Adjacent Couples and Corners (by far the most widely used) |
Adjacent Couples and Sequence (highly versatile - same mental process works in any formation) |
Mental Snapshot of the square (extremely fast - evaluate the whole square at once) |
One Key Couple and Two Corners (makes certain kinds of resolves easier to see) |
This article seeks to present these methods equally. Typically, a caller will select and use one of these approaches depending on what is easiest. Note that while one method may be easier early-on in a caller's career, another may become the preferred method after years of experience. |
Before calling, the caller will strategically choose couples in squares to be his/her key couples and make note of their home positions. After calling for a half a minute or so, the caller will begin to "resolve the square" by looking for the key couples in the pilot square(s). S/he will first want to observe how the key couples are positioned relative to each other by looking for patterns. Next s/he will call to rearrange the dancers and ultimately deliver the final calls that will bring the dancers back home - hopefully without any hesitation so the dance experience is smooth and the dancers are surprised when the final call comes!
The caller can watch only these 4 key dancers and more or less ignore the others for purposes of resolving the square. When it is time to resolve, the first thing the caller must do is locate the key couples and see if they fit any recognized pattern the caller is familiar with. The caller can then develop a strategy to move them around with respect to each other and call a memorized "get-out" - a series of calls that the caller has memorized to get from a known "setup" to the final call that gets them back home. It is also possible to resolve the dancers "at home" by using only the key couples.
Why 4? Why not 3?Some people believe that the square can be resolved by watching only 3 dancers. They believe if one (primary) couple is paired, and the primary man is facing his corner, they could confidently call Allemande Left. Unfortunately, this only works about half of the time unless we know something about the type of choreography that we've called all along (see Keep Order / Change Order Modules). By getting 3 key dancers into relative position, and using symmetry, we can be sure only 6 of the 8 dancers are in position for the Allemande Left. In other words, if one (primary) couple is paired, and the man of this couple is known to be facing his corner, this leaves open the possibility that the remaining two men (the primary lady's corner and the primary man's corner's partner) could be switched with each other. To catch this case we'll need to track a 4th key dancer to guarantee a successful resolve every time. |
It almost goes without saying that a caller must recognize patterns. The more patterns a caller can recognize, the easier resolving will be. The most essential skill is to be able to "unwrap" the dancers in a formation to determine if they are in the correct order. This relates to how they were squared up at home.
The following types of pattern recognition, while not essential, will vastly expand a caller's ability to resolve the square quickly from a variety of real-world situations. The most essential skill is seeing all 4 dancers of the key couple in at least one formation (typically facing lines for the newer caller) and then be able to tell who is paired and ultimately if the dancers are in the correct order.
(Note the following patterns have all dancers in the correct order for resolve.)
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While these diagrams have easy-to-see colors and little dots to aid in seeing the patterns it is quite another story to be able to see these patterns quickly and reliably in a real square, especially if there are complicating factors.
To begin to see the variety of patterns that are possible see these articles...
As you read about each method below, consider how difficult it will be for you to relate key couples to each other in all the various ways you'll encounter them in real formations.
Once we have chosen 4 key dancers, we will need to be able to get them in the correct orientation with respect to each other in order to resolve. To assure this orientation, we need to make note of 3 relationships between our 4 dancers. In other words, after we memorize who the 4 dancers are, we must also memorize 3 additional pieces of information to associate these dancers with each other. This is where the various methods differ.
"Adjacent Couples and Corners" Method
This is the most widely used scheme and is the one taught in most caller schools.
A variation: Adjacent Couples and One Corner
See "Adjacent Couples and Corners" Method for a focused look this method.
"Adjacent Couples and Sequence" Method
See "Adjacent Couples and Sequence" Method for a focused look this method.
"Mental Snapshot" Method
This method is the obvious choice if you have a photographic memory. It may also be a good one to use if the dancers have some gradient of color in their clothing, hair color, skin tone, height, etc. Visualize the pattern that the correct sequence of dancers makes when they are squared up at home and simply look for it when you call. Only the correct sequence of dancers will make the correct pattern.
See "Mental Snapshot of the square" Method for a focused look this method.
"One Key Couple and Two Corners" Method
For some setups, most notably that needed for Dixie Grand, it is much easier to see the patterns of the required setup with this method than with any of the others.
See "One Key Couple and Two Corners" Method for a focused look this method.
See Possible Pairings to test your ability to recognize the resolve using the memorization scheme you've chosen.
Things that make it easy....Things that make it tough.... |
My advice: be politically incorrect. If the square is difficult to memorize, use any device that will help. Who's going to know?! Look for outrageous similarities that will make an association you'll never forget.
If you have a good auditory memory, perhaps you would do better by vocalizing (to yourself) whatever association you've made. Try saying all four dancers' names in order. If not names, you could use physical characteristics, dress, or a mixture of all of these. Chant to yourself the verbal association until you hear it as a familiar phrase.
A pro's strategy from veteran caller Mike DeSisto
One day the dancers were already squared up. I watched Mike step up to the stage, put a record on and immediately start calling. After the tip I pulled him aside and asked him "How did you memorize the couples so quickly?" His answer: He doesn't. Mike will start calling memorized material. At first, he calls whole memorized sequences (like an opener for example) and watches the floor to see which squares look like ones he can depend on. Next he'll call memorized modules. At each point when everyone should be in the correct sequence, he'll look at a square and start memorizing. He'll then call another module or so and look at the same square again. When he feels confident with his ability to recall the order of couples in that square, he may start looking at another. When the dancers have danced enough, he'll resolve (since he is calling memorized modules, he always knows the sequence for resolve.) This process continues until he feels he can trust his memory and the pilot squares he's chosen then he moves to sight calling. This process is completely invisible to the dancers (and before he let me in on his secret, invisible to me!) Now I observe many professional callers using similar techniques. |
See Possible Pairings to test your ability to recognize the resolve using the memorization scheme you've chosen.