Couples of 3
I use a lot of your choreo with my mainstream club. Was just watching one of your C4 videos and wondered if you could give me a mainstream squence where I could use some work as a couple of 3 and spin top. That is very cool and I think it would be fun to get the mainsteam folks trying it.....

I decided to write two samples sequences for you:

Heads Square Thru 4,
All Square Thru 4,
End Boy Run Around 3,
Some Work As Couples Of 3: All Scoot Back,
Centers Square Thru 3,
Some Work As Couples Of 3: All Couples Hinge,
Very Center Two Trade,
4 Girls Swing Thru,
Some Work As Couples Of 3: All Swing Thru,
Some Work As Couples Of 3: All Spin The Top,
4 Girls Spin The Top,
  Boys Bend The Line,
Extend,
Girls Run,
Centers Slide Thru & Box The Gnat,
R.L.G. (ends at home)

And the next...

Heads Square Thru 4,
Right & Left Thru, Veer Left,
Couples Circulate,
4 Girls (in the middle) Walk & Dodge,
Some Work As Couples Of 3: All Couples Circulate,
Some Work As Couples Of 3: All Couples Hinge,
Girls Partner Trade,
Some Work As Couples Of 3: All Spin The Top,
Some Work As Couples Of 3: All Swing Thru,
Center Wave Spin The Top,
  Others Bend The Line,
Extend,
Spin Chain Thru, Girls Circulate Twice,
Turn Thru,
L.A. (1/8 promenade home)

How long does it take to write a sequence?
I write C3a and C3 material for my amusement and to teach in a home workshop setting. I'd like to know what various callers (particularly at challenge level) feel is a "normal" time to write a sequence of approximately 15 calls of generic material.

My normal writing rate is about 8 to 10 sequences per hour. My sequences are generally 12 to 17 calls in length. Asymmetric sequences typically take longer (15 to 20 minutes per sequence) since I usually have to push the dolls through many different times to verify that things work the way that I want them to.

I speed up writing sequences as follows:

1. I have a list of calls that haven't yet been used for the dance sitting in front of me. Calls at the primary level are highlighted in boldface so that they stand out. I can tell at a glance which calls I might want to add to the sequence.
2. I have several pages of ideas (e.g., short 2 or 3 call sequences that go together; starting formations and things to do from there; or lists of all the things that I could do 'Initially' or 'Finally') that I can look at. The difference between my A2 and C4 sequences is that for C4, I have many pages of ideas to look at. These pages took many hours to generate, putting them in sequences is easy. It's not writing the sequences that takes so long, it's preparing the idea pages.
3. I sometimes write sequences in parallel. I will take 50 pages of paper and write down the first 2 or 3 calls of a sequence on each page (e.g., on page one I might write HEADS WHEEL THRU; TOUCH 1/4; FOLLOW YOUR LEADER. Then on page two I might write HEADS WHEEL FAN THRU; CIRCLE TO A WAVE. Etc.) After the first 2 or 3 calls, I make a note of the ending formation (including sexes and facing directions as necessary). Then I search my idea pages for something interesting to do, and then add it to whatever sequence it might be easiest or most appropriate to add it to. This 'parallel' writing can significantly speed things up.
4. I don't worry about finding resolves until I have written a set of 10 or more sequences (without resolves). Blankly staring at a set of dolls trying to figure out how to resolve can waste a helluva lot of time. Instead, I take the set of unresolved sequences to my computer and use my resolve database to find appropriate resolves.

Progressive Squares
I recently danced a routine where dancers from "Square 1" worked their way through to "square 6" and then the caller was able to bring them all the way back into their original square.(there were 6 squares on the floor at the time) What is this routine called? (does it have a name?) How can I set it up and be sure to bring the dancers back to their original squares.

The material has to be worked out by the caller in advance. "Progressive Squares" is generally not something that is sight-called.

The general idea is that you send some couples one direction, and other couples another direction, call a few calls, then send them back. Dancers usually progress to the next square only with another dancer from their same original square.

Siamese
I'm attempting to write some practice sequences for a group I'm working with who's learning C3B. The sequences will theme Siamese Twosome, and I don't want to use any call above C3A. Can you give me a couple of ideas of how to simply get into a Siamese setup? Remember I said "simply". When I write these practice sequences, I don't want anything hard in the sequence except the thing I'm themeing.

• Heads Touch 1/4.
• Heads Star Thru; DPT; Leaders Single Wheel.
• Heads Star Thru & Spread; all Pass Thru; Boys (or Girls) Single Wheel.
• Heads Touch 1/4; Girls Pass Out.
• From Completed DPT: Belles (or Beaus) Zing.
• From Parallel Waves or 2FL: Centers Follow Thru.
• From As Couples Waves: Outsides Bend the Line & Roll.
• From Twin Diamonds: Centers Switch the Wave.

When in doubt, try having some dancers do a Single Wheel. This often gets you into a Siamese setup.

Six Couple Choreo

I am trying to write some material for A1 & A2 "6 couples" I am having a little trouble getting away from some fairly easy moves Do you have a system you might use to really get them mixed up? I am not asking for you to do my work for me just maybe head me in some direction. Working it backward is a little tough. But if you don't have any suggestions that is what I will do. I got your 3 on web site. (2 A1 & 1 A2)

I wrote more (non-trivial) A1 sequences which I have added to the choreo database: http://www.ceder.net/choreodb/view.php?action=query&DesiredSeqType=170&DesiredLevel=40

As for an easy way to write 6-couple material, here's my hint:

When sight calling six-couple material, I find that when resolving, it helps to pair up the side couples, do a call such as ferris wheel to get them out of the way, and then fix the FASR of the inside eight dancers.

Sub-formation Pass In

Just a quick question about the ending formation of a call. I had the Heads Travel Thru, and in the Front Jay - Pass In. Your program (CSDS) has the original Sides looking at each other in a Single 8 Chain Thru formation. The dancers expected the Sides to be in a Single Starting DPT formation. Can you explain why your program (CSDS) gives the results mentioned? It was my understanding that after a Pass in, the turn was toward the center of the set. I do know of an exception to that premise, and that's from a facing line, Triple Box Pass In has the resulting ends facing out of the square, or toward the center of their formation. Is there a rule somewhere that explains all this? The only thing I can think of is maybe the concept (Triple Box, Front Jay, etc.) override the general rule. Any insight you might have will be greatly appreciated. The C3A group I was calling to was adament the dancers turn toward the center of the set.

When a call is done working within a sub-formation (e.g., Triple Box, Jay, Block, Once Removed, etc.), dancers work within the distorted formation, ignoring the rest of their square. That is, dancers work with the (4) dancers in their formation. Within that group (of 4), there is a center (of gravitiy) reference point.

What your dancers wanted was an 'Initially Jay Pass In': Jay Pass Thru + normal Face In.