CALLER TRAINING
SIGHT RESOLUTION
In an effort to help callers to learn to resolve a square, by sight, several callers have submitted their
method. There are similarities between many of them. But each is unique in the explanation.
It is hoped that each visitor to these pages will read each caller's submission. None is recommended over the other. Therefore, click on the person's name and then study that caller's method.
It is hoped that more will be added in the future.
Following is a comment from Daryl Clendenin, a respected national caller.
(Editor's note:) While I agree with Daryl that the very beginner caller should learn to resolve squares by other
means first (memory, modules, written material), some time in the learning process every caller should
work to perfect the art of sight resolution. The stage of development will vary with every caller. Sight resolution is not a cure all, but should be used like any other tool. It takes time and practice to achieve.
Daryl wrote:
I don't believe a "new caller" has any business worrying about how to Sight Resolve.
From my years of experience (teaching new callers) they have plenty to learn
about "How To Move Dancers."
Sight resolution is a very easy step by step process once you know how to
move the dancers to where you want them. Moving the dancers smoothly
requires such a control of FASR and formation awareness (that the new caller
doesn't have) that either of the other two methods of control and resolution
would be advised.
Those other two methods are: Modular and Mental Image. Both of these allow
the new caller to develop the ability to move the dancers without worrying
about resolution.
All sight resolution methods are basically the same. They have to be in
order to work. It's just that some are more limiting in their use of
formation than others.
Andy Finch
1. Pick key couple and key mans corner... thus only worrying about
pairing one couple up. The other side is a mirror image.
2. When ready to resolve... pair up key man and partner...
Place them facing out in a two-face line... and call ... Ferris
Wheel... ending in a
staring double pass through position...
3. Look for Key man and corner eye contact...if key man can see his
corners eyes
Call a pass through... and..... Allemande left
4. If Key man cannot see his corners eyes.... call a square through 3....
to an
allemande left.
5. If you see that all four couples are paired have the centers pass
through and
Circle to a line.... look for eye contact of Key man and corner again,
If they can
Look each other in the eye, call a slide thru... and.... square thru ... Allemande Left
3... if they cant look each other in the
eye... call a slide
Thru...Pass thru... Allemande left
Just one of the simplest systems... Lots of variations available.
Clark Baker, Belmont, MA
I memorize two adjacent couples. By memorize, I mean that
I must be able to determine very quickly (at a glance) if a pair of
dancers are a "couple". Let's assume that one couple is mainly wearing
red, and that the other 6 dancers aren't. Also, let's assume that one
of the adjacent couples is wearing green. These would be my two "easy
to identify as couples" couples.
Assume the square is in a beginning DPT formation, all normal couples.
I can quickly tell if the center couples are partners (if one dancer
is RED or GREEN, is their partner wearing the same color?). The same
easy identification works for the ends.
What about corners? It is the GREEN man with the RED woman or the
other way around? Often, I can't remember this very well because
nothing stands out. As Al pointed out, this is the most important
part to get right.
Before calling, having identified my two couples, I inspect all 4
corner pairings. I try to find the best, most obvious, corner pairing
of the 4 alternatives. If possible, I pick the pairing containing my
two couples. However, occasionally I will pick a different one, say
the two dancers who are corners and who are both wearing BLACK.
From here, the resolving is the usual -- get them in a normal
formation, see who, if anyone, is paired, and from there perhaps a
boys run, ferris wheel or a boys run, bend the line, pass thru, wheel
and deal, etc. Look for the corner pairing and decide on pass thru,
or square thru 3, or Dixie Grand, etc.
I guess where I diverge from other methods is that I don't think of
the two couples as being primary or secondary, or anything special
other than two couples whom I use for the "is this couple paired?"
question. The other difference is that I don't have to have my corner
pairing from the dancers in my two couples.
What I must be giving up knows who is in what kind of sequence.
---
Kip Garvey and someone (perhaps Bill Davis) did a session at Callerlab
where they watched many callers resolve and were interested if the
caller went for sequence first, and then matched dancers up (rare) or
went for matching dancers up first, and then for sequence (the usual).
