LETS TALK PATTER WORDS AND FILLERS Swing her

LET’S TALK PATTER – WORDS AND FILLERS Swing her high and swing her low Chicken in the bread pan pickin’ out dough Circle left go round that floor Four hands across and eight hands over, Boys arch high and gals go under Boys lift them high and swing like thunder Mel Wilkerson Tumut NSW, Australia wilkerso@bigpond. net. a

PATTER CALLING IS ART A piece of art should be unique, and so too should be each Patter

PATTER CALLING IS ART A caller should approach each patter as a piece of Art has Limitations • Canvas • Brush size and types • Paints available • Colours Van Gogh was influenced by other Artists • Millet • Rembrandt • Toulouse-Latrec • Paul Gauguin Van Gogh’s style and flair was his own

Why is this important? 1 2 3 Take a moment and think about the painting “Starry Night” by Van Gogh Can you really see the differences in them?

What is an original worth? 1 $17 -60 Thousand (Millet) 2 $ 300 Million Van Gogh) 3 $ 300 Million (Rembrandt) And yet Millet was the big influence to both

Develop your own style – you have value Original Van Gogh $300 million 100% accurate print Mel Wilkerson Copy $0. 50 cents $60 dollars What would my original be worth if I became famous?

THIS APPLIES TO YOUR PATTER MAY BE INFLUENCED AND STYLED BUT MUST BE UNIQUE TO YOU When it is good: • Dancers will not remember what you called • Dancers will not remember the choreography • Dancers will not remember flow or rhyme • They will remember the singing call tying it all together - UNLESS – your patter is remembered for all the wrong reasons

PATTER LIMITATIONS Patter calling has Limitations • Choreography – defined actions with specific timings • Music – beat, structure and rhythm is fixed and to be followed • Program - restrictions limit the number of useable movements • Judgement – Caller needs to ensure understanding and acceptance Your art is limited by the ability of the target audience to understand your message MAKE THE MESSAGE CLEAR FIRST

CONTEXT HELPS Patter -not appreciated without context – after the fact • Singing calls – tie it together but make you forget the patter Limitations are SKILLS • If you fail at using the choreography effectively, • if you have poor timing which is off beat and doesn’t flow, • If you call / don’t call movements that are off / on program, or • You are not able to judge the floor factors Even the best singing call will not erase the memory of a bad patter

WHAT IS PATTER AND WHY DO WE USE IT? Patter is a type of calling where you speak or chant the words you use on a musical pitch, and hopefully in harmony with the tune Historically – it combines the movement with a rhyme to remember Generally Patter has two parts: • The dance direction We still use filler rhyming • Supplementary wordscouplets as filler “DO THE RIGHT AND LEFT GRAND” “EVERY OTHER GIRL WITH EVERY OTHER HAND”.

DON’T BE AFRAID Filler is normal and has 2 distinct categories • Helper words • Whimsy Words ARE FILLER WORDS KILLER WORDS? . Filler words are just another caller tool in the tool box • Used correctly – they can help • Used Incorrectly – they hinder. IF THE ONLY TOOL YOU USE IS A HAMMER THEN EVERYTHING BECOMES A NAIL

Traditional Patter calling Nonsense filler was not nonsensical – it was a connecting theme. Consider the Story Join your hands and make a big ring Circle to the left like anything "got fields to plow, and wheat in the sack, half way round and the boys turn back. " Swing her high and swing her low Take her hand promenade home "Sheep are sheered and the wools real fine, You swing yours and I'll swing mine. " "The Old cow calls and the yearling bawls, Heads swing the one across the hall. " What is really being said? • • Winter is over – spring is here. Fields are plowed and ready to sew. Sheep are sheared – carding for wool Time to celebrate before summer It’s a social story that ties a community together with commonality Are the filler words still just nonsense for timing?

Patter filler was themed to the event Humour and story associated the activities to the dance Consider the Wedding Couplets Allemande Left with your left hand Back to the Partner Right and left grand What is really being said? It is a good humoured roast of the Groom Meet every pretty girl with every other man • Congratulations on your marriage Swing the one you brought • You cant look at the girls any more –promenade that land • You have a wife and she is your boos Like a a knock kneed groom – • If you try to kick up your heels And a bow legged bride • She will put her foot down and you will Promenade home go side by side be in trouble His heels kicked up but her foots down Now stay at home and swing her round This allows everyone to share the fun and celebrate.

