Rules for Calling the Change to Cotillons and Contra Dances
from the American Dancing Master, Elias Howe, 1862
All single figures in Cotillons and Contra dances in general use, require the time of eight measures of music to perform them in; for instance, right
and left is a single figure, the ladies chain is another, promenade is another, &c. The combination of these figures makes what is termed, in
Cotillons, a number, and the combination of these numbers forms a set of Cotillons. In arranging the figures to music, a single strain must be
onsidered eight measures, a double strain sixteen measures, &c. As it takes eight measures to a single figure in setting figures to a piece of
music, in the first place, the number of strains must be counted, and their repetitions considered, as a strain repeated is the same as a double
one, and requires a double figure. After the number of strains in the music are counted, take the same number of figures as there are strains of
music. Ex.: We will suppose there are thirty-two measures which make four strains, and those four strains require four figures to make out their
time; right and left, eight measures; balance and turn, eight measures: ladies chain, eight measures; promenade, eight measures, which
completes the music with the figures. Music is set to figures by the same rule that figures are set to music. The same rule applies to the figures
in Contra Dances. For example, the figures of a Contra dance; down the outside and back, eight measures; down the middle and back, eight
measures; swing six hands round, eight measures; right and left, eight measures; require thirty-two measures, or four strains, to make out the
time. Therefore, any music having four strains, played through without repeating any of them, will make out the time of the figures; or any music
of two strains with each one repeated.
In learning to call, the pupil should select a set of Cotillons having easy and simple music, as he will learn much more readily than if it was
difficult. The figures should also be easy. The music and figures of each number should be committed to memory, and both played and called
aloud in a room alone; one number should be thoroughly learned before going to the next. There seems to be a general fault with most callers,
owing in a great measure to negligence in the beginning, and that combined to carelessness, causes the player to call out of time with his
music, which is very unpleasant to the dancers, as it keeps them all the while before or behind the time. The place for calling is generally about
one measure ahead of the music where the figure is to commence. Some figures require the caller to speak twice, in such as, forward and back,
back to back, half right and left, half promenade, &c., the first takes place at the commencement of the fourth measure, and the last at the eight.
Endeavor always to finish calling, both in the middle and end of a strain, by the time you commence the music where the figure is to begin; if you
do not, the dancers will be left one or two measures behind the time.
Hilarity, mirth, and cheerfulness, are characteristics of dancing; consequently, the music requires to be played in a bold and majestic manner,
with a great deal of fire, life, and animation, with strong accentuations, and in strict time. Easy music, that which is most pleasing to the ear, as
a general thing, gives the best satisfaction for dancing. Hard and difficult music, if well executed, is not always appreciated; and then it is too
laborious many times to perform, when a person has to play very steadily all through night, which is frequently the case. It is an old saying,-and I
think, with upwards of twenty years' experience in the profession, a true one;-that good music makes a company cheerful and lively, and adds a
charm to the beauty of both sexes; whereas poor music makes a company dull and unsociable.
In forming the sets on the floor, the first and second couple stand opposite to each other, and the third and fourth couples opposite; the third
couple stands on the right of the first couple, and the fourth couple on the left of the first couple. In the ete and all similar figures, the first 2 forward
and back, &c., means, first lady and second gentleman; the next 2, second lady and first gentleman; the first 2 on the sides are the third lady and
fourth gentleman; and the next or last 2, the fourth lady and third gentleman.
Every caller should have a good variety of figures, well arranged, but easy, and never, unless on some particular occasion, or request, call wild,
crooked and outlandish figures, that mix the company all up together, where they are left to get back to their places the best way they can. In
large companies, if there seem to be a number who are not much acquainted with figures, or who do not dance often, which is generally the case
at such times, let the figures be simple and easy, and be particular to call the same figures for the side couples, that you do for the first four, or
top couples; as those who are not much acquainted with figures, often take their places on the sides, to see how they are performed. In calling,
let the voice be natural and easy, speaking just loud enough to be distinctly heard throughout the room. When there are a number of instruments
playing, and especially if the room is large, the caller will have to speak from the very top of his voice in order to be heard. He should take, at such
times, the most prominent place in the orchestra; standing up is the best position; if sitting down, it should be on a high seat above the rest of the
players.
No stamping or loud shuffling of the feet should be allowed in the ball room, but the music should instantly cease the moment it commences, until
the nuisance is stopped, as it destroys all the pleasure of dancing to those that attend balls for the purpose of true and social amusement, to be
constantly annoyed by this too prevalent species of vulgarity and rowdyism.