While I don't use Don Beck's Mental Image system
I have read the book, and have learned when I need an "X" in my
resolving. In sight calling terms, when you are trying to pair two
dancers up, and they keep not getting paired up :-(, you probably need
an "X" -- that is, some sort of ladies chain or equivalent. Try
calling one of centers trade, flutter wheel, swing thru, etc. and then
go back to pairing up your people. Poof, they will usually come
together in a call or two.
Ron Nelson, Chula Vista, CA
I also usually have no idea who is "in" or "out" of sequence. I remember
trying to keep track of sequence early in my calling career, but I found it
restricted my creativity and wasn't really useful in a practical sense when
you are trying to resolve "on the fly".
In the early 1970's I attended a callers school taught by Earl Johnston and
Al Brundage. In that school Earl J. described a method, which he termed as
"station calling". In that method one not need worry about sequence per se.
A "station" is a point along the way that you recognize as a get out point.
This might be as simple as a zero box where you recognize the key couple and
the adjacent corners who are temporarily partnered in the center. As you go
through a series of calls you can bring them back to that station for the
left allemande. This station can be expanded with the use of technical
zeroes. For example - star thru, pass thru, bend the line, and star thru -
will technically return you to a zero box but the couple with original
partners have changed. I may not instantly be able to recognize the
"pairing" of everyone - but, I know that I can successfully call a zero box
get out from here.
Now, as you expand on this theory you learn to recognize other "stations"
that you are able to recognize as you go along. In regards to unique get
outs, I have found it useful to utilize my "doll collection". (I have a
hand carved and painted set of dancers with magnetic bases that was given to
me by Clark Elliot, who painted the dolls to resemble real people that we
both know. One of the figures is painted to resemble Bob Osgood, among
others. Sorry for the aside.) Rather than learn a sequence that "sets up"
the get out, I work backwards from the get out and reverse the call for the
dolls to see where everyone needs to be to use my preferred get out. Once I
determine the "station" required for that call, I then memorize it and try
to develop the ability to recognize that station when I see it. Then I can
"own" that gets out and uses it anytime I find myself at that station,
regardless of how I got there.
Al Stevens
I teach the two-faced line method of resolution which is:
1. Normalize...bring all dancers to a "normal" boy-girl arrangement.
2. Make right two-faced lines...all couples are facing clockwise,
centers (ladies) are holding right hands, men on the outside.
3. Pair up one couple, using trades & circulates...it doesn't matter
which one.... put them as outfacers in the 2-faced line.
4. Check to see if the other couple is paired.... if yes call bend the line
and look for the corners.
A. If you can comfortably call Allemande Left.... and promenade home,
the call it.
B. If you cannot comfortably call Allemande left, then call star
thru and pass thru, allemande left.
5. If the other couple is not paired, call Ferris Wheel and look for the
corners.
A. If the corners can look each other in the eye, call pass thru,
allemande left.
B. If not, call square thru 3/4, allemande left.
This is the easiest resolution method to teach newer callers and is the
method recommended by the caller education committee in CL.
Jeff Garbutt
Actually I don't have one particular method. I basically wait until I see a
pairing of some sort appears - then resolve. Whether it is in waves, 2 face
lines, boxes or whatever.
But what I did to develop this skill is simple. I got out my plastic
dancers - and just played with them for hours and hours. I moved them
through sequences - and then resolved - over and over again. I put them into
lines, boxes, columns, waves and anything else - and kept practicing like
that. I did it with the numbers facing up - and the numbers facing down.
(Each couple has a different color).
I then did the same thing on the dance floor. (No - I didn't turn them
upside down).
What I noticed in all the practice I did was:
You can only have the following scenarios: (For symmetrical set ups)
(1) Everyone is already paired
(2) Two couples are paired - the other two aren't
(3) No one is paired
If you have case (1) - no problem - just put them in a line.
If you have case (2) - no problem - just put them in a box with the paired
couple outside
If you have case (3) - then
(3a) If for instance you are in a line - and one person has a partner in the
other end of the same line - just change partners and you will have either
case (1) or (2)
(3b) If you are in a line - and neither of you has a partner in the same
line - just call "Star thru - pass thru - trade by - star thru" and everyone
is paired.
I call (3b) the worst case scenario for symmetrical dancing - it is the
furthermost away that anyone can get from their partner. Learn to recognize
this case - and the rest is easy.
I've also noticed that squares naturally tend to resolve themselves anyway.
It is very rare that squares end up as (3b).