Modern Square dance Patter words • Evolved choreography - unexpected movements and flows • Rhyme is minimised – rhythm is music focussed – not words • Patter story has disappeared • Singing calls set the mood and theme • Easier to do because S/C are rigidly structured (phrase + Music) New type of Patter Filler develops • Flow helper words – dance directions • Caller helper words – timing delivery

FLOW FILLER A Caller must be understood for the dancer to succeed • Variety, • A Little challenge to succeed at • Clear understanding of expectations • Gratification and acknowledgement of success. This is usually done by prompting

WITHOUT FLOW FILLER Consider this sequence: Bow to the partner. Bow to the corner. Do Paso – boys in thar? Ladies Chain – Do I run left? No, that puts her wrong hand in. Full Turn girls in thar maybe? what am I supposed to do? 4 ladies chain. Promenade. If it was just called like that would your dancers do?

WITH FLOW FILLER Consider this sequence: Well - Bow to the partner, turn and bow to the corner too, face your partner do a Do Paso turn her by the left, turn corner by the right, back to the partner with a courtesy turn, and then all four ladies chain across, chain her back to the partner Keep that girl and promenade home Which one would you prefer to dance

FLOW FILLER – 2 nd PURPOSE Callers time the prompting to help regulate dancer movement • Delivery tells them where they should be and when • Lets them know what comes next • Hold their hand while they learn to walk – then let them run o o o Dosado – go back to back Allemande left – with your left hand – back to partner…. Swing thru – Go right and left Right and left thru – and turn that girl Spin the top, - half, centres 3, and the ends move up Spin Chain thru – right hand half, centres go left 3/4, new centres trade, go left ¾ back to a wave…. This helpful patter filler is designed to be weaned off

FLOW FILLER “FOR THE CALLER” Helper words and rhyming filler to help caller TIMING. Delivery Timing – Command Timing – Execution Timing New callers are often taught what, but not why or when. It is unfair. 1. I was taught to say it like this for the dancers. 2. I was told to “use these words” to make sure my timing was right. 3. I was told to fix my timing, but it was never explained what was wrong or how to fix it. I was given filler to do it with 4. I was criticised for using what I was taught, and it was ruining my timing. Are Filler Words – Killer Words?

FILLER WORDS ARE JUST ANOTHER TOOL • Use Flow Filler Words when necessary • Wean the dances off the word and directions to self succeed • Filler can assist with Timing and Rhyming • A Good Rhyme good Choreography. • Learn to use other tools like “dead air” and Music USE YOUR TOOLS PROPERLY WHEN YOU NEED THEM

Using the tools correctly All builders use the same tools. All Builders make different things Each of these caller gives a unique patter experience

Tony Oxendine • Uses “honey” to join a boy with a girl • Flutterwheel has a rhyme – “the more you dance the better you feel” • Specific directional prompts only - little or no filler • Filler reserved for right and left Grand: …”right and left and the right and left grand – right and left…meet a girl and promenade home and when you get there then • Maximises music choice and music use

Don Beck • Uses very little directional prompts • Prompts when necessary for successs • Stronger point commands for movements • Longer rhyming patter for long flow like dancing right and left grand • Talks to dancersmovements while they are • Turns the commands into conversation - such as: do the right and left thru and when you do, can you send her back with a Flutterwheel, and when you get there why don’t you pass thru • Occasional filler on good rhythm but non dominant melody

Mike Sikorsky • Often uses no filler or frill in his patter • Specific directional prompts only – (half sashayed) veer to the left, boys take hand boys in the middle and hinge, new center boys take hands and trade and cast right ¾ while the girls circulate. • Filler words are reserved for the “get out” flair • Mike uses more filler and rhyming patter in his singing calls than he does in his patter.

Ken Ritucci • Ken rarely uses any filler or prompts • Directionally assists dancers when necessary • Uses conversational filler on patter • Makes use of humour to indicate a directional hint – example: on spin chain and exchange the gears he asks who is the lead lady – ok everybody follow her because she has lots of money • Just enough to give a clue and bring a smile

Eric Henerlau • Uses lots of filler words and patter rhymes • Maximises his vocal range to make patter filler part of the musical rhythm • Sharp contrasts from extremes of “lots of filler on simple flows” to little or no on inflection complex movements • Vocal range andfiller voice (deep bass command) • Open sequence movements by Eric • Bow to the partner and the corner too. Allemande left, Dosado, men star left, turn partner right, allemande left, right and left grand, promenade.

