadian sensibilities combine to produce a restrained yet sensuous dance experience! Duple minor longways, 6x. SOURCE: Colin Hume, http://colinhume.com/instl.htm#Tango
7. A
TRIP TO PARIS (1728)
This vigorous minor key, cut time tune is a good end to our first half. We like to “skip” the first 8 measures of the B section to encourage the dancers’ “trip”. Duple minor longways, 7x. SOURCES: Peter Barnes, The Barnes Book of English Country Dance Tunes, Volume One (1996) and Kate Van Winkle Keller and Genevieve Shimer, The Playford Ball, CDSS, 1994
8. TWELFTH
(Karen McIvor, 2011)
NIGHT AT THE FIRESIDE
/THE LASS SHE DANCED ALONE (Dan Page, 2004)
An original waltz medley. Perhaps his view from the stage overlooking our dancers prompted Dan to write The Lass. Karen says “We danced on Twelfth Night at a wonderful Tudor house now converted to a restaurant called The Fireside Grill” SOURCE: Victoria English Country Dance Society website, www.vecds.bc.ca
9. AS
LUCK WILL HAVE IT
(Pat Shaw, 1977)
A wonderfully exuberant jig written by Pat Shaw to partner his dance, HALSWAY SICILIAN (many thanks for permission received from Christopher Shuldham-Shaw). Sicilian Circle, 7x. SOURCES: Pat Shaw Collection, Book 2 and Peter Barnes, The Barnes Book of English Country Dance Tunes, Volume Two (2005)
10. HAMBLETON’S (1710)
ROUND-O
This driving triple time Playford tune sounds surprisingly modern. We prefer to play it in bright A minor, rather than the original C minor. A Dan’s Hall favorite! Triple minor longways, 7x. SOURCES: Peter Barnes, The Barnes Book of English Country Dance Tunes, Volume One (1996) and Kate Van Winkle Keller and Genevieve Shimer, The Playford Ball, CDSS, 1994
11. RED
AND ALL RED
(Thompson, 1757)
This beautiful air with the intriguing name is like a love song, intricate, unevenly phrased, yet immensely satisfying. Charles Bolton has reconstructed the dance. Three couple set (originally triple minor longways), 6x. SOURCES: Charles Bolton, Retreads, vol. 5 and Peter Barnes, The Barnes Book of English Country Dance Tunes, Volume Two (2005)
12. FRANK
PALMER
(Carolan, early 18th century)
Another jig, this time relaxed and playful. The key change to C major in the middle is for our entertainment! Ken Sheffield created a dance for this charming tune in 1985. Duple minor longways, 7x. SOURCES: Blind Harper Dances, Allison Thompson, editor and Peter Barnes, The Barnes Book of English Country Dance Tunes, Volume Two (2005)
13. ELEGANT
DANCER
(Keith Malcolm, 2010, SOCAN)
Violinist Keith Malcolm wrote this lovely little tune for the Victoria English Country Dance Society. “A local Victoria English country dancer was the inspiration for my waltz.” One of our group, Charlotte Hale, has created a companion dance which we all enjoy. Duple minor longways, improper, 5x. SOURCE: Victoria English Country Dance Society website, www.vecds.bc.ca ARTWORK: Depiction of Elegant Dancer dance pattern by Joanne D. Thomson
14. BRANLE
DES CHEVAUX
(T. Arbeau, 16th century)
Gary Roodman has used this wonderful modal tune from Orchesography for his dance, HORSEPLAY (2003). We were inspired to add harpsichord to the orchestration to enhance the Renaissance feel! Duple minor longways, improper, 7x. SOURCES: Peter Barnes, The Barnes Book of English Country Dance Tunes, Volume Two (2005) and Gary M. Roodman, A Finite Set of Calculated Figures, 2003
15.
DELIA or THE AMOROUS GODDESS
(Samuel Howard, 18th century)
Lots of opportunity for interaction as you move to this slow and glorious air, in a dance created by Ellen Taylor (1993). Three couple set, 3x. SOURCES: Peter Barnes, The Barnes Book of English Country Dance Tunes, Volume Two (2005) and Tom Cook, Hunter’s Moon
16. ANNIKA’S WALTZ (Ann Schau, 2011, SOCAN) A simple, heartfelt tune to end our evening together. “For my granddaughter, born in Toronto April 20, 2011, with love”. SOURCE: Ann Schau, aschau@shaw.ca
SPECIAL THANKS TO:
The Victoria English Country Dance Society, the VECDs callers’ group, Dan Page, Joanne Thomson, Sherry Kirkvold, Rosemary Lach and members of the Pacific Northwest dance community for your continuing support and encouragement. And Patrick Godfrey, for the use of his 7’ Yamaha S6 grand piano, and for fostering an enjoyable playing experience for all of us.
CONTACT:
Ann Schau, aschau@shaw.ca and/or the Victoria English Country Dance Society, info@vecds.bc.ca www.vecds.bc.ca