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Nirkoda BaKerem

2025-09-06T00:43:14Z

Alpert8: /* Annual Events */

Nirkoda Ba'Kerem is an Israeli dance camp in Northern California, founded by Aaron Alpert. The camp includes a wine tasting event.

== Annual Events ==

[[File:Yaron malihi nirkoda 28 oct 2017.jpg|thumb|Nirkoda session with Yaron Malihi, October 28, 2017.]]
'''October 27-30, 2017''' - This was the first Nirkoda Ba'Kerem scheduled at URJ Camp Newman in Santa Rosa, California. The staff was: Yaron Malihi (choreographer and teacher), Mitch Ginsburgh (choreographer and teacher), Shirley Smith (DJ), Aaron Alpert (director), Latishya Steele (assistant director). However, the camp was destroyed by the Tubbs Fire about three weeks before the event<ref>Christi Warren, [https://www.pressdemocrat.com/news/7512868-181/camp-newman-north-of-santa?sba=AAS Camp Newman north of Santa Rosa lost in Tubbs fire], "The Press Democrat"</ref>. The camp was canceled. However, as much of the staff and out-of-town participants had non-refundable airline tickets, a special session was held at Congregation Etz Chayim in Palo Alto, CA. Yaron taught two new dances, [http://www.israelidances.com/dance_details.asp?DanceID=9583 Safart] and [http://www.israelidances.com/dance_details.asp?DanceID=9578 Al Tishali].

'''November 21-24, 2019''' - This camp took place at Wonder Valley Ranch & Resort, in Sanger, California. Staff: Yaron Malihi (choreographer and teacher), Mitch Ginsburgh (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [http://www.israelidances.com/search.asp?S=A&VideoSourceAbb=NB19&PageNo=1 nine dances] taught: Achat Mikulan, Hakerem, Kama Yafim, Kchi Et Libi, Kum Kum, Lechabek Otach, Lo Tamid Pashut, Masa, Me'ever Lanahar.

'''October 28-31, 2020''' - This camp was scheduled to take place at Wonder Valley Ranch & Resort, in Sanger, California, with staff members Michael Barzelai and Yaron Elfassy. However, the camp was cancelled due to the COVID-19 pandemic.

'''December 16-19, 2021''' - This camp took place at Wonder Valley Ranch & Resort, in Sanger, California. Staff: Michael Barzelai (choreographer and teacher), Yaron Elfassy (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [http://www.israelidances.com/search.asp?S=A&VideoSourceAbb=NB21&PageNo=1 seven dances] taught: Arbaim Veshnayim Yom, Beshivchey Hasamba, Kochav Echad, Krav Shtiya, Mi Lo Yavo, Sfinat Hazichronot, Rakadnu Kol Ha'lailah (omitted from the Aussie Database list). Unfortunately, despite state-mandated masking, 13 of 117 participants tested positive for COVID-19 after the camp. There was a Purple theme party and Red Carpet ("dress like a movie star") themed wine tasting.

'''October 27-30, 2022''' - This camp took place at Wonder Valley Ranch & Resort, in Sanger, California. Staff: Yaron Carmel (choreographer and teacher), Ohad Atia (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [https://nirkoda.com/bakerem2022 nine dances] taught: Al Ha'safsal, Derech Chadasha, Ha'yachtzan Shel Ha'medina, Lama Zeh Magia Li, Le'Chayim, Ma Nizkarta Bi, Melech Ha'brichot, Sheyavo Aleinu, Yafe Lecha Sameach. There was a Halloween theme party and Sonoma Chic themed wine tasting.

'''July 7-10, 2023''' - This camp took place at Sonoma State University, in Rohnert Park, California. Staff: Shlomo Maman (choreographer and teacher), Tamir Scherzer (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [https://nirkoda.com/bakerem2023 nine dances] taught: Acharei Hanetzach, Debka Moshe, Ein Maspik Zman, Hora Le'Aviv, Latet Ve'lakachat, Mi At, Od Echad She'shar Lach, Poteach Et Yadecha, She'at Ratzon. There was a 4th of July theme party and España Elegante (Elegant Spain) themed wine tasting.

'''September 12-15, 2024''' - This camp took place at DoubleTree Hotel by Hilton, in Sacramento, California. Staff: Yaron Carmel (choreographer and teacher), Ilai Szpiezak (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [https://nirkoda.com/bakerem2023 eight dances] taught: Adam, Jako, Ma Yihiyeh Machar, Morocco, Od Hayom, Shloshim U'shmoneh (38), Tirkod Tirkod, Tislechi Li. There was an Animals theme party and 100 Years of Israeli Dance Gala for wine tasting.

'''September 11-14, 2025''' - This camp is scheduled to take place at DoubleTree Hotel by Hilton, in Sacramento, California. Staff: Elad Shtamer (choreographer and teacher), Michael Barzelai (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director).

== Related Links ==

Nirkoda Ba'Kerem [http://nirkoda.com/bakerem website]

Nirkoda Ba'Kerem [http://nirkoda.com/register registration page]

Nirkoda Ba'Kerem [https://www.facebook.com/events/538479119988657/ 2019 Facebook event]

Nirkoda Israeli dance [https://www.facebook.com/groups/nirkoda/ Facebook group]

[[Category:Events]]

Nirkoda BaKerem

2025-09-06T00:36:23Z

Alpert8: /* Annual Events */

Nirkoda Ba'Kerem is an Israeli dance camp in Northern California, founded by Aaron Alpert. The camp includes a wine tasting event.

== Annual Events ==

[[File:Yaron malihi nirkoda 28 oct 2017.jpg|thumb|Nirkoda session with Yaron Malihi, October 28, 2017.]]
'''October 27-30, 2017''' - This was the first Nirkoda Ba'Kerem scheduled at URJ Camp Newman in Santa Rosa, California. The staff was: Yaron Malihi (choreographer and teacher), Mitch Ginsburgh (choreographer and teacher), Shirley Smith (DJ), Aaron Alpert (director), Latishya Steele (assistant director). However, the camp was destroyed by the Tubbs Fire about three weeks before the event<ref>Christi Warren, [https://www.pressdemocrat.com/news/7512868-181/camp-newman-north-of-santa?sba=AAS Camp Newman north of Santa Rosa lost in Tubbs fire], "The Press Democrat"</ref>. The camp was canceled. However, as much of the staff and out-of-town participants had non-refundable airline tickets, a special session was held at Congregation Etz Chayim in Palo Alto, CA. Yaron taught two new dances, [http://www.israelidances.com/dance_details.asp?DanceID=9583 Safart] and [http://www.israelidances.com/dance_details.asp?DanceID=9578 Al Tishali].

'''November 21-24, 2019''' - This camp took place at Wonder Valley Ranch & Resort, in Sanger, California. Staff: Yaron Malihi (choreographer and teacher), Mitch Ginsburgh (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [http://www.israelidances.com/search.asp?S=A&VideoSourceAbb=NB19&PageNo=1 nine dances] taught: Achat Mikulan, Hakerem, Kama Yafim, Kchi Et Libi, Kum Kum, Lechabek Otach, Lo Tamid Pashut, Masa, Me'ever Lanahar.

'''October 28-31, 2020''' - This camp was scheduled to take place at Wonder Valley Ranch & Resort, in Sanger, California, with staff members Michael Barzelai and Yaron Elfassy. However, the camp was cancelled due to the COVID-19 pandemic.

'''December 16-19, 2021''' - This camp took place at Wonder Valley Ranch & Resort, in Sanger, California. Staff: Michael Barzelai (choreographer and teacher), Yaron Elfassy (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [http://www.israelidances.com/search.asp?S=A&VideoSourceAbb=NB21&PageNo=1 seven dances] taught: Arbaim Veshnayim Yom, Beshivchey Hasamba, Kochav Echad, Krav Shtiya, Mi Lo Yavo, Sfinat Hazichronot, Rakadnu Kol Ha'lailah (omitted from the Aussie Database list). Unfortunately, despite state-mandated masking, 13 of 117 participants tested positive for COVID-19 after the camp.

'''October 27-30, 2022''' - This camp took place at Wonder Valley Ranch & Resort, in Sanger, California. Staff: Yaron Carmel (choreographer and teacher), Ohad Atia (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [https://nirkoda.com/bakerem2022 nine dances] taught: Al Ha'safsal, Derech Chadasha, Ha'yachtzan Shel Ha'medina, Lama Zeh Magia Li, Le'Chayim, Ma Nizkarta Bi, Melech Ha'brichot, Sheyavo Aleinu, Yafe Lecha Sameach.

'''July 7-10, 2023''' - This camp took place at Sonoma State University, in Rohnert Park, California. Staff: Shlomo Maman (choreographer and teacher), Tamir Scherzer (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [https://nirkoda.com/bakerem2023 nine dances] taught: Acharei Hanetzach, Debka Moshe, Ein Maspik Zman, Hora Le'Aviv, Latet Ve'lakachat, Mi At, Od Echad She'shar Lach, Poteach Et Yadecha, She'at Ratzon.

'''September 12-15, 2024''' - This camp took place at DoubleTree Hotel by Hilton, in Sacramento, California. Staff: Yaron Carmel (choreographer and teacher), Ilai Szpiezak (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [https://nirkoda.com/bakerem2023 eight dances] taught: Adam, Jako, Ma Yihiyeh Machar, Morocco, Od Hayom, Shloshim U'shmoneh (38), Tirkod Tirkod, Tislechi Li.

'''September 11-14, 2024''' - This camp is scheduled to take place at DoubleTree Hotel by Hilton, in Sacramento, California. Staff: Elad Shtamer (choreographer and teacher), Michael Barzelai (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director).

== Related Links ==

Nirkoda Ba'Kerem [http://nirkoda.com/bakerem website]

Nirkoda Ba'Kerem [http://nirkoda.com/register registration page]

Nirkoda Ba'Kerem [https://www.facebook.com/events/538479119988657/ 2019 Facebook event]

Nirkoda Israeli dance [https://www.facebook.com/groups/nirkoda/ Facebook group]

[[Category:Events]]

Nirkoda BaKerem

2025-09-06T00:35:05Z

Alpert8: /* Annual Events */

Nirkoda Ba'Kerem is an Israeli dance camp in Northern California, founded by Aaron Alpert. The camp includes a wine tasting event.

== Annual Events ==

[[File:Yaron malihi nirkoda 28 oct 2017.jpg|thumb|Nirkoda session with Yaron Malihi, October 28, 2017.]]
'''October 27-30, 2017''' - This was the first Nirkoda Ba'Kerem scheduled at URJ Camp Newman in Santa Rosa, California. The staff was: Yaron Malihi (choreographer and teacher), Mitch Ginsburgh (choreographer and teacher), Shirley Smith (DJ), Aaron Alpert (director), Latishya Steele (assistant director). However, the camp was destroyed by the Tubbs Fire about three weeks before the event<ref>Christi Warren, [https://www.pressdemocrat.com/news/7512868-181/camp-newman-north-of-santa?sba=AAS Camp Newman north of Santa Rosa lost in Tubbs fire], "The Press Democrat"</ref>. The camp was canceled. However, as much of the staff and out-of-town participants had non-refundable airline tickets, a special session was held at Congregation Etz Chayim in Palo Alto, CA. Yaron taught two new dances, [http://www.israelidances.com/dance_details.asp?DanceID=9583 Safart] and [http://www.israelidances.com/dance_details.asp?DanceID=9578 Al Tishali].

'''November 21-24, 2019''' - This camp took place at Wonder Valley Ranch & Resort, in Sanger, California. Staff: Yaron Malihi (choreographer and teacher), Mitch Ginsburgh (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [http://www.israelidances.com/search.asp?S=A&VideoSourceAbb=NB19&PageNo=1 nine dances] taught: Achat Mikulan, Hakerem, Kama Yafim, Kchi Et Libi, Kum Kum, Lechabek Otach, Lo Tamid Pashut, Masa, Me'ever Lanahar.

'''October 28-31, 2020''' - This camp was scheduled to take place at Wonder Valley Ranch & Resort, in Sanger, California, with staff members Michael Barzelai and Yaron Elfassy. However, the camp was cancelled due to the COVID-19 pandemic.

