Before being able to master the choreographic aspects of hoedown calling, there are certain fundamental principals that callers need to learn about the music we use.

Square dance calls are not just words with music in the background. The words and the music need to fit together smoothly to be danceable.

Listen to any Hoedown record and you will find that there is a rhythmic pattern of musical beats. Tap your foot to the music, and count out the beats, it will go like this:

It is this structure of four beat phrases that gives the music its rhythmical feel. The accent is on the first beat of each four beat musical phrase, and we build our hoedown calls around this repetitive musical structure.

A caller must arrange his/her calls to fit the four beat phrases. When a caller calls "Allemande left, with your left hand" he/she is actually using the same timing as when reciting "1-2-3-4" to the music. When learning to use the musical phrase, tap your foot to the beat of the music. Always start on the first beat of the musical phrase.

If you listen to most good Hoedown callers, you will notice that he/she seems to fit a lot of words into a small space. "PATTER" Calling is what creates the distinct "traditional" sound of a hoedown.

When callers use "Patter" correctly, they use the beat structure of the music to good advantage. This is achieved by running two, three or sometimes four words together into phrases, in time with the beat of the music.

Each patter phrase contains several distinct "sounds" called in the space of two beats of music. These phrases are sometimes called "word triplets" or "word quadruplets". Take a look at the following example:

"Circle to the left, go round the ring
All the way and hear me sing"

The first patter phrase used is "Circle-to-the-left" which is a four word phrase (a word quadruplet), the next is "round-the-ring" (a word triplet). The words in each phrase are run together to sound almost like one word.

This gives the call a rhythmic sound. If you use patter wisely, you will give the dance a lyrical sound, which helps the dance easier to follow.

Examples of patter words called to the musical phrase are shown below:

1. Circle-to-the-left, around-you-do
   All-the-way go two-by-two
2. Prom-en-ade-her, round-you-go
   All-the-way and-don't-be-slow

Have a look at the following call:

Anyone can recite these words to the beat of the music. But reciting the call words alone will not make you want to dance.

To transform these WORDS into a CALL, some patter can be added at the appropriate times:

In the above example, patter words are used in each line, however it is not necessary to use that much. When starting out, use only occasional patter until you become comfortable.

You will notice also, that each pair of lines in the above call end with rhyming words. This can be used "to prepare" the dancers for the following movement to be called. By using a word that rhymes with the movement to be called, before you call it, the dancer will be subconsciously expecting that call.

For example:

1. Allemande left, with your left hand,
   Partner right, right and left grand
2. Square thru four hands you go.
   Around your corner, do-sa-do
3. Swing thru tonight,
   Now boys run right

By using the phrase "you’re left hand", the ‘cue’ is given for the dancer to expect "right and left grand". You cannot always use rhyming Cue words to lead into the next movement, only where they are appropriate.

Because there are more words to fit in when using patter calling, there might be a tendency for them to all be called at the same "volume". For the calls to be clearly understood, the dancer must be able to distinguish the "command words" from the "patter words". This is done by the caller placing a subtle emphasis on the actual calls. Emphasis is achieved by a slight increase in the volume of your voice when delivering the "command words".

In the following examples of rhyming patter, note the slight emphasis on the command words (underlined in each example):