Eric Henerlau • How that same sequence opening was delivered by Eric well, your gonna bow to the partner, and the corner to, do and allemande left with the corner you know, come back to a Dosado with partner, four men star by the left go once around that big old ring……. turn partner by the right fore arm, find the corner by the hall, do an allemande left with the corner man, you walk right in with a right and left grand. . GRAND. . grand right and left go round hand over hand some how, and then you promenade all, promenade go round that corner, take a little walk and settle on down you do…….

SIMILAR BUT DIFFERENT • Influenced by callers like Al Brundage, Jim Mayo, Elmer Sheffield, Marshal Flippo, and Bill Peters • Each one is unique and distinct in their own presentation of patter • Each one is an artist – not a copy of an original. • You may never be a Rembrandt, but you can be a Millet • Always work to improve all of your “Patter Tools”. YOUR STYLE IS YOUR OWN DANCERS WILL ENJOY YOU MORE THAN A COPY OF SOMEONE ELSE

FINALLY, LET’S ADDRESS Filler words are killer words THE THREE UNFORTUNATES OF FILLER WORDS 1. Unfortunately - given words and told to use them to help timing 2. Unfortunately - not taught how to use the words and what they are for. 3. Unfortunately - filler words become habit crutches WITHOUT FILLER WORKDS TO FALL BACK ON “DEAD AIR” SEEMS UNCONFORTABLE

AN UNFORTUNATE REALITY Delivery timing is the time you need to say the words before the completion of one move and the execution of the next move (2) Example: Heads square thru – (12 beats) and a get go four hands round you go - all the way to the corner Joe, do a (9 beats) …. . Square thru (10 beats) – four hands round that ring you do, meet the sides (8) to the right and left thru (10) o right and left thru Swing thru (6) – come a two by two (2) boys run to the right you do (6)… Swing thru (6) turn half by the right, centres half left (4) boys run(6)…. Right and left thru (6), - and turn that girl (2) breath pause (2) Command (2) Circle to a line (8) halfway round, the head man break and the side man arch (6) command (8)

The list goes on This type of directional flow filler becomes a handicap • Understand it is a useful tool and feels right for the dancers and the caller • Misunderstand the tool and they harm and hinder. Consider: Head two couples square thru. Four hands round that ring you go. All the way to the outside two and when your there do a right and left thru. Swing thru – turn half by the right and center two, turn half by the left, boys run to the right around that girl and when your there bend the line. Poor filler words delivery prevents good command delivery Poor command delivery prevents smooth dancing.

A prompting filler is dangerous If a caller develops a prompting filler habit the word become a detriment preventing smooth dancing Bend the line (4) go up and back (4 -8) and a right and left thru (6) Generally, this should be danced as Bend the line 1, 2, 3, 4 (lines are usually far apart at this point) Forward and back 5. 6. 7. touch, 9, 10, 11, touch Right and left thru, 12, 14, 15, 16, 17, 18…. . “Fwd & Back” is a smooth movement when used properly Used incorrectly, it is a habit expression that breaks flow

The final Filler Killer problem • Coaches often tell newbies to stop using filler words • Do not teach how to use dead air. Criticism vs Critique • When prompting filler is stopped dead air creates discomfort • Filler couplets are often hammered in but take away from the dance experience and flow Simple Principle • Filler is designed to achieve success not fill dead air • It helps keep the rhythm and enhance the flavour of

FILLER IS NEVER RANDOM • Filler, dead air, conversation, prompting directions and even quips that do not rhyme or time are used effectively. • Rambling is tot random. It is occasional and considered before “spontaneous use” Skills are as unique as individuals • Don may talk fishing while calling • Ken may seem stressed trying fix the dancers • Mike and tony might talk you through the impossible THEY ARE NOT MAKING IT UP ON THE SPOT

Tony Oxendine Master Craftsmen can show you how to use the tools How you use them, and what you make is your choice alone

Questions and Discussion