'''December 16-19, 2021''' - This camp took place at Wonder Valley Ranch & Resort, in Sanger, California. Staff: Michael Barzelai (choreographer and teacher), Yaron Elfassy (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [http://www.israelidances.com/search.asp?S=A&VideoSourceAbb=NB21&PageNo=1 seven dances] taught: Arbaim Veshnayim Yom, Beshivchey Hasamba, Kochav Echad, Krav Shtiya, Mi Lo Yavo, Sfinat Hazichronot, Rakadnu Kol Ha'lailah (omitted from the Aussie Database list). Unfortunately, despite state-mandated masking, 13 of 117 participants tested positive for COVID-19 after the camp.

'''October 27-30, 2022''' - This camp took place at Wonder Valley Ranch & Resort, in Sanger, California. Staff: Yaron Carmel (choreographer and teacher), Ohad Atia (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [https://nirkoda.com/bakerem2022 nine dances] taught: Al Ha'safsal, Derech Chadasha, Ha'yachtzan Shel Ha'medina, Lama Zeh Magia Li, Le'Chayim, Ma Nizkarta Bi, Melech Ha'brichot, Sheyavo Aleinu, Yafe Lecha Sameach.

'''July 7-10, 2023''' - This camp took place at Sonoma State University, in Rohnert Park, California. Staff: Shlomo Maman (choreographer and teacher), Tamir Scherzer (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [https://nirkoda.com/bakerem2023 nine dances] taught: Acharei Hanetzach, Debka Moshe, Ein Maspik Zman, Hora Le'Aviv, Latet Ve'lakachat, Mi At, Od Echad She'shar Lach, Poteach Et Yadecha, She'at Ratzon.

'''September 12-15, 2024''' - This camp took place at DoubleTree Hotel by Hilton, in Sacramento, California. Staff: Yaron Carmel (choreographer and teacher), Ilai Szpiezak (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director). There were [https://nirkoda.com/bakerem2023 eight dances] taught: Adam, Jako, Ma Yihiyeh Machar, Morocco, Od Hayom, Shloshim U'shmoneh (38), Tirkod Tirkod, Tislechi Li.

== Related Links ==

Nirkoda Ba'Kerem [http://nirkoda.com/bakerem website]

Nirkoda Ba'Kerem [http://nirkoda.com/register registration page]

Nirkoda Ba'Kerem [https://www.facebook.com/events/538479119988657/ 2019 Facebook event]

Nirkoda Israeli dance [https://www.facebook.com/groups/nirkoda/ Facebook group]

[[Category:Events]]

Unusual Meters

2024-05-30T18:40:35Z

Alpert8: /* Asymmetrical Meters */

__NOTOC__
On this page you can find a collection of dances to songs with unusual meter, phrasing, or musical construction.

For our purposes "usual" means measures of two, three, four, or six beats, grouped in phrases of two, four, six, or eight bars.

A further explanation can be found below the lists of dances.

==== Asymmetrical Meters ====

Please keep this table in order by meter, then alphabetically by name of dance.

{| class="wikitable"
! Dance Name !! Main Meter(s) !! With a Few Measures In !! Notes on Meter and Phrasing
|-
| Eich Olam Mamshich || 5/8 (3-2) || ||
|-
| Machur Al Yevanit || 5/8 (3-2) || 2/4 || In the first part, the last measure of each phrase in the first part is in 2/4.
|-
| Ahava Shelanu || 7/8 (3-2-2) || ||
|-
| Bachulsha Shelcha || 7/8 (3-2-2) || || The pivots at the end of part 2 cut across measures, effectively making them 2-2-3.
|-
| Da'asa (Moshiko) || 7/8 (3-2-2) || ||
|-
| Da'asa (Yakovee) || 7/8 (3-2-2) || ||
|-
| Darbashiya || 7/8 (3-2-2) || 5/8 (3-2) || The third measure of the third part is 5/8.
|-
| Halleluya (Bitton) || 7/8 (3-2-2) || 4/4 || First and third sections in 7/8, middle section in 4/4.
|-
| Halleluya L'Gal || 7/8 (3-2-2) || || The first and third part consist of phrases with five measures each.
|-
| Mecholot Damar || 7/8 (3-2-2) || 4/4 || First section in 4/4, second and third sections in 7/8.
|-
| Reiach Tapuach Odem Shani || 7/8 (3-2-2) || ||
|-
| Laz || 7/8 (2-2-3) || ||
|-
| Isha Al HaChof || 9/8 (3-2-2-2) || ||
|-
| Sovev Gal Gal || 12/8 (3-2-2-3-2) || || Could be counted as 6. Further discussion in [[Music vs Dance|Music vs Dance.]]
|}

==== Unusual Songs: Unusual Phrasing, Extra Beats, Changes in Meter ====

Many dances have an unusual meter which isn't asymmetrical or additive, or have unusual phrasing, extra or missing beats, changes in meter, etc. Due to the number of dances which exhibit multiple traits on this list, please keep this table in alphabetical order, and explain the musicality in the appropriate fields.

{| class="wikitable"
! Dance Name !! Main Meter(s) !! With a Few Measures In !! Notes on Meter and Phrasing
|-
| Anavai || 2/4 || 3/4 || The second part has a phrase of 8 followed by a phrase of 9, the last measure being 3/4 to give an extra beat.
|-
| BeLeilot HaKaitz HaChamim || 2/4 || || First part counted 4-4 and repeated, second part is counted 4-2-4-4 and repeated.
|-
| Chamsa || 4/4 || || The first section has (appropriately) five phrases of two measures each, and the last section is a phrase of nine measures.
|-
| [[Chof Shaket]] || 3/4 || || The first section has two phrases of eight measures each, while the second section is a phrase of nine measures.
|-
| Derech Eretz HaShaked || 2/3 & 2/4 || || First part has two phrases of 6-6-6-8, second part has phrases of 5-6-5-6 and then 6-6-6-8. The first group of 6-6-6 are made from 2/4 measures for a straight feel, the 6-6-6 in the second part is made from 3/4 measures for a waltz feel.
|-
| Dror Yikra || 2/4 || 3/4 || First part counts 6-8, second part counts 9-6-8. The third measure of the second part is 3/4 (7-8-9 of the phrase).
|-
| Eretz Israel Yafa || 3/4 || 4/4 || Mostly in 3/4 - last phrase of the chorus ends in a measure of 4/4, giving an extra beat.
|-
| Et HaGeshem || 3/4 || 4/4 || Mostly in 3/4 - last measure of the first phrase is 4/4, giving an extra beat.
|-
| Gozi Li || 7/4 & 4/4 || || First part is in 7/4 (or one measure each of 4/4 and 3/4), second part is in 4/4.
|-
| HaChinanit || 4/4 || 2/4 || The second part has an extra measure of 2/4 at the end. However, the dance behaves differently, see [[Music vs Dance|Music vs Dance.]]
|-
| HaReshut || 4/4 || 2/4 || First three parts have 4 measures of 4 beats, last part has 10 measures of 2 beats.
|-
| [[Hashual]] || 4/4 || 3/4 || In the first section, three of the eight measures are in 3/4, feeling like a missing beat. (Perhaps better: The first section is four measures of 7/4, with an extra beat after the second measure.)
|-
| Hora Mamtera || 3/2 (6/4) & 4/4 || || First part is in 6/4, the rest in 4/4. The sheet music is written in 3/2, which is equivelant to 6/4, and it could be expressed either way. For the sake of keeping the dancer's beat the same, it makes more sense to count it as 6.
|-
| K'Agadat Rivka || 4/4 || 2/4 || First part is 4 measures of 4/4. Second part counts 4-4-4-2-4-4, then 4-4-4-4-4, that is, there's a measure of 2/4 inserted into the first repeat of a five-measure phrase.
|-
| Mezare Israel || 6/8, 2/4, 4/4, 3/4 || || First part counts 3-3-4, (one measure of 6/8, one of 2/4), and the second part counts 4-4-4-4-4-4-4-2 (three measures of 4/4, one of 3/4).
|-
| Mishal || 6/4 & 4/4 || || First part counts 6-6-6-6-6, second part counts 8-8-8-8. Dance is different, see [[Music vs Dance|Music vs Dance.]]
|-
| Mor VeKinamon || 2/4 & 3/4 || || First part counts 6-6-6-5, second part counts 8-7-8-8.
|-
| Nitzanim Niru Ba'Aretz || 2/4 || 3/4 || The last measure of the first section is in 3/4, giving an extra beat. The first section phrases as 6-7, the second section as 8-8.
|-
| [[Ozi V'Zimrat Yah]] (Uzi) || 7/4 & 6/4 || || First part is in 7, second part is in 6. Further discussion at [[Music vs Dance|Music vs Dance.]]
|-
| Shibolei Paz || 2/4, 3/4, 4/4 || || First part counts 4-4-4-2 and repeats, secound part counts 4-4-4-3-4-4-4-2
|-
| Shir HaHaflaga || 2/4 & 3/4 || || Eight phrases, with counds 10-12-9-11-13-12-13-12. The Dance fits to this in a very complex way, see [[Shir HaHaflaga|here.]])
|-
| Shiru HaShir || 4/4 || 3/4 || The second measure of the first section is in 3/4, feeling like a missing beat.
|-
| Tikvateinu || 4/4 || || The first part is a phrase of seven measures.
|-
| VaYeven Uziyahu || 4/4 || 2/4 || In the second part, there's an extra measure of 2/4. First part counts 8-8, second part counts 8-2-8
|-
| VaYnikehu || 2/4 & 5/4 || || The first part counts 4-4-4-2, the second counts as 5-5-5-4
|-
| Ya Raya || 2/4 || || Every phrase in the song consists of five measures, for a count of 10 beats per phrase.
|-
| Zemer Ikarim || 5/4 || || Entirely in 5/4.
|}

==== Introduction to Meter ====

When counting music, the small repeating cycle of the percussion, bass, and sometimes melody which tells us where to start over and count again from 1 is known as the measure. Measures can be of different sizes; for example, most measures consist of four counts, or beats, but a waltz song will have only three beats to each measure. These measures can be described in time signatures, a pair of numbers which explains how many notes are in each measure. The bottom number tells you what size notes you're using, and the top number tells you how many are in each measure. A time signature is not the same thing as a meter. For example, the time signature 9/8 could express two or more different types of meter. Rhythm and meter are also related, but distinct - for example, a 7/8 with a metric construction of 3-2-2 could be accented to produce several different traditional rhythms. Meter, then, can be thought of as being halfway between time signature and rhythm. There are three major groups of meters: simple, compound, and asymmetrical, all of which have made their way into the music of Israeli dance. Meter can also be grouped by number; for example, all meters divisible by two are said to be duple meters, and meters divisible by three are triple.

==== Simple Meters ====

Simple meters are composed of quarter notes (so the base number will always be 4), with the number of beats in each measure being the top number, and the number we count to. A beat composed of one quarter note is called a simple beat, hence the name of the meter. The three most common simple meters are 2/4, 3/4, and 4/4.
*A simple 2/4 can be thought of as a "march," like Ahavat HaChayalim.
*A simple 3/4 can be though of as a "waltz," like Yedid Nefesh.
*A simple 4/4 is called common time, the most used meter both worldwide and in Israeli dance.
*We can also have "simple" meters of different numbers, for example 5/4 (like Zemer Ikarim), 6/4 (like the beginning of Hora Mamtera), or even higher.

==== Compound Meters ====

Compound meters are composed of eighth notes (so the base number will always be 8), with the total number of eight notes in each measure being the top number. A compound beat is composed of three eighth notes (making it 1.5 times the length of a quarter note). Compound beats are so named because they give both a triplet feel (by counting all three eighth notes) or a straight feel (by counting each group of three as one beat). Compound meters include 6/8 (like a Viennese waltz), 9/8 (like an Irish slip jig), and 12/8 (like an American swing or jazz song).
*Compound 6/8 can be counted as 123456123456 (like Ani Eshtagea), or as 1--2--1--2-- (like Yoreket Esh), with a swinging triplet feel.
*Compound 9/8 can be thought of as a "double waltz" - you have three big beats per measure, and each of those divides into three smaller beats. It's usually counted as 1&a2&a3&a, but you could technically count eight notes for 123456789. It doesn't occur in any Israeli dances (that we're aware of), but is often found in the slip jig genre of Irish dance.
*Compound 12/8 is almost always counted as 1&a2&a3&a4&a, and the main different between this meter and a plain 4/4 is that 12/8 has a swinging feel because each beat is a compound beat. Examples in Israeli dance include many swing style dances like Im Rak Tavoi BeChamesh, and arguably many Moroccan style songs like Malkat HaChatunot or Mabruk Aleikum.

