The Art of Cueing

Disclaimer

Everything you are about to see is strictly opinion
You may strongly disagree with some of this material
Remember, though, that these concepts were carefully developed over a period of years

The Purpose of Cueing

To cause dancers to execute a routine
To help dancers execute a routine
To let dancers execute a routine

You are trying to create an enjoyable experience for the dancers

"Cueing is a volatile, emotional subject because it is the only value added to a particular round dance by the cuer." - Jeff Grossman

"Everything should be made as simple as possible. But not simpler." - Albert Einstein

To Become a Good Cuer, You Must

Constantly look for areas to improve
Think about what you are doing
Always be open to change
Understand the traps that lead to mediocracy

A Philosophy for Cueing?

Use only Roundalab cue terms - not to confuse the dancers
Use no unnecessary words - not to confuse or distract the dancers
Deliver all cues with exactly the same timing with respect to the music measure - not to confuse or distract the dancers
Deliver all cues with exactly the same voice - not to distract the dancers
Pay close attention to your cue card - not to confuse or distract yourself

This is a sterile, barren, and technical approach to cueing. You might as well not be there.

NO ADDED VALUE!

A Philosophy for Cueing!

Each dance is different
Use Roundalab cues as much as possible, supplemented with additional or alternate terms where appropriate
Add words to help or reassure the dancers
Vary the delivery timing where appropriate to suit the music and figure amalgamations
Vary the voice tone and energy as appropriate to suit the music energy and volume

The ability to do the best or correct things, "as appropriate," is what distinguishes the good cuer from the average cuer.

Cueing from the Floor While Dancing

You're paid to cue, not dance.
Your timing will not be as good.
Your voice control will not be as good.
You cannot see what the floor is doing.

You are cheating the dancers out of what they came for - your best effort and creating an enjoyable dance experience for them.

Making Mistakes

We all make mistakes
A mistake is not a failure
Dancers are not "eager" for us to make mistakes
However, an occasional honest mistake makes the dancers more uncomfortable because it exposes our humanity and makes us more approachable
Admit your mistakes as quickly as possible
Dwelling on your mistakes or profusely apologizing is counter-productive

Never let a dancer believe a problem was caused by their mistake when it was yours.

Sounding the Hall

You must do it! - every record is different
You must do it completely - music and voice
You must deal with all variables -volume and tone and record speed
Establish hands signals for all variables

- Voice -

Get the very best microphone you can't afford
Set the volume and tone; then don't fuss with it unless you have a compelling reason
Set the volume high enough to give you some dynamic range in your voice; then use it
Some women have voices that are piercing and unpleasant unless the treble is reduced
Some men need extra treble to increase their clarity
Listen to feedback from others

- Music -

Don't cheat the dancers out of their music!
Bass can be used to increase the "presence" of the music without causing discomfort; too much bass will cause booming
Treble can be used to increase the clarity of the music and "punch through" ambient noise; too much treble can range from uncomfortable to painful
Listen to feedback from others

- Hand Signals -

You should have hand signals for music volume and bass/treble
You should have hand signals for music speed
You should have hand signals for voice volume and bass/treble

Components of a Cue Phrase

The selection of the "right" things to say and leaving the other items unstated is the hallmark of a good cuer.
The biggest problem for new cuers is "letting go" and saying fewer words

Hints:

The "official" figure name is often different from the best cue word
The most frequently neglected components are ending facing position followed by ending dance position.
Don't be afraid to experiment

Redundant Cue Words

Redundant or (strictly) unnecessary words are very important
They help re-assure the dancers:
TO REVERSE WALTZ AWAY; CROSS AND WRAP; (Tennessee Waltz)
They help remind the dancers of unusual events:
TOWARDS REVERSE OPEN IMPETUS; (Waltz Trammonte)
They add cadence to your delivery:
FACE AND BOX;;
Don't reject the idea of extra words merely because the dancers "should know" the figure definitions. Cueing is not a contest between you and the dancers.

