THE
COUNTRY DANCE BOOK PART II.
CONTAINING THIRTY COUNTRY DANCES FROM
THE ENGLISH DANCING MASTER (1650-1686)
DESCRIBED BY CECIL J. SHARP.
london NOVELLO AND COMPANY, Ltd.
1911
MADE IN ENGLAND
This Book is issued in connection with “Country Dance Tunes,”
by the same Author.
(Sets III and IV, price 1/6 each.)
London: NOVELLIO AND COMPANY, Ltd.
CONTENTS.
The Illustrations
Introduction
The Dance
The Room
The Music
The Steps
The Figures
Notation—
Jenny Pluck Pears (Round for six)
Putney Ferry (Round for six)
Mage on a Cree (Round for eight)
The Fine Companion (Round for eight)
Newcastle (Round for eight)
Gathering Peascods (Round for as many
as will)
Oranges and Lemons (Square for eight)
Dull Sir John (Square for eight)
Rufty Tufty (for four)
Parson’s Farewell (for four)
The Glory of the West (for four)
Saint Martin’s (for four)
Hey, Boys, up go we (for four)
Grimstock (Longways for six)
The Beggar Boy (Longways for six)
Chestnut; or, Dove’s Figary (Longways six)
The Black Nag (Longways for six)
Cheerily and Merrily (Longways for eight)
Ten Pound Lass (Longways for eight)
Nonesuch; or, à la Mode de France (Longways
for eight)
Dargason; or, Sedany (Longways for as many
as will)
Goddesses (Longways for as many as will)
New Bo-Peep; or, Pickadilla (Longways for as
many as will)
Staines Morris (Longways for as many as will)
Amarillis (Longways for as many as will)
Black Jack (Longways for as many as will)
Jamaica (Longways for as many as will)
My Lady Cullen (Longways for as many as will)
London is a Fine Town; or, Walton Town’s End
(Longways for as many as will)
The Twenty-Ninth of May (Longways for as many as will)
THE ILLUSTRATIONS.
-
Frontispiece: Title-page of “The English
Dancing Master.”
-
The copy in the British Museum, from which
this reproduction was made, is one of the Thomason
Tracts (1640–1661), a collection of some 32,000
pamphlets in 2,000 volumes, presented to the nation
by Greorge III, in 1762. Carlyle considered these
tracts “to be the most valuable set of documents
connected with English history; greatly preferable
to all the sheep‑skins in the Tower and other places,
for informing the English what the English were in
former times.”
-
The altered date “March 19th, 1650” (i.e.
O.S.) is in the handwriting of the collector, Thomason,
and probably records the date of purchase.
-
The book was entered at Stationers’ Hall “7
Novembris 1650,” rather more than four months before
Thomason acquired his copy. The engraving is by Wenceslaus
Hollar (1607–77), the Bohemian etcher.
-
Plate facing page 58: Tune and notation of
“Newcastle” (1st ed. 1650).
-
The crescents and circles in the diagram represent
the men and women respectively. In the third and
subsequent editions the meaning of these symbols
was reversed, the circles representing the men, the
crescents the women.
-
The abbreviations are thus explained by Playford:
Wo. = woman; We. = women; Co. = contrary; S. = single;
D. = double; 1, 2, 3, etc. = first, second, third, etc.;
. = a strain of the tune once over;
: = a strain of the tune twice over.
-
The wording of the notation to the second strain
of the second Part is very perplexing. The only
way I can make sense of it is by omitting the first
comma (after “meet”).
-
Plate facing page 13: Tune and notation of
“Parson’s Farewell” (3rd edition 1665).
-
Comparing the tune with the original version in
the first edition (see “Country Dance Tunes”
Set 3, p. 1) it will be seen that (1) a bar is omitted in
the second strain; (2) certain auxilliary notes have
been added in the penultimate bars of each strain;
and (3) the seventh note of the scale has been
raised a semitone.
-
There is clearly a misprint in the diagram; the
first woman should face down, not up.
-
In the text I have altered the positions of the
couples, placing them sideways to the audience
instead of back and face. This does not, of course,
affect any of the movements.
INTRODUCTION.
The first edition of “The English Dancing
Master, or plaine and easie Rules for the Dancing of Country
Dances, with the tune to each dance” (104 dances;
oblong 4to), is dated 1651, but was entered at
Stationers’ Hall in the preceding year.
With an altered title—“The Dancing
Master”—and in a slightly different
shape—oblong 12mo—a second edition,
“enlarged and corrected from many grosse errors
which were in the former edition” (112 dances), was
issued in 1652. The book went through seventeen editions,
the last being issued in three parts, the first (358
dances) in 1721, and the second (360 dances) and the third
(200 dances) in 1728. During this period of seventy‑eight
years the book passed through many changes. Many of the
dances and tunes appeared in altered forms in successive
editions; some dropped out altogether after one or more
appearances; while to every edition a varying number
of new dances was added.
Of the earlier editions of this incomparable work John
Playford was publisher, and, probably, editor as well.
That he was not, however, the sole editor may, I think,
be inferred from the different styles displayed in the
wording of the notations. What precisely was the part
which Playford and his assistants played in the compilation
of the book, it is difficult to say; but it is permissible,
perhaps, to conjecture.
It has already been pointed out (see Part I, p. 26)
that the Country Dance ordinarily consisted of a series of
figures arbitrarily chosen to fit a given tune, and that it
was only rarely that any one of these became stereotyped
by usage and achieved universal acceptance. The mere
composition of the dances in “The Dancing Master”
would, therefore, present no difficulty to one versed in the
technique of the dance and acquainted with the ballad
airs of the day. We may, then, presume that the bulk
of the book consists of dances so put together by Playford
and his sub‑editors, and the remainder of the older dances
that had, perhaps for many generations been danced in
the same way and to the same tunes.
Be this as it may, “The English Dancing Master”
was the first collection of its kind published in this
country; and as it held the field unchallenged for upwards
of half a century, it contains all that there is now known
respecting the forms and figures of the Country Dance
in the latter half of the seventeenth century.
Now this was in fact a critical moment in the history
of the Country Dance. It was a transitional period
during which two important, though by no means unrelated,
developments were in progress. In the first place, it
coincided with the decline from popular favour of the
older forms of the dance, the Rounds, Squares,
Longs‑for‑four, six or eight performers, and the
gradual evolution of that form which eventually superseded them,
and was known as the “Longways for as many as will.”
This process may be traced in the successive editions of “The
Dancing Master.” In the first edition, for instances, out of
104 dances only 38, that is a bare third, are Longways dances;
in the seventh edition, which represents chronologically
the middle period of the publication, more than half—116
out of 208—are of this type; while of the 918 dances
contained in the three volumes of the seventeenth edition,
all save 14 belong to the Longways species. I believe I am
correct in saying that, except in the later editions of
“The Dancing Master”, one may search in vain
the numerous Country Dance collections of the eighteenth
century, published by Walsh, Pippard, Waylett, and others,
for a single example of any one of the older forms
of the dance. In this unique publication, then,
we have our only source of information respecting
the early and, what were probably, the original forms
of the Country Dance.
