For English Country Dance, (as danced in the US) we've played for both callers who understand music notation, and those who don't. Having tune name = dance name made it very easy for the caller w/out notational clue: they did not have to even think about the details. Over the decades, we've educated them to varying degrees.

We expect to have the dance/tune list at least a week in advance of the monthly dances, particularly when we have new music (which, to our dismay sometimes lately means 2-4 pieces, some complex) and we're all (5 of us) playing from sheet music. We might suggest a dance card is overloaded with jigs or too much 3/2 or 9/8. There are some tunes, both traditional and new, that the band loathes, and plumb will NOT do. When up against the wall we can sub in something in the same meter & length. Some we just grouse ("CHRIST! Not Christchurch Bells! I'll fall asleep and not know which part!").

A friend who is a very experimental & flexible ECD caller (also hammer dulcimer player for contra) reported that at a Playford Ball a bit downstate, the band would start with the traditional tune, then when the dancers were in the groove, would switch tunes. She also calls for our Sunday night slow paced ECDance for elders, and has modified or rewritten dances to minimize confusion and maximize fun, particularly if she likes the tune. Her simple mixer to Newcastle is nothing like the advanced Newcastle dance.

It would improve things if you can educate a caller who would appreciate it, to learn time signatures and tune structures. Another consideration is, how familiar with the repertoire are your dancers? Long time dancers might not be best pleased if the dance is Jamaica, and the tune is not. The whole point is that dancers, caller, and band have a good time. If switching in tunes that fit pleases you without disconcerting anyone,mwhy not?

Joanne in Cleveland (whose buddy and caller has 2 of his dances' tunes in the Barnes Green book!)