NOW THE TRICKY BIT IS - TO GET THE SEQUENCE RIGHT EVERY TIME
That's where you have to remember corner associations.
Nasser Shukay, Lafayette, CA
Before the tip begins, memorize the following:
(a) Your PRIMARY couple.
You need to instantly recognize whether they are matched.
(b) Your SECONDARY couple (which is the Primary Man's corner).
You need to instantly recognize whether they are matched.
(c) The CORNER relationship (i.e., who is corner to who)
You need to instantly know which Boy and Girl are
corners to each other.
Make a vivid mental picture, to be sure you remember what you
need to know.
To resolve the square:
1. Normalize the square (i.e., get them into a normal
boy-girl arrangement)
2. Pair up the PRIMARY couple.
3. Get the square into facing lines of four.
4. Is the SECONDARY couple paired?
If YES:
Y-1. If the couples are OUT of sequence (i.e., corners
are NOT adjacent), then call RIGHT AND LEFT THRU
to put them INTO sequence
Y-2. Now call a memorized Zero Line Getout
If NO:
N-1. Call PASS THRU, WHEEL AND DEAL
N-2. If the Matched couple is not on the outside,
call ZOOM to put the matched couple on the outside
N-3. Look at the square. Call either CENTERS PASS THRU
or CENTERS SQUARE THRU THREE to bring the man's
corner to him
N-4. Left Allemande.
Or, call a memorized Zero Box getout.
For future learning:
A. Instead of matching up the PRIMARY couple, match up either
the Primary OR the Secondary couple, whichever one is easiest
to match.
If you're in the "Pass Thru, Wheel and Deal" situation,
instead of bringing the GIRL corner to the primary MAN,
bring the CORNERS together (which sometimes means bringing
the MAN corner to the GIRL).
B. If ONE of the couples is matched and the other couple is
NOT matched, get them into Two-Faced Lines and call FERRIS
WHEEL. Then proceed as if you have already called PASS
THRU, WHEEL AND DEAL. (I.e., if you need to get the matched
couple to the outside, call ZOOM. Then look at the square
and determine whether the centers should Square Thru Three,
or Pass Thru, to the corner).
C. Many callers learn exactly ONE method of resolving, and
then they use that one method FOREVER. Do the dancers a
favor, and eventually learn several different methods.
Bobby Delph
(note = for this discussion primary will be # 1, secondary # 4)
1. Configure the square to a zero two faced line (zero two faced line =
boys on end, girls center and right hand configuration).
2. Use trades and/or circulates to pair the primary couple.
3. Use couples circulate if necessary to get the primary couple facing out.
4. Call bend the line.
There are four possibilities;
1. Primary couple on left end of facing lines facing the secondary couple.
2. Primary couple on left end of facing lines facing neither of the
secondary couple.
3. Primary couple on left end of facing lines facing the secondary lady with
unknown man.
4. Primary couple on left end of facing lines facing the secondary man with
unknown lady.
We'll consider the 4 above conditions as reference points, 1 through 4.
If reference point # 1 exist, then we can call (Left Allemande).
We are in a zero line configuration. Boys & girls are in sequence, all
with partner. We can change this configuration to a reference point # 2 by
calling (pass thru - bend the line).
If reference point # 2 exist, then we can call (star thru - pass thru -
Allemande Left).
We are in an out of sequence line configuration. We can change this
Configuration to a reference point # 1 configuration by calling (pass thru -
bend the line).
If reference point # 3 exist, then we can call (pass thru - wheel & deal -
centers, pass thru - Allemande Left).
We are in a (boys out of sequence, girls in sequence state). We can change
this configuration to a reference point # 4 configuration by calling (pass
thru - bend the line).
If reference point # 4 exist, we can call (pass thru - wheel & deal -
centers, square thru 3 - Allemande Left).
We are in a (boys in sequence, girls out of sequence state). We can
change this configuration to a reference point # 3 configuration by
allying(pass thru - bend the line).
After the above "mechanics of resolution" have been mastered, it is
possible to expand the reference points. To do this it must be understood
that the secondary's secondary couple is couple # 3. Understanding this, we
can resolve using the secondary couple as "temporary Primary" couple and
calling to the unknown.
Expanded Resolutions
For this explanation, we will call couples # 3 and couples # 2 unknown
couples. Mirror image identifies these couples for us, thus we need not
concern ourselves with their identity.