During this same period, too, the Country Dance of
the village green, the farmhouse, and the dancing booths
of the annual fairs, was slowly invading the parlours and
drawing‑rooms of the wealthy, competing in
attractiveness with the Minuets, Courantes, Gavottes, and
rapidly gaining favour with the upper classes. It is, no doubt,
true that the dance had never been the exclusive possession
of any one class; but in the early days of its history,
it was regarded by the educated less as a rival than an
agreeable alternative, a refreshing contrast to the more
formal and conventional dance of polite society. So long
as the Country Dance was so regarded, it suffered little
or no injury by transference from cottage to castle; but
when, as time went on, it challenged, on its own merits,
the supremacy of the drawing‑room dances, the dance
was at once subjected to an enervating influence which,
paralysing its powers of resistance, ultimately led to its
corruption. The decline was hastened when, as was inevitable,
it attracted the notice, and fell into the hands of, the
professional dancing master. He, more suo, sought
to embroider upon it the fashionable steps of the day,
to stifle it with the artificial graces and genteel posings
of the drawing room until, in a short time, of the freshness,
spontaneity, and “gay simplicity” of the
people’s dance very little remained.
This development, moreover seems to have synchronised
with the displacement of the older forms of the dance.
And this is quite intelligible. For the Rounds, Squares,
etc., did not readily lend themselves to drawing‑room
treatment; and so long, therefore, as dances of this
type only were exploited by the upper classes, there was
no reason why the Country Dance should not retain unsullied
its distinctive character. On the other hand, in the Longways
dance the professor of dancing found a form easily adapted
to the genteel style which he affected. Attracted, therefore,
by this form alone, he forced it into prominence to the
exclusion of the earlier and less flexible types.
The two movements cannot be disassociated. The increasing
popularity of the Country Dance in the drawing‑room
led by a natural sequence to the rejection of the
old‑fashioned dances in favour of the more formal
Longways dance. It is significant, too, that whenever the
Country Dance is mentioned in early literature, or in connection
with the Court functions of the sixteenth or seventeenth
centuries, the reference is invariably to one or other of
its older types. It is “Trenchmore” that Selden,
for example, mentions as a favourite Court dance in the reign
of Queen Elizabeth; it is “Dargason” and
“Sellenger’s Round” that are mentioned in
old books. There is, moreover, the well‑known passage in
Pepys’ diary in which he describes a Court dance at which he
was present on the last day of the year 1662. The diarist, it will be
remembered, tells us that the first dance was the Brantle.
“After that”, he continues, “the King led a
lady in a single Coranto; and then the rest of the lords, one after
another, other ladies; very noble it was, and a great pleasure to see.
Then to country dances; the King leading the first, which
he called for; which was, says he, ‘Cuckolds all awry’,
the old dance of England”. The “old dance of
England” is, no doubt, identical with Playford’s
“Cuckolds all a row”, and, under its alternative title,
“Hey, boys, up go we”, is given in the text. It is a dance
“for foure”, that is, one of the old forms of the Country
Dance, and is pretty certain to have been familiar to Pepys;
for on Nov. 22nd, 1662, he records: “This day I bought
the book of country dances against my wife’s woman
Gosnell comes, who dances finely; and there, meeting
Mr. Playford, …”
It was not, then, until the Longways dance had ousted
the Rounds, Squares, etc., that the Country Dance
became firmly established in the drawing‑rooms
and assembly halls. After that, its corruption followed as
a matter of course, as we shall now see.
The first scientific, as opposed to popular, work on
this subject was written by John Essex—“A Treatise
on Choreography, or the art of dancing Country Dances”
(1710). It contains an abridged version of Feuillet’s
choreography together with ten Country dances technically
described by means of that system. Now these dances
differ very materially in character from those edited
by Playford. They are one and all of the Longways
type, set to derived tunes, and it is made abundantly
clear that they were intended to cater for the tastes
of those who moved in polite circles.
The enervating tendency, exhibited here in a comparatively
mild form, becomes much more strongly marked in Kellom
Tomlinson’s “Art of Dancing” (1735), wherein
the author blandly apologises for mentioning the Country Dance
in a work of which his original design “only to
have spoke of genteel Dancing”; yet, he continues,
“as Country Dancing is become as it were the
Darling or favourite Diversion of all Ranks of People
from the Court to the Cottage in their different manners
of Dancing, and as the Beauty of this agreeable Exercise
(I mean when perform’d in the genteel Character) is very
much eclipsed and destroyed by certain Faults, or Omissions,
… I shall, at the Request of some Persons of Figure,
my Subscribers, endeavour to point out those Neglects
which render this Diversion, to fine Dancers, either
altogether disagreeable, or much less pleasant.”
A few years later, 1752, Nicolas Dukes who, like
Tomlinson, was a professional dancing master, published
“A Concise and easy method of Learning the Figuring
Part of Country Dances”, in which he takes “the
liberty to acquaint every Gentleman or Lady who is desirous
of performing Country Dances in a Genteel, free and easy
manner, the necessity they are under of being first duly
Qualified in a Minuet, that beautiful dance being so well
calculated and adapted as to give room for every person
to display all the Beauties and Graces of the body which
becomes a genteel Carriage.” It would, perhaps, be
difficult to imagine anything more alien to the spirit of
the Country Dance than the ultra‑refined, exotic Minuet;
and that a man of authority in the dancing world should
perceive an affinity between the two, shows the direction
in which the evolution of the Country Dance was tending.
It should be noticed, also, that the “men” and
“women” of Playford have now become
“gentlemen” and “ladies”—a
very significant change.
It would be wearisome as well as profitless to follow,
step by step, the successive stages through which the
Country Dance passed in the course of its devolution.
The process of corruption continued without a break
until the middle of the nineteenth century, soon after
which time its popularity waned, and it was dethroned
and superseded by the waltz, polka, etc.
I cannot, however, forbear mentioning Thomas Wilson,
a very celebrated professor of dancing who, in the first
quarter of the nineteenth century, published several
books on the subject. His comments upon the earlier
collections of Country Dances are very instructive. In
one passage he satirises what he is pleased to call their
“innovations on the true principles of English Country
Dancing”. The “true principles” are, of
course, those which he expounds with such unction in his own
books; while the “innovations”—a curiously
inapt word—refer to the figures described by Playford and
his immediate successors which he says “were productive
of the ridiculous antics and movements (afterwards particularised)
and set to tunes equally absurd, both as to the style
of the Music, and the length of the Strains”. He adds
that “the steps used in the old Country Dancing were
equally absurd with the Figures”, and “the effect they
would have at Court, in these more enlightened times,
may be better conceived than described”, a remark for
which I have no doubt there was plenty of justification.
Unhappily, the injurious effects of its excursion into
the drawing‑rooms of the upper‑classes, reacted,
to some extent, upon the dances in the country villages; and it
needs no acute critic to detect this in the traditional
Country Dances of the present day. The older forms of
the dance have entirely disappeared, and the dances now
extant belong exclusively to the Longways type.
These considerations materially enhance the value and
interest attached to Playford’s book, and we cannot be
too thankful for the good fortune which has preserved a
volume by means of which we can, if we will, reconstruct
and revive the English Country Dance as it was danced
in the days of its prime.
But to do this we must first master Playford’s notations
and translate them into modern and intelligible language.
And to do this is no easy task. This book represents a modest
attempt in this direction, made, however, not without a
full appreciation of the difficulties involved in the
undertaking and the responsibility attached to it.
In order that the reader may understand the nature of
the problem, and estimate the value of the tentative
solution here offered, I will now explain the scope of
“The English Dancing Master”, the character
and the arrangement of its contents.
The first two pages of the book contain a list of
the abbreviations used in the notations, together with
the definitions of two movements (“The Single”
and “The Double”), and of one figure (“Set
and turn Single”). On each of the remaining pages of the
book the tune and notation of a single dance are printed, with
a diagram showing the positions of the performers at
the beginning of the dance (see Plates facing pp. 13
and 58). The notation, which is printed immediately below
the tune, is divided into Parts by horizontal lines drawn
across the page. This division into Parts, all of which
are of equal duration in performance, is made for the
sake of clearness. The same device was employed by
Essex, who likened the Parts to the “several verses
of songs upon the same tune.”
The Parts are further subdivided by vertical spaces
into sections, each section containing the description
of those movements and figures which are to be performed
to the particular strain of the tune under which it is
printed.
Now, it should be clearly understood that these
notations deal with the figures and evolutions only. No
instructions whatever are given there or elsewhere (with
the single exception noted above) concerning the steps
with which the figures are to be executed, the editor
judging, no doubt correctly, that to the public he was
addressing such directions would be superfluous. Playford’s
silence upon this important branch of the subject opens
up a very difficult question, which will presently
engage our attention.
The next difficulty is to extract their meaning from
the notations. These are couched in the colloquial
speech of the day, with a sprinkling of technical terms,
the whole resulting in a species of quasi‑technical
jargon not unlike that spoken by expert Morris and Country
Dancers of the present day. The editor appears to
have used the homely phrases that were current amongst
dancers of his day; but these, intelligible enough to
his contemporaries, often read to us as though they were
written in a foreign tongue. Moreover, apart from their
phraseology, the sentences are often ungrammatical, badly
punctuated, involved, and ambiguous. Such a passage as
the following—and it is a fair sample—looks
at first sight as though it must forever remain
unintelligible:—“First man and 2 Wo. the 2 man
and first Wo. lead out to the wall, and fall back again, while the
other four crosse over each with his own, and meeting each other
We. lead them under the first and 2 Cu. arms, falling into
your places, and turn his own”. Even when the meaning
of the abbreviations is known, such a passage as this
needs careful handling. Nevertheless, to give him his
due, Playford is sometimes concise, lucid, and even racy.
Such directions as “That again,” “Women
as much,” “Do this to the last, the rest following
and doing the like”, are at once clear in their meaning and
refreshing in their terseness.
In dealing with these notations a wide and detailed
knowledge of the figures of the Morris, Sword and
Country dances of the present day, and also of the
figures described in the dance manuals of the last two
centuries is essential. For the rest, all that can be
done is patiently to study and analyse the sentences as
one would do those of an unknown code, comparing, for
instance, the several ways in which the same or similar
expressions are used in different contexts, and so forth.
On the whole I am inclined to believe that when these
notations have attracted the general attention of students
accustomed to work of this kind, it will be found quite
possible to reconstruct the greater number, if not all of
the dances. For my own part I have already deciphered,
more or less to my own satisfaction, very nearly all
the dances in the first four editions of “The Dancing
Master”, upon which I have yet almost exclusively
concentrated my attention; and I am bold enough to
believe that the notations of the thirty dances given
in the text are substantially accurate.
The dances described by Playford are of seven species,
viz., the Round; the Square for eight; the
Long for four, six or eight performers; the Longways
for as many as will; and the dance for an indefinite
number of couples standing in a straight line. Of the
last variety “Dargason” is the sole example.
The Rounds, which are danced by three, four, or an
indefinite number of couples, are the easiest of
the Playford dances to interpret, although some of
them—“Newcastle,” for
example—contain movements far from
simple. Occasionally, a progressive figure of an elementary
character appears in the Round, but such occurrences are
rare. The first edition contains 14 examples of this type
of dance; the seventh edition, 25; and the last, 3 only.
Five Rounds are noted in the text.
In the Square for eight we have the prototype of the
French contredanse, of which the Quadrille and
Lancers still survive. In its construction and figures it
is very similar to the Round for eight, as a comparison
with “Newcastle” will show. Judging from
the few examples of the Square that Playford gives, this
particular form of Country Dance was never a very popular
one. The first edition, for instance, contains 3 examples
only; the seventh, 5; and the seventeenth, 2. Two examples,
taken, respectively, from the first and third editions,
are noted in the text.
The Longs-for-four are usually somewhat elaborate
because, progressive movements being impractical with
so small a number of performers, the interest can only
be maintained by a continuous series of varied figures.
Some of the evolutions in these dances were afterwards
utilised in the Longways dances, of which the
Long‑for‑four formed the nucleus—the
duple minor‑set. Some of the dances, e.g.,
“Cuckolds all a row” and “The Glory
of the West”, although arranged for four performers in
the earlier editions, appear later on as dances for eight. Playford
gives eight dances of this species in his first edition; nine in the
seventh; and one example only in the last. Five examples
of varying difficulty are given in the text.
The Longs-for-six are especially interesting, in that
they are cast in the same formation as that of the normal
Morris dances. Many of the movements and figures are
identical with those used in the latter dance, e.g.,
Corners, Foot‑up, Back‑to‑back, Hey‑for‑three, etc.
One figure, which occurs in “Grimstock”,
“Trenchmore” and other dances, is very similar
to the well known sword dance figure “The Roll”.
A progressive movement, necessarily very simple and restrained,
enters into a few of the dances of this type. For the rest, the
Longs‑for‑six are easy of execution, pleasant to
dance, and pretty to watch. These reasons may, perhaps, account
for their popularity in the old days; for Playford
gives no less than 25 examples in his first edition,
and the same number in his seventh. Later on, however,
their popularity seems to have decreased, for their
number gradually lessened in the following issues,
until in the final edition not a single example is printed.
Four dances of this species are given in the text.
The Longs-for-eight, in construction and in the arrangement
of their figures, are very similar to the Longs‑for‑six.
In some of the dances of both species the disposition
of the dancers is irregular, an arrangement which often
leads to some pretty and unusual combinations. Most of
these abnormal forms, are, however, very difficult to decipher.
For this reason I have been unable to give more than one
example of this type, viz., “The Ten Pound Lass.”
There are eight dances of this class in the first
edition; three in the seventh; and eight in the last.
Three varieties are given in the text.
An especial interest attaches to the Longways dances
in “The Dancing Master”, for they represent the
earliest examples of that type which, as we have seen,
subsequently superseded all the others. In the seventeen
editions we can trace, step by step, the gradual evolution
of this type of dance, and especially of the progressive
principle which eventually became its dominant feature.
We have already pointed out that in the older types of
Country Dance progressive movements were only used
vary rarely and tentatively. This is also true of the
majority of the Longways dances in the earlier editions.
Some of these, e.g., “Goddesses”,
contain no progressive movement whatever; in others it is
introduced in one or other of the Parts only. In “Staines
Morris”, for example, every alternate Part is progressive,
and in these progressive Parts two performers only participate,
the first man and the last woman. The progressive movement
is, moreover, confined to the woman’s side only.
Technically, the dance is a poor one, because in the
progressive Parts, that is, for half the dance, two only
of the performers have anything to do. To the student,
however, the dance is full of interest, for in it he can
see the progressive principle in embryo. “The Dancing
Master” contains other dances of the same kind, but, as
these are all more or less unattractive from the dancer’s
point of view, I have included this one example only.
In a few of the Longways dances the progressive movement
leaves the dancers “improper”, i.e., with
the man on the woman’s side, and with the woman on the
man’s. This produces a situation of complexity, which is
explained—not, however very lucidly—by Essex.
The device, never frequently employed, gradually fell into
disfavour and, finally, in the course of the eighteenth
century, it disappeared altogether.
Nine Longways dances are given in the text. Of these,
only one represents the dance in its full development,
“The twenty‑ninth of May,” and that has
been taken from the seventh edition.
The figures which occur in the course of the dances
described in “The Dancing Master” are very varied
and very numerous. With the exception of the Set, the
Side, the Honour, and others of like character, all of
which are essentially Country Dance figures, I have been
able to connect nearly all of them with similar evolutions
in the Morris or Sword dances. The Whole‑Pousette and,
of course, the Roll, are sword‑dance figures, and I
believe that all those Country Dance figures, in which
an arch is made by the joining of hands, handkerchiefs,
or ribbons, were originally derived from the same source.
Other evolutions such as Whole‑Gip,
Back‑to‑back, Cross‑over,
Foot‑up, Corners, etc., are familiar Morris
figures. The Hey, of course, is found in all three
dances, in some form or other. This is at once the most
engaging and the most varied and intricate of all the
figures of the set‑dance. There is an interesting passage
in Hogarth’s “Analysis of Beauty”, in
which he expatiates upon the beauty of this figure, which will perhaps
bear quotation:—“The lines which a number of people
together form in country or figure dancing, make a
delightful play upon the eye, especially when the whole
figure is to be seen at one view, as at the playhouse from
a gallery; the beauty of this kind of mystic dancing, as
the poets term it, depends upon moving in a composed
variety of lines, chiefly serpentine, governed by the
principles of intricacy. The dances of barbarians are
often represented without these movements, being only
composed of wild skipping, jumping, and turning round,
or running backward and forward with convulsive shrugs
and distorted gestures. One of the most pleasing movements
in country dancing, and which answers to all the principles
of varying at once, is what they call the hay.…
There are other dances that entertain merely because
they are composed of variety of movements and performed
in proper time, but the less they consist of serpentine
or waving lines, the lower they are in the estimation
of dancing masters.”
As already stated, Playford specifically defines two
movements and one figure only. He describes the two
movements, the Double and the Single, as, respectively,
“four steps forward or backward closing both feet”,
and “two steps closing both feet”; and the figure,
“Set and Turn Single”, as “a Single to one
hand, and a single tothe other and Turn Single”.
This last expression, “Turn Single” is to be found
upon almost every page of “The Dancing Master.”
The description of this movement in the text is founded
upon that given by Nicholas Dukes in his “Country
Dances” (1752), in which the figure is chorographically
described. This removes all doubt as to the manner of
its performance.
The rest of the figures described by Playford are, so far
as the majority of them are concerned, fairly easy to
interpret. Of those which occur in the dances given in the
text, the only about which I feel any doubt is the Side.
“Sides all”, “Arms as you Side”,
“First man Sides with first woman”, are expressions
which recur with great frequency. Although I have consulted all the
sources of information at my disposal, I have been unable to
find any authoritative definition of this figure. Nor
have I been able to find any one of the above expressions,
used in precisely the same way, in any of the dance
collections subsequent to “The Dancing Master.” I
should have preferred to have omitted from the dances
noted in this book all those in which this expression
was used, but owing to its frequent occurrence, this
was quite impossible.
Some solution had, therefore, to be made. The one
given in the text was arrived at by comparing the several
ways in which the term was used in various dances.
This made it quite clear (1) that the figure was a four‑bar
movement; (2) that it was executed by one dancer to
another, or by two dancers, usually partners, to each
other simultaneously; (3) that it was a movement of
courtesy similar to the Set; (4) and, lastly, that it
consisted of two movements of equal duration, half to the
right and half to the left. This latter attribute, which
is a very important one, was deduced from “Nonesuch”
(see p. 102), where the figure in question is described
as “Side to the right” and “Side to the left”,
with a turn Single added after each movement, thus converting the
movement into one of eight instead of four bars.
The most that can be said in favour of the solution I
have ventured to give, is that it fulfils all the above
requirements; and that it is difficult to think of any other
movement which will do so. Nevertheless, I am aware that,
although the margin of doubt has been materially
reduced, I have not succeeded in eliminating it.
Before leaving the discussion of the figures it should
be explained that in the seventeenth century it was
customary to set several short figures to a single strain
of the tune instead of one or, at most two, longer figures,
as afterwards became the practice. This, while it increased
the difficulty of the dance, made the use of elaborate
steps impracticable. It added, however, to the brightness
and briskness of the dance, and it is in this respect,
no doubt, that the seventeenth century Country Dance
differs most from that of later days.
Upon the subject of the steps, as I have already pointed
out, Playford is silent. Hence the steps as described in this
book are not, like the figures and music, authoritative;
they are merely those which my researches lead me to
believe were actually, or at any rate, very probably,
used in the seventeenth Country Dance. I have arrived
at this somewhat speculative solution of a very
difficult question, (1) by observing the steps used in
the traditional Country Dance of the present day; and
(2) by examining the evidence bearing upon the subject,
contained in the dance manuals of the last two centuries.
All the five steps described in the text are still used
by traditional dancers; other steps are also used, e.g.,
polka, galop, and waltz steps; but these I have rejected,
because, like the figures with which they are nearly always
associated, they are obviously of more modern derivation.
Nearly all the dance books subsequent to “The Dancing
Master” contain directions concerning the steps to be
used in country dancing. In most cases, however, the
steps recommended are those of the Gavotte, Bourrée,
Minuet, Rigadoon, and similar dances; but these were
the product of a later development, and are not what we
are looking for. Fortunately, information of another
and more helpful kind may occasionally be gleaned from
the books of the more sagacious writers.
Essex, for instance, tells us that “the most ordinary
steps in Country Dances (except those that are upon
Minuet airs) are steps of Gavot, drive sideways, Bourée
step and some small jumps forward of either foot in a
hopping manner, or little hopps in all round figures.…
One may make little hopps or Bourée steps but little
hopps are more in fashion.… In all figures that
go forwards, or backwards and forwards, always make
gavotte steps. In all figures that go sideways drive
sideways.”
Now, the “drive sideways” is the same as the
“slip” (see p. 29); “the small jumps forward
of either foot in a hopping manner”, I take to be the “skipping
step” (see p. 29), while the “little hopps in all round
figures” is obviously “the double‑hop”
(see p. 30). So that for three of my five steps I can claim the
authority of a scientific writer, who lived and wrote during the actual
publication of “The Dancing Master.” For the two
remaining steps—the “walking” and
“running” steps—traditional
authority is so strong that I do not think that
any reasonable doubt can be raised with respect to their
authenticity.
Essex, it is true, also mentions Gavotte, Bourrée, and
Rigadoon steps; but these, I think, we must ignore. In
recommending them he was following, or maybe initiating
a fashion which, as we know, subsequently led to the
degeneracy of the Country Dance. Moreover, when
offering the alternative of Bourrée steps or “little
hopps,” Essex admitted that the latter were “more
in fashion.”
As time went on, the practice of substituting the more
ornate steps of the Court Dance for those of the Country
Dance gradually became universal. Nevertheless, here
and there, writers are to be found who warned their
readers against this prevailing and undesirable habit.
Indeed, as late as 1818, we find a protest of this nature in
Barclay Dun’s “Translation of nine of the most
fashionable quadrilles … to which are prefixed a few observations
on the style, etc. of the Quadrille, the English
Country Dance, and the Scotch Reel.” In this most
interesting work, the author quotes with approbation from
“a small volume said to be written by a lady of
distinction,” to the following effect:—“The
characteristic of our English country‑dance is that of gay
simplicity. The steps should be few and easy, and the corresponding
motion of the arms and body unaffected, modest, and
graceful.”
To these wise words Dun himself adds the following
comments:—“As it is the province of the
dance to imitate most scrupulously the accent or expression
of the music, and as the English tunes are well known to
posses less variety of expression and modulation than
those of France, I would recommend the use of the
most simple and neatly constructed steps in this kind
of dancing; practice will enable the dancer to perform
them in that correct, light, and prompt manner which
the nature of the music requires.”
It would, I think, be difficult to offer the would‑be
performer of Playford’s dances wiser or more salutary
advice than that given by the “lady of distinction.”
The dominant characteristic of our traditional Country
Dance is, undoubtedly, its “gay simplicity”; and it is
precisely because drawing‑room steps and mannerisms
conflict with this, that they must be ruled out as
wholly unsuitable.
We see, then, that although in the nature of things it
is impossible to speak dogmatically with regard to the
steps which should or should not be used in the Playford
dances, it is quite feasible to suggest those which are
in harmony with their natural and simple character, and
for which at least some semblance of authority can
fairly be claimed.
I would add that there is, of course, no authority
whatever for the particular steps that are attached to
the figures in the notations—I mean, so far as their
distribution is concerned. They merely represent the
steps which appear to me to be most suitable, taking into
consideration the character of each figure and of the
dance in which it occurs. This, however, is a matter of
minor importance; and dancers are, of course, at liberty
to vary them as they please. I would, however, deprecate
the introduction of steps other than those described
in the text, unless supported by some equally trustworthy
authority.
Our aim in reviving these dances should be to keep them
fresh and natural and, to this end, to avoid the use
of elaborate steps, together with the tricks and mannerisms
of the theatre or of the drawing‑room; for that way,
as history shows, danger lies. The steps that I have
ventured to suggest may or may not be historically
accurate; but they can, at least, be executed without
injury either to the form or spirit of our very beautiful
national dance.
I cannot bring this Introduction to a close without
saying something about the music. Upon comparing the
same tunes in successive editions of “The Dancing
Master”, it will be found that many were subjected to
frequent alteration. Remembering the standpoint from
which the professional musician of those days regarded
the music of the people, it is not difficult to conjecture
the nature and purpose of these changes. Their object,
of course, was to bring the tunes into conformity with
the musical notions of the day. Indeed, I suspect that
many of the “grosse errors” of the first
edition were no more than modal peculiarities, which, by
the suppression or addition of sundry accidentals, were
subsequently “corrected” in the second and
later editions. The wonder is, not so much that the changes
of this nature were made, as that the tunes were ever printed
in the unedited forms in which many of them appear in the earlier
editions. “Jenny Pluck Pears”, for instance, appears
as a dorian air in the first edition, thus:—
In the second edition, the dorian was converted into
the minor mode:—
Finally, in the fourth and subsequent editions, by omitting
the signature while retaining the added accidentals,
the tune became a major one, and in the seventh
edition took the following form:—
In the course of my investigations I have been much
struck by the number of beautiful and characteristically
English folk‑airs that lie buried in “The Dancing
Master”. I am satisfied that the larger number of these are quite
unknown to the average musician. Even among the few tunes
which I have selected for the purpose of this volume,
there are several fine and distinctive airs, e.g.,
“Jenny Pluck Pears,” “New
Bo‑Peep,” “Ten Pound Lass,”
“Oranges and Lemons,” “The Black Nag,”
“Rufty Tufty,” “Saint Martin’s,” “Grimstock,” “Putney Ferry,” “Black
Jack,” etc., not one of which, so far as I know, has hitherto been
published in an accessible form.
The fact is, that the only tunes in “The Dancing
Master” at all widely known are those which first
appeared in Chappell’s “Popular Music of the Olden
Time”; and many of these were unfortunately presented
in anything but their best forms. For Chappell—as
was, perhaps, natural, remembering the time at which he
wrote—very often chose the later and “edited”
forms in preference to the earlier and uncorrupted modal ones.
This error of judgment has since been corrected by Mr.
Wooldridge in the second edition of “Popular Music.”
Moreover, the tunes which Chappell selected were chosen
quite as much for their historical, literary, or antiquarian
associations, as for their artistic qualities. Consequently,
a large number of the best and most characteristic
of the Playford tunes were omitted from Chappell’s book;
and of those included many, e.g., “The Friar
in the Well,” “Staines Morris,”
“Nonesuch.” etc., were first presented, and have
since become popular, in more or less degenerate forms.
Again, it should be understood that the tunes in “The
Dancing Master”, are dance‑airs, arranged for the
“treble violin”. They are instrumental, not vocal tunes.
Originally, no doubt, they were ballad airs—their titles
show this—but, as printed by Playford, they are derived
tunes transformed under the influence of the dance, and
of the instrument upon which they have been played.
A few, e.g., “Gathering Peascods” and
“The Begggar Boy,” are apparently vocal airs, pure
and simple, which I suspect had not, before Playford so utilised
them, been pressed into service of the dance.
Be this as it may, by far the larger number of the tunes in
“The Dancing Master” are genuine instrumental
dance‑tunes, whatever they may have been originally.
To present them as vocal airs wedded to words is to
disguise their true nature and beauty, and to deprive
them of the appreciation otherwise their due.
In selecting the dances for the purpose of this volume,
I have been guided by several and, in some cases, conflicting
considerations. My choice was necessarily restricted
(1) to those dances, the notations of which I was able to
interpret satisfactorily; and (2) to those that from the
dancer’s point of view were the most characteristic and
interesting. Naturally, I found that many of the best
tunes were attached to dances which for one or other of
these reasons had to be excluded; while, per contra,
dances otherwise free from objection were often allied to
poor tunes. My selection had, therefore, to be a compromise.
I might, of course, have transferred the good tunes mated
to indifferent dances, to the good dances set to bad tunes.
And remembering the arbitrary way in which Country Dances
were often compounded, I should have had ample justification
for adopting such a course. On reflection, however, I have
decided so far as this book was concerned, to print for each
dance the tune with which it is associated in “The Dancing
Master”. In future I may, perhaps, act differently.
The investigations which I have made in connection
with this book have convinced me that in Playford’s
“Dancing Master” we posses a veritable
treasure‑house of precious material, the full value of which
has yet to win general recognition. For those interested in the
revival of folk‑dancing, it is the only book in which the
English Country Dance, in its earliest, purest, and most
characteristic forms, is described. Furthermore, “The
Dancing Master” contains the largest and, in some respects,
the most authoritative collection of seventeenth
century instrumental folk‑tunes that we posses. For
those two reasons alone—and others might easily be
adduced—it is to be hoped that this unique work will
some day attract from students of dancing, and from
those interested in the folk‑music of their country, the
attention which it undoubtedly deserves but has not yet,
I think, received.
THE DANCE.
THE ROOM.
The following diagram is a ground plan of the room
in which the dances are supposed to take place.
A diagram, showing the initial disposition of the
dancers, will be printed with the notation of each dance,
and will be so placed that its four sides correspond with
the four sides of the room as depicted in the above plan.
That is, the upper and lower sides of the diagram will
represent, respectively, the right and left walls of the
room; its left and right sides the top and bottom.
In Playford’s time, the top of the room was called
“the Presence,” alluding to the dais upon which the
spectators were seated. The expression “facing the
Presence” means therefore, facing up, i.e.,
toward the top of the room; while “back to the Presence”
means facing down, toward the bottom of the room.
THE MUSIC.
The several strains of each dance-air will be marked
in the music‑book and in the notations by means
of capital letters, A, B, C, etc. When a strain is played more
than once in a Part it will be marked A1, B1, C1, etc.,
on its first performance, and A2, B2, C2, A3, B3, etc.,
in its subsequent repetitions.
It will be found that every dance in this collection is
divided into two or more Parts. John Essex quaintly
but aptly likened these divisions to “the several verses
of songs upon the same tune.”
In non-progressive dances, the division is made merely
for the sake of clearness in description; the Parts are
intended to follow on without a pause.
When, however, a progressive movement occurs in one
or other of the figures of a Part, that Part must be
repeated as often as the dancers decree. The usual
practice is to repeat the Part until the leader has
returned to original place at the top of the General Set.
Progressive figures will, as heretofore, be marked as
such in the notation; while the parts in which they
occur will be headed “Whole‑Set,”
“Duple Minor‑Set,”
etc., according to the nature of the progression.
THE STEPS.
Country Dance steps always fall on the first and middle
beats of the bar, whether the time be simple or compound.
When the step itself is a compound one, that is, when it
consists of more than one movement, the accented movement
always falls upon the beginning of the beat.
The following abbreviations will be used in the music diagrams:
r = right‑foot; l = left‑foot; h = hop; f.t. =
feet‑together;

= spring.
Walking-Step.
This is the springy walking-step described in Part I
(p. 24). The ball of the foot should take the ground
before the heel.
In the notation this step will be called:—
w.s. (walking-step).
Running-Step.
A bounding or slow running step, executed upon the
ball of the foot, with a moderate amount of spring, and
with limbs relaxed. The arms, held loosely, should be
slightly bent at the elbows, and allowed to swing naturally,
forward and backward, in rhythm with the movements
of the feet.
In the notation this step will be called:—
r.s. (running-step).
Skipping-Step.
This is a step and hop first on one foot and then on
the other. The hop is made forward rather than up, and
should raise the body as little as possible. When the
steps are long and the motion rapid, the hop should be
scarcely preceptible.
The accent is on the step, which must fall, therefore,
on the beginning of the beat. The hop falls on the last
quarter, or the last third of the beat, according as the
latter is simple or compound, thus:—
or
In the notation this step will be called:—
sk.s. (skipping-step).
The Slip.
This, like the preceding, is a compound step. It is
used in moving sideways along the straight, or around a
circle, the dancer facing at right angles to the line of
motion.
The performer stands with feet apart. If moving, day,
to the left, a low spring is made off the left foot and
the weight of the body transferred to the right foot
which alights close to the spot just vacated by the left
foot. The left foot then falls to the ground, a foot or
more to the side, a spring is again made off it, with a
side thrust imparted by the right foot, and the movements
are repeated. The legs are thus alternately opening
and closing, scissor fashion.
The accent falls on the foot off which the spring is
made, that is, the right or left, according as the motion
is toward the right or left, thus:—
or
The slip is used in ring movements and whenever the
dancers are directed to move sideways, or “slip” to right
or left.
This step will be marked in the notation:—
sl.s. (slip-step).
The Double-Hop.
This is sometimes used in ring movements as an alternative
to the preceding step. It is a variant of the Slip, in which
the feet, instead of taking the ground one after the other,
alight together, about six inches apart. The movement is,
therefore, a series of jumps or double‑hops.
The Single.
This consists of two movements. A step forward, or to the side,
is made with one foot, say, the right, and the weight of the
body supported upon it. The left foot, heel raised and toe
touching the ground, is then drawn up and the heel placed
in the hollow of the right foot (one bar).
As the left foot is dragged towards the right, the body
is raised upon the instep of the right foot, and lowered
as the feet come together. These movements are shown
in the following diagram:—
or
The Double.
The double is three steps, forward or backward, followed
by “feet‑together,” thus:—
or
The Jump.
The dancer, standing with feet parallel and close together,
springs off both feet and alights upon both feet.
The knees must not be bent.
The Rise.
The dancer, standing as in the preceding figure, rises
on to the toes of both feet, rests there a moment, and
then lowers the heels to the ground.
THE FIGURES.
In the description of the following figures and, later
on, in the dance notations, many technical expressions
will be used. These will now be defined.
When two dancers, standing side by side, are directed
to “take hands,” they are to join inside hands;
that is, the right hand of one with the left of the other, if the
two face the same way; and right hands or left hands,
if they face in opposite directions. If they are directed
to take or give right or left hands they are to join right
with right, or left with left.
To “cross hands” the man takes the right and
left hands of the woman with, respectively, his right and left
hands, the right hands being held above the left.
When two dancers face one another and are directed
to take “both hands,” they are to join right with left,
and left with right.
To pass “by the right” is to pass right shoulder to right
shoulder; “by the left,” left shoulder to left shoulder.
When a woman’s path crosses that of a man’s, the
man must always allow the woman to pass first and in front of him.
When a man and a woman are directed to “cross over and
change places,” the man, in a longways dance, should pass
above the woman. In a square dance they should cross by
the left when moving from their places and by the
right when retuning to them.
When one dancer is told to “lead” another, the two
join right or left hands according as the second dancer
stands on the right or left hand of the leader.
To “cast off” is to turn outward and dance outside
the General Set.
To “cast up” or “cast down” is to move
up or down outside the General Set.
To “fall” hither or thither is to dance backwards; to
“lead” is to move forwards.
To make a “half turn” is to turn through half a circle
and face in the opposite direction.
To make a “whole turn” means that the dancer
revolves on his axis through a complete circle.
The disposition of the dancers is said to be “proper”
when men and women are on their own sides; and
“improper” when the men are on the women’s
side and the women on the men’s.
FIGURE 1.
Turn Single.
The dancer moves round in a small circle, clockwise
(unless otherwise directed), taking four small walking
or running‑steps, beginning with the right foot (two bars).
When the turn is to be made counter‑clockwise, the first
step is taken with the left foot.
FIGURE 2.
The Set.
This is a formal movement of courtesy, addressed by one
dancer to another or, more frequently, by two dancers
to each other, simultaneously. It consists of a single to
the right, followed by a single to the left (two bars), thus:—
or
FIGURE 3.
The Side.
The dancer moves forward a double (w.s. or r.s.) diagonally
to the right, makes a half‑turn, counter‑clockwise,
and retraces his steps, thus:—
Sometimes, but very rarely, one only of the two movements
is preformed. In that event, the expression “side
to the right,” or “side to the left,” is used.
FIGURE 4.
Arm and Side.
The dancers link left arms as they side to the right,
and right arms as they side to the left (four bars). The
siding should be performed with very small steps in order
that the dancers may remain linked as long as possible.
FIGURE 5.
Arm with the Right.
Two performers, usually partners, meet, link right arms,
swing round clockwise, separate, and fall back to places
(r.s.) (four bars).
FIGURE 6.
Arm with the Left.
This is the same as the preceding movement except that
the dancers link left instead of right arms, and swing
round counter‑clockwise instead of clockwise.
FIGURE 7.
All Lead up a Double and Fall Back a Double.
Couples stand in column formation, facing up. Each man
then leads his partner up a double and, without turning
or releasing hands, falls back a double (four bars).
Dancers should begin each movement forward and backward,
with outside feet.
FIGURE 8.
All Lead up a Double, Change Hands and Lead Back a Double.
All lead up a double as in the preceding figure. They
then release hands, make a half turn inward, face
downwards, and lead a double back to places (four bars).
FIGURE 9.
All Move Up a Double and Fall Back a Double.
Couples face up in column formation and, without
handing, move up a double, and fall back a double to
places (four bars).
In this and the two preceding figures, the dancers may
bend or dive forward with a slight bowing movement as
they take the first two steps up. This is frequently done
by traditional dancers, especially when the running‑step
is used; and it is a very effective addition when properly
executed, i.e. without exaggeration.
FIGURE 10.
Hannds-Two, Hands-Three, Hands-Four, Etc.
Two or more dancers, as directed, join hands, dance
round in a ring clockwise, facing centre, make one complete
circuit, separate, and return to places (four bars).
If more or less than one circuit is to be made, specific
instructions to that effect will be given in the notation,
e.g. half‑way round,
once‑and‑a‑half round, etc.
In the absence of any such directions it is to be understood
that one complete circuit is to be danced.
The performers should clasp hands firmly, lean outward,
and not dance too daintily. When the movement is followed
by a repetition in the reverse direction, the dancers,
without releasing hands, may stamp with both feet on
the first beat of the second movement.
Occasionally, this figure is performed facing outward,
that is, with backs turned toward the centre. Whenever
this occurs special instructions to that effect will be
given in the notation.
FIGURE 11.
The Turn.
Two dancers face each other, join both hands, swing
round clockwise, separate, and return to places (two bars).
When four bars of the music are allotted to the movement,
two complete circuits may occasionally be made.
In swinging, each performer should place both feet
together, clasp hands firmly, and lean outward as in the
ring movement.
FIGURE 12.
The Honour.
This, like the Set, is a formal movement of courtesy
addressed by one dancer to another, or by two dancers
to each other simultaneously.
In making the honour, the woman curtseys, and the
man bows and, if he is wearing one, raises his hat.
The old custom was for partners to honour each other
at the beginning and at the close of each dance.
FIGURE 13.
Half Pousette.
This is performed by two adjacent couples, usually
the first and second.
Each man faces his partner and takes her by both
hands. The arms must be held out straight, and very
nearly shoulder high.
First man, pushing his partner before him, moves four
steps along dotted line to a, and then falls back four
steps along the line a b c into the second couple’s
place, pulling his partner after him.
Simultaneously, second man, pulling his partner after
him, falls back four steps along unbroken line to d, and
then moves forward four steps along the line d e f into
the first couple’s place (four bars).
The above movement is called the half-pousette, and
is, of course, a progressive figure.
When the half-pousette is followed by a repetition of
the same movement, each couple describing a complete
circle or ellipse, the figure is called the whole‑pousette.
FIGURE 14.
First Couple Casts Off into Second Place.
First man turns outward to his left and casts off and
down, outside second man, into the second place; while
first woman turns outward to her right and casts off and
down into the second place. Simultaneously, second man
and second woman slip or move up into the first place.
This is a progressive figure.
FIGURE 15.
Back-to-Back.
First man and first woman face each other and move
forward, the man along the line a b, the woman along the
dotted line d e. They pass by the right, move round
each other, back to back, and fall back to places, the
man along the line b c, the woman along the dotted line
e f (four bars).
The arrow heads in the diagram show the positions of
the dancers at the end of each bar and point in the
directions in which they are facing. The arrows outside
the lines show the direction in which the dancers move.
FIGURE 16.
Whole-Gip Facing Centre.
First man moves forward along line a, dances round circle
b c d, keeping his face toward the centre, and falls
back along line d e to place; while first woman dances
along dotted line m, moves round circle n o p, keeping
her face toward the centre, and falls back along dotted
line p s to place (four bars).
The arrows and arrow heads have the same significations
as in the preceding figure.
FIGURE 17.
Whole-Gip Facing Outward.
First man moves along line a and dances round circle
b c d, facing outward, to place; while first woman moves
along dotted line m, dances round circle n o p, facing
outward, and moves along dotted line p s to place (four bars).
FIGURE 18.
Right-Hands-Across.
This is performed by four dancers, as, for instance,
the first and second couples in a longways dance.
First man and second woman join right hands, while
second man and first woman do the same. Holding
hands, chin high, the four dancers dance round, clockwise,
to places, all facing in the direction in which they
are moving.
FIGURE 19.
Left-Hands-Acrcoss.
This is very similar to the preceding figure, the dancers
joining left instead of right hands and dancing round
counter‑clockwise instead of clockwise.
It is to be understood that in both of these figures the
dancers make one complete circuit unless specific instructions
to the contrary are given.
THE HEY.
The Hey may be defined as the rhythmical interlacing
in serpentine fashion of two groups of dancers, moving
in single file and in opposite directions.
The figure assumes different forms according to the
disposition of the dancers. These varieties, however,
fall naturally into two main types according as the
track described by the dancers—disregarding the
deviations made by them in passing one another—is
(1) a straight line, or (2) the perimeter of a closed
figure, circle or ellipse.
The second of these species, as the simpler of the two,
will be first explained.
FIGURE 20.
The Circular Hey.
In the analysis that follows the circle will, for the
sake of convenience, be used throughout to represent the
track described by the dancers in this form of the figure.
In the round dance the track will of course be a true
circle; while in the square dance it will become one as
soon as the movement has begun. On the other hand, in
a longways dance, the formation will be elliptical rather
than circular, but this will not affect the validity of the
following explanation.
In the circular Hey the dancers, who must be even in number,
are stationed at equal distances around the circumference
of a circle, facing alternately in opposite directions, thus:—
Diagram A.
Odd numbers face and move round clockwise; even numbers
counter‑clockwise. All move at the same rate and upon
meeting, pass alternately by the right and left.
The progression is shown in the following diagram, the
dotted and unbroken lines indicating the tracks described
respectively by odd and even numbers. It will be seen
that in every circuit the two groups of dancers,
odd and even, thread through each other twice; that
is, there will be eight simultaneous passings, or
“changes,” as we will call them, in each complete circuit.
Diagram B.
This movement is identical with that of the Grand
Chain, except that in the familiar Lancers’ figure the
performers take hands, alternately right and left, as
they pass; whereas in the Country Dance Hey,
“handing,” as Playford calls it, is the exception
rather than the rule.
In this form the Hey presents no difficulty. No misconception
can arise so long as (1) the initial disposition of the pairs,
and (2) the duration of the movement, measured by circuits
or changes, are clearly defined. And instructions on these
two points will always be given in the notation. It should
be understood that in the absence of directions to the contrary,
the dancers are to pass each other without handing.
FIGURE 21.
Progressive Circular Hey.
Sometimes the Hey is danced progressively, the dancers
beginning and ending the movement pair by pair, instead
of simultaneously, as above described. This is effected
in the following way:—
The first change is performed by one pair only, say Nos. 1
and 2 (see diagram A, Fig. 20); the second by two pairs,
Nos. 1 and 3, and Nos. 2 and 8; the third in like manner
by three pairs, and the fourth by four pairs. At the
conclusion of the fourth change Nos. 1 and 2 will be
face to face, each having traversed half a circuit,
and all dancers will be actively engaged, thus:—
Diagram A.
The movement now proceeds in the usual way. At the
end of every complete circuit the position will be
as follows:—
Diagram B.
The figure is concluded in the following manner:—Nos. 1
and 2, upon reaching their original places (see diagram B),
stop and remain neutral for the rest of the movement.
The others continue dancing until they reach their proper
places, when they, in like manner, stop and become neutral.
This they will do pair by pair, in the following order,
Nos. 3 and 8, 4 and 7, 5 and 6. The initial and final
movements thus occupy the same time, i.e., four
changes.
Whenever the progressive Hey occurs (1) the initial
pair will be named; and (2) the duration of the movement,
measured by changes or circuits, will be given in
the notation.
FIGURE 22.
The Straight Hey.
The dancers stand in a straight line at equi-distant
stations, alternately facing up and down, thus:—
Diagram A.
Odd numbers face down; even numbers up. As in the
circular hey the dancers move at an even rate, and
pass each other alternately by the right and left. The
movement is shown in diagram B, the dotted and unbroken
lines indicating, respectively, the upward and downward
tracks described by the dancers.
Diagram B.
From this diagram it will be seen that the movements
of individual dancers are the same as those of the couples
in a progressive Country Dance (duple minor‑set), with
this differance—that the neutrals, instead of remaining
passive, reverse their direction by moving round a loop.
In the first change, all the dancers will be actively
engaged in meeting and passing each other; and there
will be no neutrals. But in the second change, there will
be two neutrals, Nos. 2 and 7, who will move, respectively,
round the loops a b and c d. At the beginning
of the third change, Nos. 2 and 7 re‑enter the track and
all the dancers pass, in pairs, as in the first change.
By means of the terminal loops the track is converted into
an endless path and, in this way, the continuose and
characteristic rhythmic movement of the Hey is preseved.
When, therefore, the number of dancers is even, as in
the above example, there will be in alternate rounds
(1) no neutrals, and (2) two neutrals, one at each end.
The distribution, however, will be somewhat different
when the number of dancers is uneven, as the following
diagram will show:—
Diagram C.
Odd numbers face down; even numbers up. No. 5,
having no partner, is neutral in the first change. In the
second change, No. 2 will be neutral at the other end.
In every change, therefore, there will be one neutral,
alternately at the top and bottom.
When this veriation is performed by three dancers
only, we have the form in which the hey occurs most
frequently in the Country Dance. On this account it
will perhaps be advisable to describe this particular
form in detail.
FIGURE 23.
The Hey for Three.
Nos. 1 and 3 face down; No. 2 up. The figure is
performed in six changes, thus:—
(1). Nos. 1 and 2 pass by the right; while No. 3
moves round the loop a b.
(2). Nos. 1 and 3 pass by the left; while No. 2
moves round the loop c d.
(3). Nos. 2 and 3 pass by the right; while No. 1
moves round the loop a b.
This completes the first half of the movement, which is
called the half‑hey. Nos. 1 and 3 have changed ends,
while No. 2 is in his original station.
The second half of the figure proceeds as follows:—
(4). Nos. 1 and 2 pass by the left; while No. 3
moves round the loop c d.
(5). Nos. 1 and 3 pass by the right; while No. 2
moves round the loop a b.
(6). Nos. 2 and 3 pass by the left; while No. 1
moves round the loop c d.
This completes the whole-hey, as it is called,
and leaves the dancers in their original stations.
The above is, presumably, the correct way in which
this figure should be performed. Whether or not it was
so danced in the 17th century there is, apparently, no
evidence to prove. Hogarth, however, gives a diagram
in his Analysis of Beauty, which shows—though not
very clearly—how the Hey for three was danced at that
period, i.e. 1753; while Wilson (The Analysis of
Country Dancing, 1811) describes the way in which this
figure was performed in his day; and there is, of course, the
Hey of the present‑day Morris Dance (see Morris
Book 1.41). These three forms all differ, and not one of them
is the same as that above described. The differences are,
however, comparatively unimportant; in all esseiitial
points they accord. Each one—to use Hogarth’s
words—“is a cypher of S’s, a number of
serpentine lines interlacing or intervolving each other.”
For the information of those interested in the subject,
a diagram showing the way in which the Hey for three
was danced in the early years of the last century, will
now be given. Except that the tracks, of the three
dancers are differentiated from one another by means
of varied lines, the diagram is an exact reproduction
of that printed in Wilson’s Complete System.
No. 1 moves along the broken line a; No. 2 along the
line b; and No. 3 along the dotted line c.
The Straight Hey may be performed progressively. It is
unnecessary, however to describe in detail the way in
which this is effected, because, in principle, the method
is the same as that already described in Fig. 21 (see p. 44).
Playford, in his descriptions of the dances, makes frequent
use of the expressions “Single Hey” and
“Double Hey.” It is difficult to say with certainty
what he means by these terms, because he uses them very
loosely. Very often they are identical with what we have
called the Straight and Circular Hey. As, however,
this interpretation is somewhat speculative, I have,
with some reluctance, substituted the terms used in the
text, which are self‑explanatory and free from ambiguity.
NOTATION.
JENNY PLUCK PEARS.
Round for six; in six parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A1 | 1–4 | Hands-six, eight slips clockwise. |
| 5–8 | Partners set and turn single. |
A2 | 1–4 | Hands-six, eight slips counter-clockwise
to places. |
| 5–8 | Partners set and turn single. |
B. | 1–2 | First man, taking his partner
by the right hand, sets her in the middle facing him. |
3–4 | Second man does the same with his partner. |
5–6 | Third man the same. |
7–8 | Partners honour each other. |
| | second part. |
A1 | 1–8 | Women stand in the middle back to
back, while the men dance round them clockwise, not joining hands (r.s.). |
A2 | 1–8 | Men dance round counter-clockwise
to places. |
B. | 1–2 | First man takes his partner
by the left hand, and places her beside him. |
3–4 | Second man does the same with his partner. |
5–6 | Third man the same. |
7–8 | Partners honour each other. |
| | third part. |
A1 | 1–4 | Partners side (r.s.). |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | All that again. |
B. | 1–2 | First woman, takes her
partner by the left hand and places him in the middle facing her. |
3–4 | Second woman the same. |
5–6 | Third woman the same. |
7–8 | Partners honour each other. |
| | fourth part. |
A1 | 1–8 | Men stand in the middle of the ring,
while the women dance round them clockwise, not joining hands (sk.s.). |
A2 | 1–8 | Same again, women dancing round
counter-clockwise, to places. |
B. | 1–2 | First woman takes her
partner by the right hand, and places him beside her. |
3–4 | Second woman the same. |
5–6 | Third woman the same. |
7–8 | Partners honour each other. |
| | fifth part. |
A1 | 1–4 | Partners arm with the right. |
| 5–8 | Partners set and turn single. |
A2 | 1–4 | Partners arm with the left. |
| 5–8 | Partners set and turn single. |
B. | 1–8 | Same as B in First Part. |
| | sixth part. |
A1, A2 and B. | Same as in Second
Part. |
PUTNEY FERRY.
Round for six; in three parts (4th Ed. 1670).

|
MUSIC. | MOVEMENT. |
| | first part. |
A1 | 1–4 | Hands-six, eight slips clockwise. |
| 5–8 | The same back again, counter-clockwise,
to places. |
B1 | 1–4 | Men meet and hands-three once round
clockwise, facing outward; while women turn single, twice round. |
| 5–8 | Men turn their partners. |
B2 | 1–4 | Women meet and hands-three once
round clockwise facing outward; while men turn single, twice round. |
| 5–8 | Men turn their partners. |
C1 | 1–2 | Each man sets to the woman
on his left. |
3–4 | Each man sets to the woman opposite him. |
5–6 | Each man honours his partner. |
7–8 | Men turn their partners. |
C2 | 1–2 | