A hot contra or square dance band often becomes the preferred dance band in a community because they know their stuff, understand how to work with a caller, and are keenly aware of what the dancers want and need throughout the evening. Paying attention to the caller and the dancers reminds you that you are really doing something together (musicians, caller, dancers) and that is the whole idea behind this community event. You can even make some money and a reputation for yourself if you get good at the concepts contained in this article. The lead instrument is usually the fiddle, thus the leader of a contra dance band might also be the fiddler and be responsible for choosing the repertoire and the band members. Whether it’s a pick-up band or an already-established band, the leader is often the one who gathers the group together for rehearsals. This person also bears the responsibility for paying more attention than the other players for what is going on at all times during the dance. All players should aim to be this attentive, but the leader must have a sharp awareness and know how to communicate spontaneous cues to the band members.

During a dance, the caller may be giving signals to speed up or slow down the tempo. They may be signaling how many more times they intend to call the dance pattern, or that the end of the dance is near–even if it is not the normal ending point of the tune. The caller may signal when the halfway point of the dance is reached to change to a new tune (if the band wants to play a medley). It’s not worth changing to the new tune if the dance is about to end. The band leader must know how “to read” the caller and instantly communicate those needs to the players. An experienced dance band can end a dance at any point called for. While playing, band members should be watching the floor to follow the dance moves so they know where the beginning and ending falls for each dance pattern. That way they always know where “the top” of the dance is and, therefore, “the top of the tune.” If the musicians get lost, paying attention to the dancers can help them find their way back quickly. For example, if a dance starts with the call “Long lines forward and back,” they can easily spot that formation and make sure it coincides with the first A part of the tune. This could even mean paying attention while the dance is being taught (no coffee break). That way they can anticipate when the caller is going to ask them to start playing.

The caller should not have to “round up” the band. The band should be poised and ready to start. The band leader should be watching the caller for a tempo guide such as tapping or snapping their fingers. Have one person speak for the band when communicating with the caller about the repertoire for the particular dance. Little or no audible music rehearsal should be done while the dance is being taught because it is distracting to the caller (teaching) and the dancers (trying to learn). It also spoils the surprise of where the music will go once the dance has begun. Once again, rehearse in advance! For contra dances and many other types of dances, the tunes required are often in reel or jig form and are usually played AABB. They are “square” (8 measures per part or a total of 32 measures for all 4 parts). Some American hoedowns need not be square, but the fiddler should check with the caller if the band wants to play a “crooked tune”. Generally, plan on an evening of all “square” tunes. Some contras and all English dances require “set tunes.” The caller and band leader should confer about this with enough notice so the band can research the music and rehearse it. A caller might have a “dance set” they like to use for the evening. If so, they will confer with the band leader to agree on the plan. Some callers like to offer a change of pace here and there with a waltz, polka or another couple dance. The band should have a few of them prepared and ready to play upon request. The leader of the band should know what the musicians are capable of and choose musicians who are capable of providing solid and even rhythm, at a variety of tempi. A strong lead player is great but just as important are the rhythm players. The musicians can actually control how the dancers move, inspiring them with nuance and inventiveness.

Each dance has the potential to last a long time and great stamina is required of all the musicians. I highly recommend that all dance musicians go to many dances and dance! This way you will get the experience from two perspectives–on stage and off. Dancers are the physical representation of the music. As a dancer, feel what it is like to move in rhythm to a good band and a good caller. If it is an inspiring experience, you have something to strive for when you are providing the fuel for the dancers. Touring dance bands will encounter many different dance societies of varying sizes, each with a different sound system. Sometimes large dances have a sound system but no professional sound person. Musicians need to know how to handle each situation and come prepared with extra equipment, even when they are not supposed to be responsible for providing the sound. This might include sound gear, extra strings, an extra bow or even an extra fiddle or guitar! A serious dance band musician might take time to research and invest in a special microphone that is reliable for their instrument. Advanced planning includes becoming familiar with playing through microphones and adjusting sound for proper tone, balance and volume. More guidance in all these subjects may be found at a number of great music and dance camps throughout the country and through local workshops or privates lessons. The dance camps are intensive and musicians will return to their communities far advanced in their playing skills. (Dancers who attend these camps greatly benefit from detailed training and exposure to new dances.) Advanced players might also string together exciting medleys of tunes, giving consideration to what makes the music stimulating for both listening and dancing. The dance band and the caller drive the activity. Great music, combined with great calling, create an atmosphere of magical dancing where the dancers truly feel they’ve been transported to another world! Evo Bluestein has toured the country playing festivals, contra, square, Cajun and zydeco dances . He currently teaches music and dance in schools throughout California. See . Questions or comments? Please feel free to contact Evo at (559) 297-8966 or email to <evo@evobluestein.com>. 

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