The following information is published with ROUNDALAB's permission from the ROUNDALAB Reference Manual compiled by Richard & Jo Ann Lawson, 1987.

One Way to Approach Writing a Round Dance

Doug Hooper
(Las Vegas connection)

A couple of Sundays ago, Joyce and I had decided to stay home and say "hello" to each other instead of dancing... and the urge to create "hit me". So, I proceeded to listen to several new records I had ordered; specifically, for music-to-write-a-round-dance-to. Rejected all but two — put one of those aside — and attacked the survivor with both feet, so to speak; but mainly, with both ears.

During a critique period when Joyce was involved, she said "why don't you write an article for the Journal telling about how you go about writing a new dance?" Since I am very new at Round Dance choreography, I present this article as how I approach this issue as a possible aid to newer and/or potential choreographers. Also to solicit articles on this subject from others with more or less experience.

Music: Since dancing to me is rhythmic-graceful movement to music of some type, it appears we need music! We need music on 45 records that are available in great numbers. We need music that appeals to us personally. I say that because having spent some 30 years in professional music as instrumentalist and arranger for dance bands of all sizes, shapes, and descriptions, I have a fair grasp on what I like personally and what always seemed to give the most fun and enjoyment to dancing couples on the floor! Many round dance leaders are critical of "Pop" records but without the composer, arrangers, musicians who write melodies for income and performance via "Pop" record labels, we probably wouldn't have any music to draw from in any form. As a "fledgling" choreographer, I looked at "Pop" records — because I did not know that I could write to various of the ballroom and round dance company labels, and request their permission to submit a dance to their label. It was my assumption that each had staff members who worked for that particular company; so, I would have to become rich and famous before one of the round dance record companies would beat a path to my door and maybe ask me to write for their label.

'Nuf said on that! Music talks to me. It says I am telling you what the composer and/or the arranger wanted to say musically to set an emotional mood: quiet, lively, happy, sad, whatever. The style: waltz, foxtrot, cha cha, rhumba, polka, etc. All is dictated by the music together with the tempo, or the speed of the music (in beats per minute) - slow, medium, fast. So a choreographer should have a little music background, born with or otherwise, so as to not write a cha cha dance to Polka music; nor a rhumba to a waltz, etc. (And this could happen?)

Finally, this is my approach - not a fine science, but it is working for me. I listen to the music. If I like the melody, rhythm, style, arrangement, instrumentation (I like instrumentals but few are available), and if vocal - that voice and words do not over shadow or over balance - tempo has strict even beat, and I can say "that might make a good round dance" — then I'm ready to go to work.

First, I play the music over and over and over to make a written layout on paper of the measurement count: i.e.:

Intro - 4 measures
Main theme of melody. Part A - 8 measures usually then repeated 8 measures
Part B - 8 measures
Part C - (or) Repeat Part A - 8 measures
______________________________
32 measures standard ballad

Then, usually there is or can be, a bridge or interlude of 2-4 measures with key change in modulation going back to the main theme of A or a repeat of phase B or combinations back and forth. Then there is finally some form of a tag or ending from one beat of music to 4 or measures.

At the same time I am creating this measure worksheet, I am plotting the dance sequence as to repeats of same melodies and try to come up with a hard structure.

Intro: A-B-A-C-A-B-C-End (or whatever)

Once the initial "game plan" is set down, then I continue to listen, mentally then noting dynamics (intensity of sound) rhythmic punctuation (accent/beats or syncopated measures, if any). It is during this time that I get "flash" impressions of certain steps and figures to fit certain parts of the music and I make brief notes, in whichever section of the "game plan" this occurs so as to then come back to work out the timing and the footwork, body mechanics, etc. What I am trying to say is I don't start at the introduction, necessarily, and work straight through - beat for beat - measure after measure. Many times, something works good quickly; and sometimes, I write down the dance then scrap steps, full measures or even full phrases and start all over again. I may work two hours and leave it alone for a week - 4 months even or just five minutes. Whatever!

For example: the second dance I wrote, I obtained record in May, liked it; wrote Part A measures 9-16 in June, waited until August and wrote Intro and Part A 1-8; two weeks later, changed Part A 1-8 and wrote Part B, Part C and ending all in one afternoon. Took all my notes to the office and typed a cue sheet. I was very careful and exact with my typing, even proof read a couple of times, and it really looked professional. I eagerly ran off copies, put records in and mailed off to half a dozen R/D leaders and sent a copy for publication! All of a sudden the dance is being taught, the phone is ringing, cards come in asking for clarification of the cue sheet. Now suddenly my typing errors show that the Man is using his Right foot 4 times in one measure with no mention of left foot. And, I didn't exactly or not at all say what I wanted the Woman to do!! So I learned the hard way. Get someone else to proof read the cue sheet, proof the footwork, proof the body flow, then correct the cue sheet. This could be the difference between a dance being accepted as an enjoyable dance or one put on the shelf and forgotten.

Back to that fateful Sunday, previously mentioned. In approximately a four to five hour session an entire dance was detailed. We discussed several portions as to footwork, danced it through several times to make sure that I, in composing from the man's side of the fence hadn't set the woman up for a strained ligament or twisted spine; and also, that we could really enjoy doing that dance ourselves. Changed a position or two, then Joyce typed the cue sheet and suggested some styling notations, made sure the woman's information was adequate, - doing a beautiful job of typing without the errors of my previous attempt.

We sent out six cue sheets to R/D Leaders of various levels of dancing ability and asked them to "try-it-and-let-us-know" before we sent the cue sheet in for publication and exposure.

Roundalab Journal, May, 1982