Cue Cards

If you can't read your cue card when it is sitting next to the turntable, it is printed too small.
Don't use abbreviations.
The cue card should closely match the words you actually say.
Good place for misc info
- record speed
- choreographer
- ROM date

WALTZING FOREVER SEQUENCE: INTRO A B C A B C ENDING
** SPEED 47 **

INTRO

WAIT TWO MEAS;; APART POINT; STEP DRAW TOUCH TO BFLY;

PART A

WALTZ AWAY AND TOGETHER;; SOLO TURN SIX;;
BACK BOX;; FORWARD BOX;;
(repeat meas. 1-8)

PART B

VINE THREE; THRU FACE CLOSE; DIP CENTER; MANEUVER;
TWO RIGHT TURNS;; VINE THREE; PICKUP;

PART C

FORWARD WALTZ TWICE;; TWO LEFT TURNS;;
BALANCE LEFT AND RIGHT;; TWIRL VINE; THRU TO BFLY/CLOSED;

ENDING

CANTER; DIP AND SO FORTH...

[208] 4/18/91 (Thu) 11:05pm

Voice Modulation

A smile can be heard over the microphone, so can a frown.
If you are bored, you'll sound bored!
With practice, you can vary the energy level and volume of your voice, independently.
You need to hold the mic very close to your lips and be able to project into the mic to have a noticeable effect when trying to modulate your voice.

Keeping Time

Dance on stage.
Tap foot.
Rhythmic movement of some other part of the body such as hands.
Watching the floor.
Listening to the music.

All these methods work fine, until you make a mistake. However, if you use one method to the exclusion of the others, you will have no way to re-establish correct timing.

Delivery Timing

The key to good delivery is not when you begin to say the cue phrase, but when you are finished saying the cue phrase.
This is why new cuers sound as if they are rushed.
The proper end point of a cue phrase may vary depending on the prior figure and dance rhythm.
This is why some experienced cuers occasionally sound late.
The correct end point also may vary for specific figure combinations.
- stacking cues
- rushing cues

Cueing Tips and Tricks

Rushed Cues:

LUNGE AND TWIST; BEHIND SIDE THRU;
(All Shook Up, Taste of the Wind)

TWO PROGRESSIVE SCISSORS TO BANJO;; FISHTAIL;
SLOW TWIST VINE FOUR TO BANJO;; FISHTAIL; (Cowboy)

STEP SWING; SPIN MANEUVER;

SUSIE-Q;;

TWIRL VINE; POINT THRU TO LINE; (Femme Vivant, Jacklyn's Waltz; Paradise Waltz,

OPEN VINE THREE POINT THRU TO LINE; (Salty Two-Step)

VINE FOUR; PIVOT TWO;

HALF A BASIC; ALEMANA TURN;

CHANGE OF PLACES; [anything]

Delayed Cues:

WALK AND MANEUVER/PICKUP;

Redundant Words:

FULL BOX;; OPEN VINE FOUR;;
FULL BOX;; QUICK VINE FOUR; WALKT AND PICKUP;
(Baby Mine)

... MEN FACE CENTER; (Tennessee Waltz)

TO REVERSE WALTZ AWAY; (Tonight, Rainbow Waltz; Tennessee Waltz)

Position Information:

BALANCE dance position

ONE LEFT TURN FACE REVERSE; BACK WALK; TWO RIGHT TURNS;
(All Night, Edilweiss, Jacklyn's Waltz)

CIRCLE AWAY AND TOGETHER TO pos;;

STRUT TOGETHER FOUR TO pos;;

SOLO TURN SIX TO pos;;

THRU TO pos;

SCISSORS THRU AND CHECK; RECOVER SIDE THRU TO pos;
(Dreamy Rhythm, Tuxedo Junction,

UNWRAP; SPIN MANEUVER TO CLOSED;
BACK BOX YOU'RE FACING LINE OF DANCE;; (Goodbye)

BASKETBALL TURN end pos;; DOUBLE HITCH;;

BACK SIDE THRU pos; (Tennessee Waltz, Miss Emily's Picture)

Other Specific Sequences:

[count] FIGURE NAME vs FIGURE NAME [count]

FULL BOX TURN A QUARTER FACE CENTER;;
FULL BOX TURN A QUARTER FACE REVERSE;;
FULL BOX TURN A QUARTER FACE THE WALL;;
FULL BOX NO TURNS;;
(Walk Right Back)

SIDE TWO-STEP LEFT AND RIGHT;; SIDE TWO-STEP AND LIFT;
SMALL DOUBLE ROCK APART;
(Willow Walk)

SIDE TWO-STEP LEFT OPEN; TOCK BACK AND RECOVER;
SIDE TWO-STEP OPEN; ROCK BACK AND RECOVER;
(Devil Woman, Taste of the Wind, Tuxedo Junction

ROCK THE BOAT nn SLOWS
ROCK THE BOAT nn QUICKS

Accuracy Issues:

SOLO ROLL vs SOLO TURN

APART vs AWAY

TOGETHER TWO AND LIFT TURN;

STRUT vs SWIVEL WALK vs CROSS WALK

BASIC ROCK vs JIVE CHASSE (or triples) LEFT AND RIGHT (Night Train, etc)
BASIC ROCK vs LINK ROCK

FORWARD FACE CLOSE vs THRU FACE CLOSE

CANTER vs SIDE DRAW TOUCH

SLIDE THE DOOR vs SCISSORS CHANGE SIDES (Hush)

SIDE TWO-STEP TO OPEN; FORWARD TWO-STEP; (King of the Road)

SOMBRERO WHEEL vs BOLERO WHEEL

THREE STEP vs FORWARD AND RUN TWO

WALK AND PICKUP TANGO DRAW vs WALK TWO PICKUP TANGO DRAW
WALK TWO TURN TWO WALK TWO RUN TWO vs ARGENTINE WALKS
(Tango Mannita)

Backing off Cues:

TWIRL VINE THREE;

PICKUP SIDE CLOSE;

MANEUVER SIDE CLOSE;

TWIST VINE THREE;

Fiddlestepper Polka, St. Louis Blues

APART THREE and kick;

WALK TO pos;

TWINKLE TO BANJO; TWINKLE TO FACE LINE IN CLOSED; (Garden of My Dreams)

LEFT TURNING BOX HALFWAY FACE dir; (Garden of My Dreams)
FULL LACE UP;;;;

LADY TRANSITION IN FOUR TO VARSUVIENNE;
MAN TRANSITION IN FOUR TO BUTTERFLY;
(Roses for Elizabeth)

BREAK AWAY LEFT AND RIGHT END WITH A PICKUP;; (Dancing Shadows)
OPEN VINE FOUR END WITH A PICKUP;; (Walkin' in the Sunshine)
TRAVELLING BOX END WITH A PICKUP;; (Goodbye)

BASKETBALL TURN AWAY;; (Walkin' in the Sunshine, Hillbilly Rock)

SIDE TOUCH vs STEP TOUCH

VINE AWAY THREE; VINE TOGETHER to face; (Bottle This Up; Salty Two-Step)

... LADY IN FRONT

STEP HOP FOUR AND MAKE NOISE; (LA Sate Night)

SOLO SPOT TURN AWAY; STEP TOGETHER TOUCH; (Mexicali Rose)

STEP SWING; LADY SPIN TO FACE REVERSE LEFT OPEN; TWINKLE THRU; (Moon River)

BALANCE LEFT AND RIGHT; CHANGE SIDE TO FACE; SIDE DRAW TOUCH; (Shenandoah)

ROCK FORWARD RECOVER AND FACE; DIP CENTER AND RECOVER;
(Talk Back Trembling Lips; Birth of the Blues)

FORWARD (BACK) AND QUICK LOCK

TWO PROGRESSIVE TWINKLES;;
CANTER FORWARD; SPOT TURN TO BANJO FACE REVERSE;
TWINKLE IN; TWINKLE OUT;
CANTER FORWARD; FORWARD WALK TO CLOSED AND CHECK;
TWO RIGHT TURNS OVER TURN TO SIDECAR;;
BACK WALK; BACK TURN TO BANJO;
FORWARD WALTZ; MANEUVER;
(Feelin')

SIDE CLOSE FACE REVERSE FORWARD LOCK FORWARD;
SIDE BEHIND BACK LOCK BACK;
DIP BACK AND RECOVER; QUICK PIVOT TWO TWIRL TWO;
(Green Door)