==== Asymmetrical Meters ====

Asymmetrical or additive meters are composed of both simple beats (one quarter note, equal to two eighth notes) and compound beats (three eighth notes) within the same measure. This means that the beats of these meters are of unequal length, hence the name asymmetrical. Often, these meters are counted in groups of 2s for simple beats and 3s for compound beats, hence the alternative name additive. For example, one might count Isha Al HaChof as 3-2-2-2. Because the smallest unit used in these meters is always the eighth note, the base number is always eight. Usually, the top number is an odd number, such as 5/8, 7/8, or 9/8, but iterations of asymmetrical meters in 8/8, 10/8, and 12/8 also exist.
*Asymmetrical 5/8 is the simplest of its family, and can only be expressed as 3-2 or 2-3. Machur Al Yevanit, the only 5/8 Israeli dance, uses a 3-2 construction.
*Asymmetrical 7/8 is usually expressed as 3-2-2 or 2-2-3. Because of the Yemenite drum rhythm called da'asa, and because of the influence of Greek music (which often favors placing the compound beat at the beginning), most Israeli dances in 7/8 use a 3-2-2 construction, including Darbashiya, Da'asa (both Moshiko's and Yankalee's), Halleluya LeGal, and Reiach Tapuach Odem Shani. A notable exception is Moshiko's Laz, which takes it's music from the Laz region of northern Turkey and uses a 2-2-3 construction and a drum rhythm also called Laz.
*Asymmetrical 8/8 is an asymmetrical meter that, by its nature, adds up to 4/4, and is often counted as such. There are two rhythms in middle eastern music which use this meter, known as wahda and bolero. Bolero is a fairly common rhythm in Israeli dance, showing up in such songs as Al Na Tishal, Tzel Etz Tamar, Pireus, and Ma SheBenainu. Again, it's perfectly logical to count these songs in 4, since the 8/8 rhythms simplify to that number.
*Asymmetrical 9/8 is totally different to compound 9/8, and is usually constructed as 2-2-2-3 (especially in Turkish influenced music) or as 3-2-2-2 (more common in Greek tunes). The only Israeli dance to use an asymmetrical 9/8 is Isha Al HaChof, which, translated from a Greek song, uses the 3-2-2-2 construction of this meter.
*Asymmetrical 12/8 is a very uncommon meter, but does exist in the dance Sovev Gal Gal, in a 3-2-2-3-2 construction (possibly a variation of the Arabic Iqa called Warashan).
*There are many other rhythms and meters of the middle east which fall into this family, including the 10/8 rhythms of Arabia, Armenia, and Turkey (Samai al-Thaqil and Curcuna) and the Arabic iqaat and Turkish usuls. However, as yet, none seem to have been used for music extant in the Israeli dance tradition.

==== Changes in Meter ====

In addition to understanding all these meters, we have to take into account that some songs change meter, whether for major portions of the music or for a single measure. For example, Hora Mamtera begins in 6/4 (sometimes written as 3/2), but in the second part of the dance shifts into a more regular 4/4. Eretz Yisrael Yafa, on the other hand, has only one measure of 4/4 at the end of the chorus, producing an "extra beat." Dror Yikra has the same phenomenon, being a song in 2/4 with a single measure of 3/4 during the second part.

==== Changes in Phrasing ====

Finally, even if a song stays a consistent meter throughout, it might still throw dancers off their normal counts by having unusual phrasing. Most songs have phrases (combinations of measures) which are even, usually in groups of two or four. It's one of the reasons dancers often count to 8. However, particularly in middle eastern music, phrases are sometimes made of a strange number of measures. Halleluya LeGal, for example, is in 7/8 through the whole song, but has five measures in the first and third parts. Tikvateinu has seven measures of 4/4 in its verse, rather than a more typical 8 measures.

==== A Few Common Errors ====

A final consideration when dealing with unusual counts is that dancers sometimes ignore the actual meter and time signature, and count to four or eight. This can result in three phenomena in which dancers don't articulate the reality of the music very well.
*"Extra Beats" vs. Extra Measure - In a 4/4 song, you might have perfectly even phrasing - four beats to a measure, four measures to a phrase - but very often there's an extra measure at the end of a phrase as a way to transition musically (for example, between the verse and chorus of Tagidi Lo, or at the end of part A in Bimkom Prida). Dancers often mistakenly call this "extra beats," when in reality it would be better to say "extra measure." Extra beats would technically mean you have a measure of a greater size, like in Eretz Yisrael Yafa or Dror Yikra.
*"Missing Beats" - Missing beats can certainly exist, in the same way that extra beats can: for instance, if you had a song in 4/4 and you suddenly had a measure of 3/4, that could be thought of as a missing beat. However, often dancers refer to "missing beats" when there was no actual change in meter. For example, in a 2/4 song, dancers sometimes (read: almost always) count to either four or eight, and a phrase of three measures of 2/4 will feel like two measures of 4/4 with two beats suddenly missing.
*"False Changes in Meter" - Similarly the the "missing beats" described above, if a song which is actually in 2/4 is being counted in fours, and there is an extra measure of 2/4, it will seem as if there was a change of meter when actually, none occurred. Usually, the meter of a piece can be ascertained by listening for the smallest repeating pattern in the percussion and/or bass line.

[[Category:Dances]]
[[Category:Dance Lists]]

Unusual Meters

2024-05-30T18:40:02Z

Alpert8: /* Asymmetrical Meters */

__NOTOC__
On this page you can find a collection of dances to songs with unusual meter, phrasing, or musical construction.

For our purposes "usual" means measures of two, three, four, or six beats, grouped in phrases of two, four, six, or eight bars.

A further explanation can be found below the lists of dances.

==== Asymmetrical Meters ====

Please keep this table in order by meter, then alphabetically by name of dance.

{| class="wikitable"
! Dance Name !! Main Meter(s) !! With a Few Measures In !! Notes on Meter and Phrasing
|-
| Eich Olam Mamshich || 5/8 (3-2) || ||
|-
| Machur Al Yevanit || 5/8 (3-2) || 2/4 || In the first part, the last measure of each phrase in the first part is in 2/4.
|-
| Ahava Shelanu || 7/8 (3-2-2) || ||
|-
| Da'asa (Moshiko) || 7/8 (3-2-2) || ||
|-
| Da'asa (Yakovee) || 7/8 (3-2-2) || ||
|-
| Darbashiya || 7/8 (3-2-2) || 5/8 (3-2) || The third measure of the third part is 5/8.
|-
| Bachulsha Shelcha || 7/8 (3-2-2) || || The pivots at the end of part 2 cut across measures, effectively making them 2-2-3.
|-
| Halleluya (Bitton) || 7/8 (3-2-2) || 4/4 || First and third sections in 7/8, middle section in 4/4.
|-
| Halleluya L'Gal || 7/8 (3-2-2) || || The first and third part consist of phrases with five measures each.
|-
| Mecholot Damar || 7/8 (3-2-2) || 4/4 || First section in 4/4, second and third sections in 7/8.
|-
| Reiach Tapuach Odem Shani || 7/8 (3-2-2) || ||
|-
| Laz || 7/8 (2-2-3) || ||
|-
| Isha Al HaChof || 9/8 (3-2-2-2) || ||
|-
| Sovev Gal Gal || 12/8 (3-2-2-3-2) || || Could be counted as 6. Further discussion in [[Music vs Dance|Music vs Dance.]]
|}

==== Unusual Songs: Unusual Phrasing, Extra Beats, Changes in Meter ====

Many dances have an unusual meter which isn't asymmetrical or additive, or have unusual phrasing, extra or missing beats, changes in meter, etc. Due to the number of dances which exhibit multiple traits on this list, please keep this table in alphabetical order, and explain the musicality in the appropriate fields.

{| class="wikitable"
! Dance Name !! Main Meter(s) !! With a Few Measures In !! Notes on Meter and Phrasing
|-
| Anavai || 2/4 || 3/4 || The second part has a phrase of 8 followed by a phrase of 9, the last measure being 3/4 to give an extra beat.
|-
| BeLeilot HaKaitz HaChamim || 2/4 || || First part counted 4-4 and repeated, second part is counted 4-2-4-4 and repeated.
|-
| Chamsa || 4/4 || || The first section has (appropriately) five phrases of two measures each, and the last section is a phrase of nine measures.
|-
| [[Chof Shaket]] || 3/4 || || The first section has two phrases of eight measures each, while the second section is a phrase of nine measures.
|-
| Derech Eretz HaShaked || 2/3 & 2/4 || || First part has two phrases of 6-6-6-8, second part has phrases of 5-6-5-6 and then 6-6-6-8. The first group of 6-6-6 are made from 2/4 measures for a straight feel, the 6-6-6 in the second part is made from 3/4 measures for a waltz feel.
|-
| Dror Yikra || 2/4 || 3/4 || First part counts 6-8, second part counts 9-6-8. The third measure of the second part is 3/4 (7-8-9 of the phrase).
|-
| Eretz Israel Yafa || 3/4 || 4/4 || Mostly in 3/4 - last phrase of the chorus ends in a measure of 4/4, giving an extra beat.
|-
| Et HaGeshem || 3/4 || 4/4 || Mostly in 3/4 - last measure of the first phrase is 4/4, giving an extra beat.
|-
| Gozi Li || 7/4 & 4/4 || || First part is in 7/4 (or one measure each of 4/4 and 3/4), second part is in 4/4.
|-
| HaChinanit || 4/4 || 2/4 || The second part has an extra measure of 2/4 at the end. However, the dance behaves differently, see [[Music vs Dance|Music vs Dance.]]
|-
| HaReshut || 4/4 || 2/4 || First three parts have 4 measures of 4 beats, last part has 10 measures of 2 beats.
|-
| [[Hashual]] || 4/4 || 3/4 || In the first section, three of the eight measures are in 3/4, feeling like a missing beat. (Perhaps better: The first section is four measures of 7/4, with an extra beat after the second measure.)
|-
| Hora Mamtera || 3/2 (6/4) & 4/4 || || First part is in 6/4, the rest in 4/4. The sheet music is written in 3/2, which is equivelant to 6/4, and it could be expressed either way. For the sake of keeping the dancer's beat the same, it makes more sense to count it as 6.
|-
| K'Agadat Rivka || 4/4 || 2/4 || First part is 4 measures of 4/4. Second part counts 4-4-4-2-4-4, then 4-4-4-4-4, that is, there's a measure of 2/4 inserted into the first repeat of a five-measure phrase.
|-
| Mezare Israel || 6/8, 2/4, 4/4, 3/4 || || First part counts 3-3-4, (one measure of 6/8, one of 2/4), and the second part counts 4-4-4-4-4-4-4-2 (three measures of 4/4, one of 3/4).
|-
| Mishal || 6/4 & 4/4 || || First part counts 6-6-6-6-6, second part counts 8-8-8-8. Dance is different, see [[Music vs Dance|Music vs Dance.]]
|-
| Mor VeKinamon || 2/4 & 3/4 || || First part counts 6-6-6-5, second part counts 8-7-8-8.
|-
| Nitzanim Niru Ba'Aretz || 2/4 || 3/4 || The last measure of the first section is in 3/4, giving an extra beat. The first section phrases as 6-7, the second section as 8-8.
|-
| [[Ozi V'Zimrat Yah]] (Uzi) || 7/4 & 6/4 || || First part is in 7, second part is in 6. Further discussion at [[Music vs Dance|Music vs Dance.]]
|-
| Shibolei Paz || 2/4, 3/4, 4/4 || || First part counts 4-4-4-2 and repeats, secound part counts 4-4-4-3-4-4-4-2
|-
| Shir HaHaflaga || 2/4 & 3/4 || || Eight phrases, with counds 10-12-9-11-13-12-13-12. The Dance fits to this in a very complex way, see [[Shir HaHaflaga|here.]])
|-
| Shiru HaShir || 4/4 || 3/4 || The second measure of the first section is in 3/4, feeling like a missing beat.
|-
| Tikvateinu || 4/4 || || The first part is a phrase of seven measures.
|-
| VaYeven Uziyahu || 4/4 || 2/4 || In the second part, there's an extra measure of 2/4. First part counts 8-8, second part counts 8-2-8
|-
| VaYnikehu || 2/4 & 5/4 || || The first part counts 4-4-4-2, the second counts as 5-5-5-4
|-
| Ya Raya || 2/4 || || Every phrase in the song consists of five measures, for a count of 10 beats per phrase.
|-
| Zemer Ikarim || 5/4 || || Entirely in 5/4.
|}

==== Introduction to Meter ====

When counting music, the small repeating cycle of the percussion, bass, and sometimes melody which tells us where to start over and count again from 1 is known as the measure. Measures can be of different sizes; for example, most measures consist of four counts, or beats, but a waltz song will have only three beats to each measure. These measures can be described in time signatures, a pair of numbers which explains how many notes are in each measure. The bottom number tells you what size notes you're using, and the top number tells you how many are in each measure. A time signature is not the same thing as a meter. For example, the time signature 9/8 could express two or more different types of meter. Rhythm and meter are also related, but distinct - for example, a 7/8 with a metric construction of 3-2-2 could be accented to produce several different traditional rhythms. Meter, then, can be thought of as being halfway between time signature and rhythm. There are three major groups of meters: simple, compound, and asymmetrical, all of which have made their way into the music of Israeli dance. Meter can also be grouped by number; for example, all meters divisible by two are said to be duple meters, and meters divisible by three are triple.

