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Please indicate the classes you are most likely to attend. You can change your mind later; this is to help us make initial decisions about where classes will be held. Within each class period (Class 1, Class 2, etc.), check one First Choice box and one Second Choice box.

If a class conflict is particularly painful for you, please rank your choices. Remember, we can’t promise a conflict-free schedule. In fact, it’s our job to make the class options as appealing and exciting as possible, and it’s your job to make hard choices and to pace yourself.

*Go over your choices carefully before you push the Submit button. Once you push the Submit button the form may be cleared, depending on your web browser.*

Class 1

Why “Hole in the Wall” isn’t a Minuet: Using Baroque Steps in English Country Dances – Carol
We know that Baroque dance steps were used in English country dance in the late 17th and early 18th centuries, but very little specific information survives. In this class we will learn common Baroque dance steps such as minuet, bourée, rigaudon, chassé, and gavotte, use them in English country dances, and discover why the minuet step is not appropriate for hornpipes (dances in 3/2 meter). The class will focus on dancing more than talking.
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Reconstructing Kynaston – Andrew
An in-depth look at some of Andrew’s Kynaston reconstructions in their original form, and consideration of the questions posed in interpreting and adapting them for modern performance.
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Ensemble Playing – Mary
Learn how to take a bunch of individuals and turn them into a band. Beginnings and endings, tempos, solo swapping, arrangements on the fly, harmonic variety, cheap tricks… May digress into alternative styling concepts for ECD.
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Class 2

ECD: Farnicle Huggy – Andrew
A selection of dances from Twenty Four New Country Dances Compos’d by a Person of Quality, 1718, and from others of the annual sets of New Country Dances published by John Walsh in the early 18th century.
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Chording – Jacqueline
Backing up ECD in a flowing, elegant, (non-contra) style, while providing a strong rhythmic underpinning for the dancers. Chord substitutions, solos, rhythmic and harmonic variations. Choosing chords on new tunes with no indicated chords.
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Class 3

ECD: Good to Great – Bruce
Through a series of fun dances to terrific tunes, we’ll look at the skills involved in English dancing — moving, giving weight, fitting figures to phrases, etc. For newer dancers, this will provide a solid foundation and may fill gaps left by picking things up on the fly. For experienced dancers, this material is the key to progressing from someone who dances well to someone who inspires a smile in your partner and brings joy to the band.
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Longsword – Kalia
The original Helmsley longsword dance, as notated by Cecil Sharp, was used as material for a series of sword workshops at the Sidmouth Festival in 1979. The resulting dance was further tinkered with by Spen Valley Longsword, and then their version was further tinkered with by Kalia. This 6-person dance incorporates moves characteristic of traditional longsword dances as well as a few new twists. It’s fun to learn and watch, easy enough for beginners but with enough challenges to keep experienced dancers on their toes.
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Melody/Harmony – Peter
We’ll work on shaping melody lines and using ornamentation and improvisation to develop ideas. We will also work on technical issues in challenging tunes. Learn what to play when someone else takes the melody line, how to get to the “insides” of a tune, and how to join the melody and the backup rhythm. And we’ll have fun playing beautiful music together!
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Class 4

ECD: Twenty four Old English Country Dances for the Year 2010 – Andrew
A selection of 17th and 18th century dances from a variety of sources will make up this anachronistic annual set.
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Camper Band – Rebecca
Join with your fellow campers to provide glorious music for the Wednesday night Camper-led dance. From the professional to the novice, all abilities, levels, and instruments are welcome and encouraged. This class will form into bands and rehearse the tunes, with coaching on playing for dances by Rebecca King.
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Class 5

ECD for All: A Potpourri – Bruce
This session will explore the breadth of the English Country Dance literature: centuries, formations, energy levels, social classes, rhythms and steps. It is open to all experience levels. Musicians are strongly encouraged to attend.
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Exploring ECD 18th C. Continental Sources – Carol
Longways English country dances were introduced to the French court in 1684 (and may well have been danced there prior to that date.) By the first decades of the 18th century English-style dances had spread throughout Western Europe, as evidenced by the numerous manuscripts and publications that have survived. We will look at sources from France, Belgium, Germany, Italy, and Spain, comparing each country’s notation system and approach to the English model. The class will include a mixture of reconstruction/dancing and talking.
First Choice     Second Choice