Pairing & Positioning
1. Configure the square to a zero two faced line (zero two faced line = boys
on end, girls center and right hand configuration).
2. Use trades and/or circulates to pair the primary or secondary couple.
3. Call bend the line
There are 16 possibilities;
1. Primary couple on left end of facing lines facing the secondary couple.
If reference point # 1 exist, then we can call (Left Allemande).
We are in a zero line configuration. Boys & girls are in sequence, all
with partner. We can change this configuration to a reference point # 2 by
calling (pass thru - bend the line).
2. Primary couple on left end of facing lines facing neither of the
secondary couple
If reference point # 2 exist, then we can call (star thru - pass thru -
Allemande Left).
We are in an out of sequence line configuration. We can change this
Configuration to a reference point # 1 configuration by calling (pass thru -
bend the line).
3. Primary couple on left end of facing lines facing the secondary lady with
unknown man
If reference point # 3 exist, then we can call (pass thru - wheel & deal -
centers, pass thru - Allemande Left).
We are in a (boys out of sequence, girls in sequence state). We can change
this configuration to a reference point # 4 configuration by calling (pass
thru - bend the line).
4. Primary couple on left end of facing lines facing the secondary man with
unknown lady.
If reference point # 4 exist, we can call (pass thru - wheel & deal -
centers, square thru 3 - Allemande Left).
We are in a (boys in sequence, girls out of sequence state). We can
change this configuration to a reference point # 3 configuration by
allowing(pass thru - bend the line).
5. Secondary couple on the left end of lines facing unknown couple
(equals reference point # 1)
6. Secondary couple on the left end of lines facing primary couple
(equals reference point # 2)
7. Secondary couple on the left end of lines facing unknown lady with
primary man
(equals reference point # 3)
8. Secondary couple on the left end of lines facing unknown man with primary
lady
(equals reference point # 4)
Here we need to discuss that reference points 9 - 16 = 1 - 8 if we add
"right & left thru".
9. Primary couple on right end of lines facing secondary couple
(+ right & left thru, equals reference point # 1)
10. Primary couple on right end of lines facing unknown couple
(+ right & left thru, equals reference point # 2)
11. Primary couple on right end of lines facing secondary lady with unknown
man
(+ right & left thru, equals reference point # 3)
12. Primary couple on right end of lines facing secondary man with unknown
lady
(+ right & left thru, equals reference point # 4)
13. Secondary couple on right end of lines facing unknown couple
(+ right & left thru, equals reference point # 5)
14. Secondary couple on right end of lines facing primary couple
(+ right & left thru, equals reference point # 6)
15. Secondary couple on right end of lines facing unknown lady with primary
man
(+ right & left thru, equals reference point #).
16. Secondary couple on right end of lines facing unknown man with primary
lady
(+ right & left thru, equals reference point # 8)
Jim Wass Riverdale, Maryland
The practices that accompany the resolution technique:
1. Begin early in the evening to find the couples that you will try to use
for resolution. Greet them and strike up a conversation. Observe their
outfits or other characteristics. If you are calling for singles or another
group that changes partners frequently find the gentlemen or ladies that you
intend to use through the evening.
2. Write down your couples of interest (or even a whole square). [This plus
practice, Gloria, is my answer to the issue of outfits and singles.] Some
callers are very much against this practice - I admire their superior
memories, especially when they call to singles. Often times the practice of
writing down something to identify the dancers burns them into my mind.
Other times I need to look.
3. Each tip (or each time your dancers move to another position or square)
call some safe choreo that gets your dancers of interest to their corners (or
to RLG) a couple of times. This can be memorized modules or isolated sight
calling. Seeing the resolution happen makes it easier to find a resolution
later.
4. Don't be afraid to (occasionally) ask, "Hey Ann, who's your corner?" or
Something similar. Similarly when calling for same-sex dancers it is not
untoward to request "Boys identify."
Some additional advice that has been already given should be repeated: Keep
working your checkers. Work on one resolution technique at a time, working
it according to its rules until mastered, then work on another one. Work
your technique on checkers and on live dancers. If you can, work your
technique on a square of your friends in your basement. At every dance have
memorized material or cards ready as a backup when the sight calling is not
working for you.
Jim Penrod
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