==== Simple Meters ====

Simple meters are composed of quarter notes (so the base number will always be 4), with the number of beats in each measure being the top number, and the number we count to. A beat composed of one quarter note is called a simple beat, hence the name of the meter. The three most common simple meters are 2/4, 3/4, and 4/4.
*A simple 2/4 can be thought of as a "march," like Ahavat HaChayalim.
*A simple 3/4 can be though of as a "waltz," like Yedid Nefesh.
*A simple 4/4 is called common time, the most used meter both worldwide and in Israeli dance.
*We can also have "simple" meters of different numbers, for example 5/4 (like Zemer Ikarim), 6/4 (like the beginning of Hora Mamtera), or even higher.

==== Compound Meters ====

Compound meters are composed of eighth notes (so the base number will always be 8), with the total number of eight notes in each measure being the top number. A compound beat is composed of three eighth notes (making it 1.5 times the length of a quarter note). Compound beats are so named because they give both a triplet feel (by counting all three eighth notes) or a straight feel (by counting each group of three as one beat). Compound meters include 6/8 (like a Viennese waltz), 9/8 (like an Irish slip jig), and 12/8 (like an American swing or jazz song).
*Compound 6/8 can be counted as 123456123456 (like Ani Eshtagea), or as 1--2--1--2-- (like Yoreket Esh), with a swinging triplet feel.
*Compound 9/8 can be thought of as a "double waltz" - you have three big beats per measure, and each of those divides into three smaller beats. It's usually counted as 1&a2&a3&a, but you could technically count eight notes for 123456789. It doesn't occur in any Israeli dances (that we're aware of), but is often found in the slip jig genre of Irish dance.
*Compound 12/8 is almost always counted as 1&a2&a3&a4&a, and the main different between this meter and a plain 4/4 is that 12/8 has a swinging feel because each beat is a compound beat. Examples in Israeli dance include many swing style dances like Im Rak Tavoi BeChamesh, and arguably many Moroccan style songs like Malkat HaChatunot or Mabruk Aleikum.

==== Asymmetrical Meters ====

Asymmetrical or additive meters are composed of both simple beats (one quarter note, equal to two eighth notes) and compound beats (three eighth notes) within the same measure. This means that the beats of these meters are of unequal length, hence the name asymmetrical. Often, these meters are counted in groups of 2s for simple beats and 3s for compound beats, hence the alternative name additive. For example, one might count Isha Al HaChof as 3-2-2-2. Because the smallest unit used in these meters is always the eighth note, the base number is always eight. Usually, the top number is an odd number, such as 5/8, 7/8, or 9/8, but iterations of asymmetrical meters in 8/8, 10/8, and 12/8 also exist.
*Asymmetrical 5/8 is the simplest of its family, and can only be expressed as 3-2 or 2-3. Machur Al Yevanit, the only 5/8 Israeli dance, uses a 3-2 construction.
*Asymmetrical 7/8 is usually expressed as 3-2-2 or 2-2-3. Because of the Yemenite drum rhythm called da'asa, and because of the influence of Greek music (which often favors placing the compound beat at the beginning), most Israeli dances in 7/8 use a 3-2-2 construction, including Darbashiya, Da'asa (both Moshiko's and Yankalee's), Halleluya LeGal, and Reiach Tapuach Odem Shani. A notable exception is Moshiko's Laz, which takes it's music from the Laz region of northern Turkey and uses a 2-2-3 construction and a drum rhythm also called Laz.
*Asymmetrical 8/8 is an asymmetrical meter that, by its nature, adds up to 4/4, and is often counted as such. There are two rhythms in middle eastern music which use this meter, known as wahda and bolero. Bolero is a fairly common rhythm in Israeli dance, showing up in such songs as Al Na Tishal, Tzel Etz Tamar, Pireus, and Ma SheBenainu. Again, it's perfectly logical to count these songs in 4, since the 8/8 rhythms simplify to that number.
*Asymmetrical 9/8 is totally different to compound 9/8, and is usually constructed as 2-2-2-3 (especially in Turkish influenced music) or as 3-2-2-2 (more common in Greek tunes). The only Israeli dance to use an asymmetrical 9/8 is Isha Al HaChof, which, translated from a Greek song, uses the 3-2-2-2 construction of this meter.
*Asymmetrical 12/8 is a very uncommon meter, but does exist in the dance Sovev Gal Gal, in a 3-2-2-3-2 construction (possibly a variation of the Arabic Iqa called Warashan).
*There are many other rhythms and meters of the middle east which fall into this family, including the 10/8 rhythms of Arabia, Armenia, and Turkey (Samai al-Thaqil and Curcuna) and the Arabic iqaat and Turkish usuls. However, as yet, none seem to have been used for music extant in the Israeli dance tradition.

==== Changes in Meter ====

In addition to understanding all these meters, we have to take into account that some songs change meter, whether for major portions of the music or for a single measure. For example, Hora Mamtera begins in 6/4 (sometimes written as 3/2), but in the second part of the dance shifts into a more regular 4/4. Eretz Yisrael Yafa, on the other hand, has only one measure of 4/4 at the end of the chorus, producing an "extra beat." Dror Yikra has the same phenomenon, being a song in 2/4 with a single measure of 3/4 during the second part.

==== Changes in Phrasing ====

Finally, even if a song stays a consistent meter throughout, it might still throw dancers off their normal counts by having unusual phrasing. Most songs have phrases (combinations of measures) which are even, usually in groups of two or four. It's one of the reasons dancers often count to 8. However, particularly in middle eastern music, phrases are sometimes made of a strange number of measures. Halleluya LeGal, for example, is in 7/8 through the whole song, but has five measures in the first and third parts. Tikvateinu has seven measures of 4/4 in its verse, rather than a more typical 8 measures.

==== A Few Common Errors ====

A final consideration when dealing with unusual counts is that dancers sometimes ignore the actual meter and time signature, and count to four or eight. This can result in three phenomena in which dancers don't articulate the reality of the music very well.
*"Extra Beats" vs. Extra Measure - In a 4/4 song, you might have perfectly even phrasing - four beats to a measure, four measures to a phrase - but very often there's an extra measure at the end of a phrase as a way to transition musically (for example, between the verse and chorus of Tagidi Lo, or at the end of part A in Bimkom Prida). Dancers often mistakenly call this "extra beats," when in reality it would be better to say "extra measure." Extra beats would technically mean you have a measure of a greater size, like in Eretz Yisrael Yafa or Dror Yikra.
*"Missing Beats" - Missing beats can certainly exist, in the same way that extra beats can: for instance, if you had a song in 4/4 and you suddenly had a measure of 3/4, that could be thought of as a missing beat. However, often dancers refer to "missing beats" when there was no actual change in meter. For example, in a 2/4 song, dancers sometimes (read: almost always) count to either four or eight, and a phrase of three measures of 2/4 will feel like two measures of 4/4 with two beats suddenly missing.
*"False Changes in Meter" - Similarly the the "missing beats" described above, if a song which is actually in 2/4 is being counted in fours, and there is an extra measure of 2/4, it will seem as if there was a change of meter when actually, none occurred. Usually, the meter of a piece can be ascertained by listening for the smallest repeating pattern in the percussion and/or bass line.

[[Category:Dances]]
[[Category:Dance Lists]]

Unusual Meters

2024-05-30T18:39:33Z

Alpert8: /* Asymmetrical Meters */

__NOTOC__
On this page you can find a collection of dances to songs with unusual meter, phrasing, or musical construction.

For our purposes "usual" means measures of two, three, four, or six beats, grouped in phrases of two, four, six, or eight bars.

A further explanation can be found below the lists of dances.

==== Asymmetrical Meters ====

Please keep this table in order by meter, then alphabetically by name of dance.

{| class="wikitable"
! Dance Name !! Main Meter(s) !! With a Few Measures In !! Notes on Meter and Phrasing
|-
| Eich Olam Mamshich || 5/8 (3-2) || ||
|-
| Machur Al Yevanit || 5/8 (3-2) || 2/4 || In the first part, the last measure of each phrase in the first part is in 2/4.
|-
| Ahava Shelanu || 7/8 (3-2-2) || ||
|-
| Da'asa (Moshiko) || 7/8 (3-2-2) || ||
|-
| Da'asa (Yakovee) || 7/8 (3-2-2) || ||
|-
| Darbashiya || 7/8 (3-2-2) || 5/8 (3-2) || The third measure of the third part is 5/8.
|-
| Bachulsha Shelcha || 7/8 (3-2-2) || || Some step sequences cut across measures, effectively making them 2-2-3.
|-
| Halleluya (Bitton) || 7/8 (3-2-2) || 4/4 || First and third sections in 7/8, middle section in 4/4.
|-
| Halleluya L'Gal || 7/8 (3-2-2) || || The first and third part consist of phrases with five measures each.
|-
| Mecholot Damar || 7/8 (3-2-2) || 4/4 || First section in 4/4, second and third sections in 7/8.
|-
| Reiach Tapuach Odem Shani || 7/8 (3-2-2) || ||
|-
| Laz || 7/8 (2-2-3) || ||
|-
| Isha Al HaChof || 9/8 (3-2-2-2) || ||
|-
| Sovev Gal Gal || 12/8 (3-2-2-3-2) || || Could be counted as 6. Further discussion in [[Music vs Dance|Music vs Dance.]]
|}

==== Unusual Songs: Unusual Phrasing, Extra Beats, Changes in Meter ====

Many dances have an unusual meter which isn't asymmetrical or additive, or have unusual phrasing, extra or missing beats, changes in meter, etc. Due to the number of dances which exhibit multiple traits on this list, please keep this table in alphabetical order, and explain the musicality in the appropriate fields.

{| class="wikitable"
! Dance Name !! Main Meter(s) !! With a Few Measures In !! Notes on Meter and Phrasing
|-
| Anavai || 2/4 || 3/4 || The second part has a phrase of 8 followed by a phrase of 9, the last measure being 3/4 to give an extra beat.
|-
| BeLeilot HaKaitz HaChamim || 2/4 || || First part counted 4-4 and repeated, second part is counted 4-2-4-4 and repeated.
|-
| Chamsa || 4/4 || || The first section has (appropriately) five phrases of two measures each, and the last section is a phrase of nine measures.
|-
| [[Chof Shaket]] || 3/4 || || The first section has two phrases of eight measures each, while the second section is a phrase of nine measures.
|-
| Derech Eretz HaShaked || 2/3 & 2/4 || || First part has two phrases of 6-6-6-8, second part has phrases of 5-6-5-6 and then 6-6-6-8. The first group of 6-6-6 are made from 2/4 measures for a straight feel, the 6-6-6 in the second part is made from 3/4 measures for a waltz feel.
|-
| Dror Yikra || 2/4 || 3/4 || First part counts 6-8, second part counts 9-6-8. The third measure of the second part is 3/4 (7-8-9 of the phrase).
|-
| Eretz Israel Yafa || 3/4 || 4/4 || Mostly in 3/4 - last phrase of the chorus ends in a measure of 4/4, giving an extra beat.
|-
| Et HaGeshem || 3/4 || 4/4 || Mostly in 3/4 - last measure of the first phrase is 4/4, giving an extra beat.
|-
| Gozi Li || 7/4 & 4/4 || || First part is in 7/4 (or one measure each of 4/4 and 3/4), second part is in 4/4.
|-
| HaChinanit || 4/4 || 2/4 || The second part has an extra measure of 2/4 at the end. However, the dance behaves differently, see [[Music vs Dance|Music vs Dance.]]
|-
| HaReshut || 4/4 || 2/4 || First three parts have 4 measures of 4 beats, last part has 10 measures of 2 beats.
|-
| [[Hashual]] || 4/4 || 3/4 || In the first section, three of the eight measures are in 3/4, feeling like a missing beat. (Perhaps better: The first section is four measures of 7/4, with an extra beat after the second measure.)
|-
| Hora Mamtera || 3/2 (6/4) & 4/4 || || First part is in 6/4, the rest in 4/4. The sheet music is written in 3/2, which is equivelant to 6/4, and it could be expressed either way. For the sake of keeping the dancer's beat the same, it makes more sense to count it as 6.
|-
| K'Agadat Rivka || 4/4 || 2/4 || First part is 4 measures of 4/4. Second part counts 4-4-4-2-4-4, then 4-4-4-4-4, that is, there's a measure of 2/4 inserted into the first repeat of a five-measure phrase.
|-
| Mezare Israel || 6/8, 2/4, 4/4, 3/4 || || First part counts 3-3-4, (one measure of 6/8, one of 2/4), and the second part counts 4-4-4-4-4-4-4-2 (three measures of 4/4, one of 3/4).
|-
| Mishal || 6/4 & 4/4 || || First part counts 6-6-6-6-6, second part counts 8-8-8-8. Dance is different, see [[Music vs Dance|Music vs Dance.]]
|-
| Mor VeKinamon || 2/4 & 3/4 || || First part counts 6-6-6-5, second part counts 8-7-8-8.
|-
| Nitzanim Niru Ba'Aretz || 2/4 || 3/4 || The last measure of the first section is in 3/4, giving an extra beat. The first section phrases as 6-7, the second section as 8-8.
|-
| [[Ozi V'Zimrat Yah]] (Uzi) || 7/4 & 6/4 || || First part is in 7, second part is in 6. Further discussion at [[Music vs Dance|Music vs Dance.]]
|-
| Shibolei Paz || 2/4, 3/4, 4/4 || || First part counts 4-4-4-2 and repeats, secound part counts 4-4-4-3-4-4-4-2
|-
| Shir HaHaflaga || 2/4 & 3/4 || || Eight phrases, with counds 10-12-9-11-13-12-13-12. The Dance fits to this in a very complex way, see [[Shir HaHaflaga|here.]])
|-
| Shiru HaShir || 4/4 || 3/4 || The second measure of the first section is in 3/4, feeling like a missing beat.
|-
| Tikvateinu || 4/4 || || The first part is a phrase of seven measures.
|-
| VaYeven Uziyahu || 4/4 || 2/4 || In the second part, there's an extra measure of 2/4. First part counts 8-8, second part counts 8-2-8
|-
| VaYnikehu || 2/4 & 5/4 || || The first part counts 4-4-4-2, the second counts as 5-5-5-4
|-
| Ya Raya || 2/4 || || Every phrase in the song consists of five measures, for a count of 10 beats per phrase.
|-
| Zemer Ikarim || 5/4 || || Entirely in 5/4.
|}

==== Introduction to Meter ====

When counting music, the small repeating cycle of the percussion, bass, and sometimes melody which tells us where to start over and count again from 1 is known as the measure. Measures can be of different sizes; for example, most measures consist of four counts, or beats, but a waltz song will have only three beats to each measure. These measures can be described in time signatures, a pair of numbers which explains how many notes are in each measure. The bottom number tells you what size notes you're using, and the top number tells you how many are in each measure. A time signature is not the same thing as a meter. For example, the time signature 9/8 could express two or more different types of meter. Rhythm and meter are also related, but distinct - for example, a 7/8 with a metric construction of 3-2-2 could be accented to produce several different traditional rhythms. Meter, then, can be thought of as being halfway between time signature and rhythm. There are three major groups of meters: simple, compound, and asymmetrical, all of which have made their way into the music of Israeli dance. Meter can also be grouped by number; for example, all meters divisible by two are said to be duple meters, and meters divisible by three are triple.

==== Simple Meters ====

Simple meters are composed of quarter notes (so the base number will always be 4), with the number of beats in each measure being the top number, and the number we count to. A beat composed of one quarter note is called a simple beat, hence the name of the meter. The three most common simple meters are 2/4, 3/4, and 4/4.
*A simple 2/4 can be thought of as a "march," like Ahavat HaChayalim.
*A simple 3/4 can be though of as a "waltz," like Yedid Nefesh.
*A simple 4/4 is called common time, the most used meter both worldwide and in Israeli dance.
*We can also have "simple" meters of different numbers, for example 5/4 (like Zemer Ikarim), 6/4 (like the beginning of Hora Mamtera), or even higher.

==== Compound Meters ====

Compound meters are composed of eighth notes (so the base number will always be 8), with the total number of eight notes in each measure being the top number. A compound beat is composed of three eighth notes (making it 1.5 times the length of a quarter note). Compound beats are so named because they give both a triplet feel (by counting all three eighth notes) or a straight feel (by counting each group of three as one beat). Compound meters include 6/8 (like a Viennese waltz), 9/8 (like an Irish slip jig), and 12/8 (like an American swing or jazz song).
*Compound 6/8 can be counted as 123456123456 (like Ani Eshtagea), or as 1--2--1--2-- (like Yoreket Esh), with a swinging triplet feel.
*Compound 9/8 can be thought of as a "double waltz" - you have three big beats per measure, and each of those divides into three smaller beats. It's usually counted as 1&a2&a3&a, but you could technically count eight notes for 123456789. It doesn't occur in any Israeli dances (that we're aware of), but is often found in the slip jig genre of Irish dance.
*Compound 12/8 is almost always counted as 1&a2&a3&a4&a, and the main different between this meter and a plain 4/4 is that 12/8 has a swinging feel because each beat is a compound beat. Examples in Israeli dance include many swing style dances like Im Rak Tavoi BeChamesh, and arguably many Moroccan style songs like Malkat HaChatunot or Mabruk Aleikum.

==== Asymmetrical Meters ====

Asymmetrical or additive meters are composed of both simple beats (one quarter note, equal to two eighth notes) and compound beats (three eighth notes) within the same measure. This means that the beats of these meters are of unequal length, hence the name asymmetrical. Often, these meters are counted in groups of 2s for simple beats and 3s for compound beats, hence the alternative name additive. For example, one might count Isha Al HaChof as 3-2-2-2. Because the smallest unit used in these meters is always the eighth note, the base number is always eight. Usually, the top number is an odd number, such as 5/8, 7/8, or 9/8, but iterations of asymmetrical meters in 8/8, 10/8, and 12/8 also exist.
*Asymmetrical 5/8 is the simplest of its family, and can only be expressed as 3-2 or 2-3. Machur Al Yevanit, the only 5/8 Israeli dance, uses a 3-2 construction.
*Asymmetrical 7/8 is usually expressed as 3-2-2 or 2-2-3. Because of the Yemenite drum rhythm called da'asa, and because of the influence of Greek music (which often favors placing the compound beat at the beginning), most Israeli dances in 7/8 use a 3-2-2 construction, including Darbashiya, Da'asa (both Moshiko's and Yankalee's), Halleluya LeGal, and Reiach Tapuach Odem Shani. A notable exception is Moshiko's Laz, which takes it's music from the Laz region of northern Turkey and uses a 2-2-3 construction and a drum rhythm also called Laz.
*Asymmetrical 8/8 is an asymmetrical meter that, by its nature, adds up to 4/4, and is often counted as such. There are two rhythms in middle eastern music which use this meter, known as wahda and bolero. Bolero is a fairly common rhythm in Israeli dance, showing up in such songs as Al Na Tishal, Tzel Etz Tamar, Pireus, and Ma SheBenainu. Again, it's perfectly logical to count these songs in 4, since the 8/8 rhythms simplify to that number.
*Asymmetrical 9/8 is totally different to compound 9/8, and is usually constructed as 2-2-2-3 (especially in Turkish influenced music) or as 3-2-2-2 (more common in Greek tunes). The only Israeli dance to use an asymmetrical 9/8 is Isha Al HaChof, which, translated from a Greek song, uses the 3-2-2-2 construction of this meter.
*Asymmetrical 12/8 is a very uncommon meter, but does exist in the dance Sovev Gal Gal, in a 3-2-2-3-2 construction (possibly a variation of the Arabic Iqa called Warashan).
*There are many other rhythms and meters of the middle east which fall into this family, including the 10/8 rhythms of Arabia, Armenia, and Turkey (Samai al-Thaqil and Curcuna) and the Arabic iqaat and Turkish usuls. However, as yet, none seem to have been used for music extant in the Israeli dance tradition.

==== Changes in Meter ====

In addition to understanding all these meters, we have to take into account that some songs change meter, whether for major portions of the music or for a single measure. For example, Hora Mamtera begins in 6/4 (sometimes written as 3/2), but in the second part of the dance shifts into a more regular 4/4. Eretz Yisrael Yafa, on the other hand, has only one measure of 4/4 at the end of the chorus, producing an "extra beat." Dror Yikra has the same phenomenon, being a song in 2/4 with a single measure of 3/4 during the second part.

==== Changes in Phrasing ====

Finally, even if a song stays a consistent meter throughout, it might still throw dancers off their normal counts by having unusual phrasing. Most songs have phrases (combinations of measures) which are even, usually in groups of two or four. It's one of the reasons dancers often count to 8. However, particularly in middle eastern music, phrases are sometimes made of a strange number of measures. Halleluya LeGal, for example, is in 7/8 through the whole song, but has five measures in the first and third parts. Tikvateinu has seven measures of 4/4 in its verse, rather than a more typical 8 measures.

==== A Few Common Errors ====

A final consideration when dealing with unusual counts is that dancers sometimes ignore the actual meter and time signature, and count to four or eight. This can result in three phenomena in which dancers don't articulate the reality of the music very well.
*"Extra Beats" vs. Extra Measure - In a 4/4 song, you might have perfectly even phrasing - four beats to a measure, four measures to a phrase - but very often there's an extra measure at the end of a phrase as a way to transition musically (for example, between the verse and chorus of Tagidi Lo, or at the end of part A in Bimkom Prida). Dancers often mistakenly call this "extra beats," when in reality it would be better to say "extra measure." Extra beats would technically mean you have a measure of a greater size, like in Eretz Yisrael Yafa or Dror Yikra.
*"Missing Beats" - Missing beats can certainly exist, in the same way that extra beats can: for instance, if you had a song in 4/4 and you suddenly had a measure of 3/4, that could be thought of as a missing beat. However, often dancers refer to "missing beats" when there was no actual change in meter. For example, in a 2/4 song, dancers sometimes (read: almost always) count to either four or eight, and a phrase of three measures of 2/4 will feel like two measures of 4/4 with two beats suddenly missing.
*"False Changes in Meter" - Similarly the the "missing beats" described above, if a song which is actually in 2/4 is being counted in fours, and there is an extra measure of 2/4, it will seem as if there was a change of meter when actually, none occurred. Usually, the meter of a piece can be ascertained by listening for the smallest repeating pattern in the percussion and/or bass line.

[[Category:Dances]]
[[Category:Dance Lists]]

HaReshut

2023-07-24T05:14:19Z

Alpert8:

Hebrew: הרשות, "Permission". Circle dance by Margolit Oved, 1957.
(Moshiko's partner dance of the same name is done to a faster version of the music.) NOTE: When Margolit taught Hareshut in her classes at UCLA she did not use a recording and always sang the songs herself. She did so much faster than the "typical" recording, about the same speed as that used for Moshiko's partner dance.

Some sources, including videos and album covers, list Sara Levi-Tanai as the choreographer. It is widely agreed that this attribution is spurious. Levi-Tanai may (or may not) have created a dance to this music, but it would date from much later and could be a stage choreography for [[Inbal]].

This dance seems divinely created for teaching the Yemenite step; the first part consists entirely of eight Yemenites. The subsequent parts are also extremely easy, yielding an ideal beginners' dance.

The only trick comes in the final part. Some dancers step L to L, cross R in front of L
to L, repeated ten times. Though the step is trivial, a section with a
count of ten is by itself [[Unusual Meters | unusual]]. However, the rest
of the dance is done on the right foot, requiring fudge steps in the penultimate and final sections to free the left and then the right foot. Some dancers avoid these fudge steps by doing the final part as a step R to R and crossing L in front of R to the R. The origin of this left vs. right disagreement is that HaReshut was originally choreographed for the stage, and in the performance version, half the dancers opened to the right, while the other half opened to the left. When those performers adapted it for recreational purposes, each one taught it as s/he had performed it, insisting that her/his was the "correct" direction, and leading to the discrepancy. On this question, Yaron Meishar of [http://www.rokdim.co.il Rokdim] spoke with one of the performers, who commented:
<blockquote><div style="direction:rtl;text-align:justify;">
התקשרתי לצבי הילמן (טאצ'ו) שהוא קצת יותר ותיק ממני ושאלתיו.

צבי הודיע לי חגיגית שהתנועה היא שמאלה בחלק השלישי. בעבר כשניהל את מוזיאון ישראל הוא גם הביא לשם את מרגלית עובד וגורית קדמן שנתנו הופעה עם מספר ריקודים וגם ריקוד זה.
הוא גם זוכר שאימת נתון זה עם יוסי אבוהב ז"ל (שנפטר ממש לא מזמן). בקיצור – התנועה שמאלה.

מבחינת הגיון התנועה, כפי שאני מבין אותו, 2 חלקי הריקוד מתחילים בימין. על מנת לעבור לחלק השלישי יש לעשות משהו "לא טבעי" (שאני גם מדגיש אותו בהדרכה בצילום), והדבר ההגיוני ביותר היה לנוע ימינה ברגל ימין כששמאל משכלת לפניה. אבל מה לעשות ולא כך רצתה מרגלית.
</div></blockquote>
<div class="mw-customtoggle-translation" style="text-align:left;">(Click here for translation)</div>
<div class="mw-collapsible mw-collapsed" id="mw-customcollapsible-translation">
<blockquote>I called Zvi Hillman (Tacho), who is slightly older than me, and asked him.

Zvi assured me that the direction in the third part is to the left. Once when he was director of the Israel Museum he brought in
Margolit Oved and Gurit Kadmon, who gave a demonstration with a number of dances including this one. He also recalls confirming this fact with the late Yossi Abuhav (who passed away not long ago). In short: The direction is leftward.

As far as the logic of the movement, as I understand it, two parts of the dance start on the right foot. In order to transition to the third part it's necessary to do something "unnatural" (as I also emphasize in the instructional video). The more logical thing is to move right, with the left foot crossing in front of the right. But what can you do? That's not what Margolit wanted.
</blockquote></div>

Although the typically-used recordings of HaReshut are instrumental,
it does have lyrics; they are drawn from the song Sapari in the [[Diwan]].
(Many dances use the words to this song.) The page with these lyrics is [[Media:Diwan-p-500.jpeg|here]]; look for the line starting הרשות באמת נתונה.

{{AussieDance|6736}}

{{Rokdim|5abd23b1db5332cb348b4f03|7818}}

{{Dancelists|[[Dances from the Diwan]]{{·}} [["Double" dances]]{{·}} [[Unusual Meters]]}}

[[Category:Dances]]

HaReshut

2023-07-24T05:12:39Z

Alpert8:

Hebrew: הרשות, "Permission". Circle dance by Margolit Oved, 1957.
(Moshiko's partner dance of the same name is done to a faster version of the music.) NOTE: When Margolit taught Hareshut in her classes at UCLA she did not use a recording and always sang the songs herself. She did so much faster than the "typical" recording, about the same speed as that used for Moshiko's partner dance.

Some sources, including videos and album covers, list Sara Levi-Tanai as the choreographer. It is widely agreed that this attribution is spurious. Levi-Tanai may (or may not) have created a dance to this music, but it would date from much later and could be a stage choreography for [[Inbal]].

This dance seems divinely created for teaching the Yemenite step; the first part consists entirely of eight Yemenites. The subsequent parts are also extremely easy, yielding an ideal beginners' dance.

The only trick comes in the final part. Some dancers step L to L, cross R in front of L
to L, repeated ten times. Though the step is trivial, a section with a
count of ten is by itself [[Unusual Meters | unusual]]. However, the rest
of the dance is done on the right foot, requiring fudge steps in the penultimate and final sections to free the left and then the right foot. Some dancers avoid these fudge steps by stepping R to R and crossing L in front of R to the R. The origin of this left vs. right disagreement is that HaReshut was originally choreographed for the stage, and in the performance version, half the dancers opened to the right, while the other half opened to the left. When those performers adapted it for recreational purposes, each one taught it as s/he had performed it, leading to the discrepancy. On this question, Yaron Meishar of [http://www.rokdim.co.il Rokdim] spoke with one of the performers, who commented as follows:
<blockquote><div style="direction:rtl;text-align:justify;">
התקשרתי לצבי הילמן (טאצ'ו) שהוא קצת יותר ותיק ממני ושאלתיו.

צבי הודיע לי חגיגית שהתנועה היא שמאלה בחלק השלישי. בעבר כשניהל את מוזיאון ישראל הוא גם הביא לשם את מרגלית עובד וגורית קדמן שנתנו הופעה עם מספר ריקודים וגם ריקוד זה.
הוא גם זוכר שאימת נתון זה עם יוסי אבוהב ז"ל (שנפטר ממש לא מזמן). בקיצור – התנועה שמאלה.

מבחינת הגיון התנועה, כפי שאני מבין אותו, 2 חלקי הריקוד מתחילים בימין. על מנת לעבור לחלק השלישי יש לעשות משהו "לא טבעי" (שאני גם מדגיש אותו בהדרכה בצילום), והדבר ההגיוני ביותר היה לנוע ימינה ברגל ימין כששמאל משכלת לפניה. אבל מה לעשות ולא כך רצתה מרגלית.
</div></blockquote>
<div class="mw-customtoggle-translation" style="text-align:left;">(Click here for translation)</div>
<div class="mw-collapsible mw-collapsed" id="mw-customcollapsible-translation">
<blockquote>I called Zvi Hillman (Tacho), who is slightly older than me, and asked him.

Zvi assured me that the direction in the third part is to the left. Once when he was director of the Israel Museum he brought in
Margolit Oved and Gurit Kadmon, who gave a demonstration with a number of dances including this one. He also recalls confirming this fact with the late Yossi Abuhav (who passed away not long ago). In short: The direction is leftward.

As far as the logic of the movement, as I understand it, two parts of the dance start on the right foot. In order to transition to the third part it's necessary to do something "unnatural" (as I also emphasize in the instructional video). The more logical thing is to move right, with the left foot crossing in front of the right. But what can you do? That's not what Margolit wanted.
</blockquote></div>

Although the typically-used recordings of HaReshut are instrumental,
it does have lyrics; they are drawn from the song Sapari in the [[Diwan]].
(Many dances use the words to this song.) The page with these lyrics is [[Media:Diwan-p-500.jpeg|here]]; look for the line starting הרשות באמת נתונה.

{{AussieDance|6736}}

{{Rokdim|5abd23b1db5332cb348b4f03|7818}}

{{Dancelists|[[Dances from the Diwan]]{{·}} [["Double" dances]]{{·}} [[Unusual Meters]]}}

[[Category:Dances]]

HaReshut

2023-07-24T05:09:06Z

Alpert8:

Hebrew: הרשות, "Permission". Circle dance by Margolit Oved, 1957.
(Moshiko's partner dance of the same name is done to a faster version of the music.) NOTE: When Margolit taught Hareshut in her classes at UCLA she did not use a recording and always sang the songs herself. She did so much faster than the "typical" recording, about the same speed as that used for Moshiko's partner dance.

Some sources, including videos and album covers, list Sara Levi-Tanai as the choreographer. It is widely agreed that this attribution is spurious. Levi-Tanai may (or may not) have created a dance to this music, but it would date from much later and could be a stage choreography for [[Inbal]].

This dance seems divinely created for teaching the Yemenite step; the first part consists entirely of eight Yemenites. The subsequent parts are also extremely easy, yielding an ideal beginners' dance.

The only trick comes in the final part: Step L to L, cross R in front of L
to L, repeated ten times. Though the step is trivial, a section with a
count of ten is by itself [[Unusual Meters | unusual]]. But more: Since the rest
of the dance is done on the right foot, the penultimate section
ends with a fudge to free up the left foot, and the final section ends
with a fudge to return to the right foot.

The dance would be even simpler
if the final part were done to the right, eliminating the fudges: Step R
to R, cross L in front of R to R. And indeed, the dance is done this way in
many places in the USA, generally on the east coast. The origin of this disagreement is that HaReshut was originally choreographed for the stage, and in the performance version, half the dancers opened to the right, while the other half opened to the left. When those performers adapted it for recreational purposes, each one taught it as s/he had performed it, leading to the discrepancy. On the question of left vs. right, Yaron Meishar of [http://www.rokdim.co.il Rokdim] spoke with one of the performers, who commented as follows:
<blockquote><div style="direction:rtl;text-align:justify;">
התקשרתי לצבי הילמן (טאצ'ו) שהוא קצת יותר ותיק ממני ושאלתיו.

צבי הודיע לי חגיגית שהתנועה היא שמאלה בחלק השלישי. בעבר כשניהל את מוזיאון ישראל הוא גם הביא לשם את מרגלית עובד וגורית קדמן שנתנו הופעה עם מספר ריקודים וגם ריקוד זה.
הוא גם זוכר שאימת נתון זה עם יוסי אבוהב ז"ל (שנפטר ממש לא מזמן). בקיצור – התנועה שמאלה.

מבחינת הגיון התנועה, כפי שאני מבין אותו, 2 חלקי הריקוד מתחילים בימין. על מנת לעבור לחלק השלישי יש לעשות משהו "לא טבעי" (שאני גם מדגיש אותו בהדרכה בצילום), והדבר ההגיוני ביותר היה לנוע ימינה ברגל ימין כששמאל משכלת לפניה. אבל מה לעשות ולא כך רצתה מרגלית.
</div></blockquote>
<div class="mw-customtoggle-translation" style="text-align:left;">(Click here for translation)</div>
<div class="mw-collapsible mw-collapsed" id="mw-customcollapsible-translation">
<blockquote>I called Zvi Hillman (Tacho), who is slightly older than me, and asked him.

Zvi assured me that the direction in the third part is to the left. Once when he was director of the Israel Museum he brought in
Margolit Oved and Gurit Kadmon, who gave a demonstration with a number of dances including this one. He also recalls confirming this fact with the late Yossi Abuhav (who passed away not long ago). In short: The direction is leftward.

As far as the logic of the movement, as I understand it, two parts of the dance start on the right foot. In order to transition to the third part it's necessary to do something "unnatural" (as I also emphasize in the instructional video). The more logical thing is to move right, with the left foot crossing in front of the right. But what can you do? That's not what Margolit wanted.
</blockquote></div>

Although the typically-used recordings of HaReshut are instrumental,
it does have lyrics; they are drawn from the song Sapari in the [[Diwan]].
(Many dances use the words to this song.) The page with these lyrics is [[Media:Diwan-p-500.jpeg|here]]; look for the line starting הרשות באמת נתונה.

{{AussieDance|6736}}

{{Rokdim|5abd23b1db5332cb348b4f03|7818}}

{{Dancelists|[[Dances from the Diwan]]{{·}} [["Double" dances]]{{·}} [[Unusual Meters]]}}

[[Category:Dances]]

Nirkoda BaKerem

2022-06-18T04:30:15Z

Alpert8: /* Related Links */

Nirkoda BaKerem

2022-06-18T04:29:15Z

Alpert8: /* Annual Events */

Upcoming Events: 2021

2021-03-27T21:00:25Z

Alpert8:

This page collects events planned for 2021, in hopes it will be useful for avoiding scheduling conflicts.

Please keep this table in order by date.

{| class="wikitable"
! Date !! Event
|-
| Jan 15–16 || [https://goldenfest.org/ Zlatne Uste Golden Festival]
|-
| Jan 22–25 || [http://www.folkdancecamp.org/all-about-january-2021-virtual-camp Stockton Folk Dance Winter Camp]
|-
| Feb 13 || [http://mainewoodsdancecamp.org/ Mainewoods Dance Camp]
|-
| Mar 12–14 || [https://springfestival.us/ Laguna - San Antonio Spring Dance Festival]
|-
| Mar 13–14 || [http://bostonfestival.org/ Israel Folkdance Festival of Boston]
|-
| Apr 7–11 || [http://nfo-usa.org/annual-conference-2021/ National Folk Organization conference]
|-
| May 7–9 || [http://ifc-ny.com/ International Folk Dance camp]
|-
| May 12–16 || [https://www.facebook.com/groups/49975872142/ Machol Aviv]
|-
| Jul 26–31 || [https://www.facebook.com/events/228138652088922 Horaor - Mechol Hashalom]
|-
| Aug 8–12 || [https://www.idi.org.uk/macholeuropa Machol Europa]
|-
| Aug 19–22 || [https://www.gvanimcamp.com/ Gvanim]
|-
| Dec 16-19 || [http://nirkoda.com/bakerem/ Nirkoda Ba'Kerem]
|}

[[Category:Events]]

Worldwide Israeli Dance Marathon

2020-04-18T09:20:28Z

Alpert8:

The Worldwide Israeli Dance Marathon, aka the 24 Hour Global Marathon, was a [[Virtual dancing in response to COVID-19 | virtual dance]] event, hosted by [https://zoom.us/ Zoom], that took place for 24 hours starting at 8:00 PM ET on Monday, April 13, 2020. At its peak, there were over 800 simultaneous connections to the event, many with more than one participant.

[[File:frequency_counts_global_marathon_2020.png|350px|right]]

A grand total of 452 dances were played, of which 350 were unique. See the Links section for playlists.

{{Stub}}

=== Links ===

The [http://chicagoisraelidancing.com/marathon.html official website], containing the original intended schedule and a complete recording of the entire event.

The [[Dances played at the Worldwide Israeli Dance Marathon | dances played]], with frequency counts.

The [https://docs.google.com/spreadsheets/d/1XDS6uBTSD-5HUHhJpKIBubVN6-BFUDQLI-2EAmCPtCg/edit#gid=0 ordered playlist] of each session (use the tabs at the bottom to see the different sessions).

[[Category:Events]]

Worldwide Israeli Dance Marathon

2020-04-18T09:20:04Z

Alpert8:

The Worldwide Israeli Dance Marathon, aka the 24 Hour Global Marathon, was a [[Virtual dancing in response to COVID-19 | virtual dance]] event, hosted by [https://zoom.us/ Zoom], that took place for 24 hours starting at 8:00 PM ET on Monday, April 13, 2020. At its peak, there were over 800 simultaneous connections to the event, many with more than one participant.

[[File:frequency_counts_global_marathon_2020.png|350px]]
A grand total of 452 dances were played, of which 350 were unique. See the Links section for playlists.

{{Stub}}

=== Links ===

The [http://chicagoisraelidancing.com/marathon.html official website], containing the original intended schedule and a complete recording of the entire event.

The [[Dances played at the Worldwide Israeli Dance Marathon | dances played]], with frequency counts.

The [https://docs.google.com/spreadsheets/d/1XDS6uBTSD-5HUHhJpKIBubVN6-BFUDQLI-2EAmCPtCg/edit#gid=0 ordered playlist] of each session (use the tabs at the bottom to see the different sessions).

[[Category:Events]]

Worldwide Israeli Dance Marathon

2020-04-18T09:17:43Z

Alpert8:

The Worldwide Israeli Dance Marathon, aka the 24 Hour Global Marathon, was a [[Virtual dancing in response to COVID-19 | virtual dance]] event, hosted by [https://zoom.us/ Zoom], that took place for 24 hours starting at 8:00 PM ET on Monday, April 13, 2020. At its peak, there were over 800 simultaneous connections to the event, many with more than one participant.

{{Stub}}

=== Links ===

The [http://chicagoisraelidancing.com/marathon.html official website], containing the original intended schedule and a complete recording of the entire event.

The [[Dances played at the Worldwide Israeli Dance Marathon | dances played]], with frequency counts.

The [https://docs.google.com/spreadsheets/d/1XDS6uBTSD-5HUHhJpKIBubVN6-BFUDQLI-2EAmCPtCg/edit#gid=0 ordered playlist] of each session (use the tabs at the bottom to see the different sessions).

[[File:frequency_counts_global_marathon_2020.png|200px]]

[[Category:Events]]

Worldwide Israeli Dance Marathon

2020-04-18T09:17:23Z

Alpert8:

The Worldwide Israeli Dance Marathon, aka the 24 Hour Global Marathon, was a [[Virtual dancing in response to COVID-19 | virtual dance]] event, hosted by [https://zoom.us/ Zoom], that took place for 24 hours starting at 8:00 PM ET on Monday, April 13, 2020. At its peak, there were over 800 simultaneous connections to the event, many with more than one participant.

{{Stub}}

=== Links ===

The [http://chicagoisraelidancing.com/marathon.html official website], containing the original intended schedule and a complete recording of the entire event.

The [[Dances played at the Worldwide Israeli Dance Marathon | dances played]], with frequency counts.

The [https://docs.google.com/spreadsheets/d/1XDS6uBTSD-5HUHhJpKIBubVN6-BFUDQLI-2EAmCPtCg/edit#gid=0 ordered playlist] of each session (use the tabs at the bottom to see the different sessions).

[[File:frequency_counts_global_marathon_2020.png]]

[[Category:Events]]

File:Frequency counts global marathon 2020.png

2020-04-18T09:16:27Z

Alpert8:

Unusual Sequences

2019-08-18T22:02:07Z

Alpert8: /* 2. Variations on chorus, part1, chorus, part2, chorus, part3, chorus, part1, part2, part3 */

Dances are usually broken down into '''''components''''' which we call a numbered part (1, 2, 3 etc.), "chorus", or "transition". Once we have described all the components of a dance we then have to specify the '''''sequence''''' in which these components are performed. The combination of the components of a dance and their sequence make up the dance as a whole. In some cases the sequence of the dance components is unusual in some way or another.

An element of the sequence of a dance is the '''''repetition''''' of components. The immediate repetition of a component is not that interesting. What is more interesting is the repetition of sub-sequences. For example a simple dance might consist of 3 parts and the sequence might be 1,1,2,3,1,2,3. In this case we would say that the dance consists of 3 parts, done with two repetitions. In the first repetition of the dance, part 1 is done twice, and in the second repetition part 1 is done only once. This particular sequence is fairly common, and so would not be considered unusual. We refer to the immediate repetition of a part as a local repetition, and the other kind as global repetition.

This page looks at dances whose component sequence is unusual in some way. Since there is no definition of what is unusual, there is a large degree of subjectivity to this.



==1. No Repetition==

An interesting sequence is a dance that '''''never''''' repeats itself. Some of the components may repeat immediately (local repetition) but there is no global repetition at all. Currently there is only one dance in this list:

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Machol Gruzini || Moshiko Halevi || 1991
|-
|}

==2. Variations on chorus, part1, chorus, part2, chorus, part3, chorus, part1, part2, part3==

Two dances of this type were introduced in 1994, then after a gap of over twenty years, more dances of this type have been created. It would be most welcome if someone could suggest a proper name for this type of sequence.

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Adir Adirim || Gadi Bitton || 2018
|-
| Chad Gadya || Tamir Shalev || 2016
|-
| Debka Keff || Moshe Eskayo || 1994
|-
| Pikchi Einayich || Shmulik Gov Ari || 1994
|-
| Shir Hamayim || Gadi Bitton || 2015
|-
| Rikud Leili || Ohad Atia || 2015
|-
|}

==3. Miscellaneous==
{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Debka Eilon || Ilan Swisa || 2013
|-
|}
Debka Eilon repeats 4 times, but each repetition changes in some way from the previous.

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Noam Hatzlilim || Ofer Tzofi || 2017
|-
|}
Noam Hatzlilim has four short transitions, and one long one. Often a choreographer edits the music of a dance in order to accommodate their choreography. Typically this editing is done to remove extraneous notes that simply don't fit or would require transitions. In this dance it does not appear that the choreographer did any editing of the music, with the result that four short transitions are required in addition to a long one. It is somewhat challenging to remember the order of the transitions, but the effect is actually esthetically pleasing in that the music flows nicely and the short transitions match the music very well.

[[Category:Dance Lists]]

Nirkoda BaKerem

2019-08-18T21:23:20Z

Alpert8: /* Annual Events */

Nirkoda BaKerem

2019-08-18T21:17:19Z

Alpert8: /* Annual Events */

Nirkoda BaKerem

2019-08-18T21:16:48Z

Alpert8:

Nirkoda Ba'Kerem is an Israeli dance camp in Northern California, founded by Aaron Alpert. The camp includes a wine tasting event.

== Annual Events ==

'''October 27-30, 2017'''[[File:Yaron malihi nirkoda 28 oct 2017.jpg|thumb|Nirkoda session with Yaron Malihi, October 28, 2017.]] - This was the first Nirkoda Ba'Kerem scheduled at URJ Camp Newman in Santa Rosa, California. The staff was: Yaron Malihi (choreographer and teacher), Mitch Ginsburgh (choreographer and teacher), Shirley Smith (DJ), Aaron Alpert (director), Latishya Steele (assistant director). However, the camp was destroyed by the Tubbs Fire about three weeks before the event<ref>Christi Warren, [https://www.pressdemocrat.com/news/7512868-181/camp-newman-north-of-santa?sba=AAS Camp Newman north of Santa Rosa lost in Tubbs fire], "The Press Democrat"</ref>. The camp was canceled. However, as much of the staff and out-of-town participants had non-refundable airline tickets, a workshop was held at Congregation Etz Chayim in Palo Alto, CA.

'''November 21-24, 2019''' - This camp will take place at Wonder Valley Ranch & Resort, in Sanger, California. Staff: Yaron Malihi (choreographer and teacher), Mitch Ginsburgh (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director).

== Related Links ==

Nirkoda Ba'Kerem [http://nirkoda.com/bakerem website]

Nirkoda Ba'Kerem [https://nirkoda.regfox.com/bakerem registration page]

Nirkoda Ba'Kerem [https://www.facebook.com/events/538479119988657/ Facebook event]

Nirkoda Israeli dance [https://www.facebook.com/groups/nirkoda/ Facebook group]

[[Category:Events]]

Nirkoda BaKerem

2019-08-18T21:15:55Z

Alpert8:

Nirkoda Ba'Kerem is an Israeli dance camp in Northern California, founded by Aaron Alpert. The camp includes a wine tasting event.

'''October 27-30, 2017'''[[File:Yaron malihi nirkoda 28 oct 2017.jpg|thumb|Nirkoda session with Yaron Malihi, October 28, 2017.]] - This was the first Nirkoda Ba'Kerem scheduled at URJ Camp Newman in Santa Rosa, California. The staff was: Yaron Malihi (choreographer and teacher), Mitch Ginsburgh (choreographer and teacher), Shirley Smith (DJ), Aaron Alpert (director), Latishya Steele (assistant director). However, the camp was destroyed by the Tubbs Fire about three weeks before the event<ref>Christi Warren, [https://www.pressdemocrat.com/news/7512868-181/camp-newman-north-of-santa?sba=AAS Camp Newman north of Santa Rosa lost in Tubbs fire], "The Press Democrat"</ref>. The camp was canceled. However, as much of the staff and out-of-town participants had non-refundable airline tickets, a workshop was held at Congregation Etz Chayim in Palo Alto, CA.

'''November 21-24, 2019''' - This camp will take place at Wonder Valley Ranch & Resort, in Sanger, California. Staff: Yaron Malihi (choreographer and teacher), Mitch Ginsburgh (choreographer and teacher), Latishya Steele (DJ and assistant director), Aaron Alpert (director).

'''Related Links:'''

Nirkoda Ba'Kerem [http://nirkoda.com/bakerem website]

Nirkoda Ba'Kerem [https://nirkoda.regfox.com/bakerem registration page]

Nirkoda Ba'Kerem [https://www.facebook.com/events/538479119988657/ Facebook event]

Nirkoda Israeli dance [https://www.facebook.com/groups/nirkoda/ Facebook group]

[[Category:Events]]

Gvanim

2019-08-18T21:13:04Z

Alpert8:

The first Gvanim was held on Labor Day weekend 2012 at Camp Starlight in Starlight, PA. Originally the dream of Gabi Gabbay, the camp came to fruition after Gabi was diagnosed with leukemia due to the efforts of a team led by Ilana Vichness. The camp was held one week after Gabi's passing, with his family's blessing. Irith Shade Shemesh took over as camp director for 2013 and continued the camp with the goal of creating a family friendly camp where the next generation of Israeli dancers will meet.

The next Gvanim is scheduled for the weekend before Labor Day weekend 2018 (August 23-26, 2018).

'''Staff 2017''' - From Israel: Michael Barzilai, Yaron Elfassi, Chen Shporen. From USA: Mona Atkinson, Alexis Maharam, Erica Goldman. Camp Director: Irith Shade Shemesh.

'''Staff 2018''' - From Israel: Michael Barzilai, Chen Shporen. From UK: Ilai Szpiezak. From USA: Mona Atkinson, Alexis Maharam, Erica Goldman. Camp Director: Irith Shade Shemesh.

'''Staff 2017''' - From Israel: Elad Shtamer, Chen Shporen, and Tzlil Elfassi. From UK: Ilai Szpiezak. From USA: Mona Atkinson, Alexis Maharam, Erica Goldman. Camp Director: Irith Shade Shemesh.

'''Staff 2016''' - From Israel: Elad Shtamer, Chen Shporen, and Omri Mugzach. From USA: Mona Atkinson, Alexis Maharam, Erica Goldman. Camp Director: Irith Shade Shemesh.

'''Staff 2015''' - From Israel: Chen Shporen, Ohad Atia, and Michael Barzilai. From USA: Mona Atkinson, Alexis Maharam, Erica Goldman. Camp Director: Irith Shade Shemesh.

'''Staff 2014''' - From Israel: Chen Shporen (aka Bart Simpson), Eran Bitton, and Dror Davidi. From USA: Mona Atkinson, Alexis Maharam, Erica Goldman. Camp Director: Irith Shade Shemesh.

'''Staff 2013''' - From Israel: Elad Shtamer, Chen Schporen (aka Neo-Schporen), and Elad Perel. From USA: Mona Atkinson, Alexis Maharam, Erica Goldman. Eran Bitton was originally scheduled to come to camp but was unable to due to injury. Elad Perel generously replaced him. Camp Director: Irith Shade Shemesh.

'''Staff 2012''' - From Israel: Yoram Sasson, Eyal Eliyahu, and Ilan Swissa. From USA: Ruth Goodman, Evelyn Hochstein, Adriana Lipovetzky, Diane Lallouz, Irith Shade Shemesh, Mona Atkinson, Erica Goldman, Alexis Maharam, Maor Ben-Ami. Camp Director: Ilana Vichness.

'''Related Links:'''

Gvanim's [https://www.facebook.com/gvanim2012 Facebook group]

Gvanim's [http://www.gvanimcamp.com/ Website]

Playlist from the night parties from 2013 is located here: [[File:Gvanim 2013 playlist.xlsx|Gvanim 2013 playlist.xlsx]].

[[Category:Events]]

Nirkoda BaKerem

2019-08-18T21:10:18Z

Alpert8:

Nirkoda BaKerem

2019-08-18T21:08:08Z

Alpert8:

Nirkoda Ba'Kerem is an Israeli dance camp in Northern California, founded by Aaron Alpert. The camp includes a wine tasting event.

'''October 27-30, 2017''' - This was the first Nirkoda Ba'Kerem scheduled at URJ Camp Newman in Santa Rosa, California. The staff was: Yaron Malihi (choreographer and teacher), Mitch Ginsburgh (choreographer and teacher), Shirley Smith (DJ), Aaron Alpert (director), Latishya Steele (assistant director). However, the camp was destroyed by the Tubbs Fire about three weeks before the event<ref>Christi Warren, [https://www.pressdemocrat.com/news/7512868-181/camp-newman-north-of-santa?sba=AAS Camp Newman north of Santa Rosa lost in Tubbs fire], "The Press Democrat"</ref>. The camp was canceled. However, as much of the staff and out-of-town participants had non-refundable airline tickets, a workshop was held at Congregation Etz Chayim in Palo Alto, CA. [[File:Yaron malihi nirkoda 28 oct 2017.jpg|thumb|Nirkoda session with Yaron Malihi, October 28, 2017.]]

[[Category:Events]]

File:Yaron malihi nirkoda 28 oct 2017.jpg

2019-08-18T21:05:55Z

Alpert8: Nirkoda workshop with Yaron Malihi, October 28, 2017, at Congregation Etz Chayim, Palo Alto, California. This weekend was supposed to be the first Camp Nirkoda Ba'Kerem, but the camp was canceled due to a fire destroying the venue three weeks before. I...

== Summary ==
Nirkoda workshop with Yaron Malihi, October 28, 2017, at Congregation Etz Chayim, Palo Alto, California. This weekend was supposed to be the first Camp Nirkoda Ba'Kerem, but the camp was canceled due to a fire destroying the venue three weeks before. In its place, a one-night-only session was held.

Baba Kosmi

2016-09-06T17:17:56Z

Alpert8:

Hebrew: באבא קוסמי. Partner dance by [[Mitch Ginsburgh]], first taught at [[Yad beYad]] 2016.

The music is strictly in four-beat measures throughout: eight measures for
part one (which then repeats), four measures for part two (which then
repeats), and four measures for part three (just once). However, part three
starts early, halfway through the final measure of part two, just as the
singer voices "stan". So part three of the dance has only fourteen counts
total, not sixteen. Listen carefully and you'll hear the keyboard come in
two counts before the end of part two.

Part one of the dance is broken into pieces with successively 7, 8, and 17
counts. That's why the second piece of part one must be started
immediately, more quickly than you think---it actually begins on the final
upbeat of the second measure, not on a downbeat. The third piece of
part one compensates for this "missing" count with 17 counts instead of the
expected 16. Again, listen carefully and you'll hear the pieces of part one
of the dance starting and ending at unexpected spots.

----
[[File:BabyKissMe.png|200px|thumb|right]] A running joke regarding the dance was the confusion over the title, which is not native Hebrew. This resulted in many written requests with transposed letters (e.g., Baba Kimsso) or other small errors. In one notable instance, a programmer was asked for, "that baby, kiss me," dance. At Camp [[Gvanim]] 2016, [[Mitch Ginsburgh]] was presented with a t-shirt saying "Baby, Kiss Me" on the front and "Papa Cosmo" on the back.

{{AussieDance|8752}}<br/>

[[Category:Dances]]

File:BabyKissMe.png

2016-09-06T17:16:27Z

Alpert8: Digital rendering from Vistaprint.com of shirt presented to Mitch Ginsburgh at Gvanim 2016, acknowledging the many variations in requests for his dance Baba Kosmi.

Digital rendering from Vistaprint.com of shirt presented to Mitch Ginsburgh at Gvanim 2016, acknowledging the many variations in requests for his dance Baba Kosmi.

Baba Kosmi

2016-09-06T17:09:17Z

Alpert8:

Hebrew: באבא קוסמי. Partner dance by [[Mitch Ginsburgh]], first taught at [[Yad beYad]] 2016.

The music is strictly in four-beat measures throughout: eight measures for
part one (which then repeats), four measures for part two (which then
repeats), and four measures for part three (just once). However, part three
starts early, halfway through the final measure of part two, just as the
singer voices "stan". So part three of the dance has only fourteen counts
total, not sixteen. Listen carefully and you'll hear the keyboard come in
two counts before the end of part two.

Part one of the dance is broken into pieces with successively 7, 8, and 17
counts. That's why the second piece of part one must be started
immediately, more quickly than you think---it actually begins on the final
upbeat of the second measure, not on a downbeat. The third piece of
part one compensates for this "missing" count with 17 counts instead of the
expected 16. Again, listen carefully and you'll hear the pieces of part one
of the dance starting and ending at unexpected spots.

----
A running joke regarding the dance was the confusion over the title, which is not native Hebrew. This resulted in many written requests with transposed letters (e.g., Baba Kimsso) or other small errors. In one notable instance, a programmer was asked for, "that baby, kiss me," dance. At Camp [[Gvanim]] 2016, [[Mitch Ginsburgh]] was presented with a t-shirt saying "Baby, Kiss Me" on the front and "Papa Cosmo" on the back.

{{AussieDance|8752}}<br/>

[[Category:Dances]]

Baba Kosmi

2016-09-06T17:08:09Z

Alpert8:

Hebrew: באבא קוסמי. Partner dance by [[Mitch Ginsburgh]], first taught at [[Yad beYad]] 2016.

The music is strictly in four-beat measures throughout: eight measures for
part one (which then repeats), four measures for part two (which then
repeats), and four measures for part three (just once). However, part three
starts early, halfway through the final measure of part two, just as the
singer voices "stan". So part three of the dance has only fourteen counts
total, not sixteen. Listen carefully and you'll hear the keyboard come in
two counts before the end of part two.

Part one of the dance is broken into pieces with successively 7, 8, and 17
counts. That's why the second piece of part one must be started
immediately, more quickly than you think---it actually begins on the final
upbeat of the second measure, not on a downbeat. The third piece of
part one compensates for this "missing" count with 17 counts instead of the
expected 16. Again, listen carefully and you'll hear the pieces of part one
of the dance starting and ending at unexpected spots.

----
A running joke regarding the dance was the confusion over the title, which is not native Hebrew. This resulted in many written requests with transposed letters (e.g., Baba Kimsso) or other small errors. In one notable instance, a programmer was asked for, "that baby, kiss me," dance. At Camp Gvanim 2016, [[Mitch Ginsburgh]] was presented with a t-shirt saying "Baby, Kiss Me" on the front and "Papa Cosmo" on the back.

{{AussieDance|8752}}<br/>

[[Category:Dances]]

Comparison of DJ software

2013-10-14T16:45:17Z

Alpert8:

Very few folkdance sessions still use vinyl records, cassettes, or even CDs; virtually all have switched to some sort of DJ software on a laptop, tablet, or dedicated music device such as an iPod. On this page we compare the most popular DJ software systems, with emphasis on features most useful for typical harkadot.

{| class="wikitable" style="text-align: left; width: 95%; table-layout: fixed;"
|-
! style="width: 12em" |
! [http://www.audioboxinc.com/amps/ AMPS]
! [http://www.megaseg.com/ MegaSeg]
! [http://www.djpower.com/ DJ Power]
! [http://www.winamp.com/ Winamp]
! [http://www.apple.com/itunes/ iTunes]
|-
| Platform
| Windows only
| Mac only
| Windows only
|
|
|-
| Cost
| $40 basic, $100 pro, $200 with VMM add-on package
|
|
| Free
| Free
|-
| Multilingual support
| Yes (English, Hebrew)
|
|
|
|
|-
| Video support
|
|
|
|
|
|-
| Ability to slow/speed tracks
| Yes
|
|
| Yes, by 3rd party plugin
| No
|-
| Database versus Live filesystem
| Database
|
|
| Live filesystem (but no removal)
| Database
|}

=== Database versus Live filesystem ===
The distinction here is whether the software is able to detect changes on a filesystem such as whether new files are added or removed automatically. Most database systems are only able to see files explicitly added by the user, whereas live filesystem based backends can find files in specified directories.