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General
Notes
1. The GLOSSARY OF ROUND DANCING booklet should be referred to for general terms, directions, rhythms, positions and square dance terms.
2. The ABBREVIATIONS booklet should be referred to for abbreviation rules, approved abbreviations, cue sheet symbols and punctuation.
3. Use standard typefaces, as script is especially hard to read. Courier or another easily read font is recommended for computer generated output, Pica [12 pt or 10 CP] is recommended for typewritten cue sheets.
4. Put space between measures of head cues, i.e. after a semicolon or series of semicolons.
5. For special pressings, list original record number and artist if known.
6. Be sure the correct number of measure indicators [i.e., semicolons] are in head cues.
7. Be sure that distributors and magazines publishing cue sheets get the best output possible, either an original or a high quality copy. A laser printer is recommended.
8. Use preferred cue terms, abbreviations and punctuation. Pay particular attention to figures that have preferred cue terms that differ from the figure title, e.g.: DBL REV SPIN [title] versus DBL REV [cue term]. For a quick overview of Preferred Cue Terms that are different from the Figure Title, refer to the "Listing of Phase Rated Figures by Rhythms".
9. Use parentheses for woman's footwork only. Use braces {} for the figure name in the detail text portion of the cue sheet, e.g. {Box} sd, cl, fwd, -; sd, cl, bk, -; Use brackets [ ] to surround supplementary information, e.g. [whenever necessary].
10. Have more than one set of eyes proofread the cue sheet before publication. Dance it as well. Pay particular attention to detail.
11. Don't use preferred cue terms if the figure is modified. In head cues, describe the modification [e.g. TRAVELING BOX w/ TWIRLS]. The use of the word "modified" should be avoided and only used as a last option if a modification is lengthy and/or difficult to describe. Remember: If a modification is not explained specifally, only those dancers who know the routine can dance it. However, many modifications can be danced to cues if the modification is specifically stated. The aim is to give dancers a cue which describes the modification as precisely as possible. Examples: The term HAND TO HAND WITH A POINT is more specific than MODIFIED HAND TO HAND. The term DOUBLE CUBAN BREAK WITHA POINT will lead the dancers better than MODIFIED DOUBLE CUBAN BREAK.
12. Be sure choreography is smooth and comfortable for both partners.
13. Include facing position and/or direction as described in Category 7 of the Cueing Guidelines. In addition to the basic cue term, final facing position should be included if it is required to accomplish the figure which follows.
14. If a mistake is discovered after publication, redistribute the revised cue sheets to all concerned parties.
15. "Repeat meas X of part Y" is acceptable in the small print [descriptive], but not in the head cues [see measures 15-16 of Part B].
16. Do not duplicate the title of an existing ROUNDALAB classic dance when producing choreography.
17. Make this document available to dancers who want to do choreography, along with the necessary Phase Manuals, Abbreviations booklet, Glossary, Cueing Guidelines, etc.
18. Remember: THE DANCES THAT GET DONE ARE
THOSE THAT ARE
EASY TO UNDERSTAND
EASY TO CUE
EASY
TO DANCE [without unspecific terms like MODIFIED]
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Note: The formatting of this document, especially the cue sheet examples, may not be exactly like the Cue Sheet Writing Guidelines published by ROUNDALAB. However, the essential characteristics of the Guidelines as suggested by ROUNDALAB are present and should provide sufficient information to write a cue sheet according to those Guidelines. Hard copies of the Guidelines may be purchased from ROUNDALAB (See the Catalog).