The first duty of a gentleman after entering the ballroom with his partner is to procure a program for her, and to introduce to her his friends.Ī gentleman should invariably dance the first number on the program with the lady whom he escorts, or at least offer to do so, and see that she is provided with a partner whenever she wishes to dance.Īlways remember that ladies are to be cared for first, and are entitled in all eases to your courtesy and protection. 0012 12Ĭareful study of the three following pages will be extremely beneficial, as the rules of etiquette therein outlined, are everywhere recognized as being eminently proper and correct The prompter should be familiar with the generally accepted rules of ballroom etiquette, as he is often called upon to decide questions involving these rules. This is a matter of locality it is best to use terms with which the dancers are familiar if possible. Prompters must be careful to give the calls two measures before the beginning of the following strain, so that the figure to be executed may commence with the new strain.Īll the calls are given as correctly as possible, and the language employed is that in most general use still, many prompters prefer to call somewhat as follows: They are added principally in order to give a better understanding of what is intended. There is no necessity for calling the words in parentheses every time some need not be called at all. 5 is given directly after the first 2 (or 4) measures. 3 and 5 of all plain quadrilles unless in the case of some special figure, when the first call to No. 1, 2, and 4, and usually 10 (sometimes 12) to Nos. There are 8 measures or one strain of music before the first call to Nos. In all quadrilles the dancers should invariably address partners and corners (or center) during the first 8 measures of music to No. In case, however, he neglects to give the signal for the coda, he must call 16 measures more.įor the correct number of measures belonging to each figure, refer to “Quadrille Movements,” page 20. This is the only correct strain to finish with in that figure. When this is the case, the prompter, to prevent the music from ending at the wrong place, must give the musicians a signal before the beginning of the last 8 measures of calls (that is, at the end of the fourth strain) to play the coda. 1, 3, and 5, consisting of 8 measures after the first 16 measures. Many figures have a coda (finish) usually Nos. Nothing causes more dissatisfaction in a ballroom than a lack of agreement between the music and figures of a quadrille. Most quadrilles contain the same number of measures, but not all therefore it is advisable to examine the music before deciding what figures to use.
Prompters should familiarize themselves with the music to which the quadrille is to be danced it is then a simple matter to choose figures adapted to the music. Very often prompters, not being familiar with the music, call the same figure when there are 24 or 32 measures of music, consequently the music and calls do not correspond. Never attempt to call a figure the correctness of which, or its adaptability to the music, is uncertain. Take the sides, that they may see the heads execute the figure before being called upon to do the same.Ĭonform your figures to the customs of those for whom you are prompting. Let the figures be simple, and be careful to call the same figures for the sides that are called for the heads, as those who are not much acquainted with quadrilles usually 0010 10 In large gatherings do not call complicated figures. Never allow loud speaking or noise of any kind during a quadrille stop the music and request attention.Īlways signal the musicians when you wish them to stop playing.
Never call at the wrong place to please dancers who do not dance correctly. Study the calls thoroughly before attempting to use them in public.įamiliarize yourself with the music to which you are to call. Never strain the voice by calling too loud. Use no more words than are necessary to have the call understood.Ĭall in a natural voice, and pronounce each syllable slowly and distinctly. A good prompter is of as much importance as fine music in making the quadrille a success. Many prompters do not realize the importance of good calling. IT is universally conceded that dancing quadrilles without prompting will be the method generally adopted in the near future, but as at the present time there are very few dancers so thoroughly versed in all the figures of the different varieties of quadrilles as to be able to perform them correctly without prompting, a prompter becomes necessary.
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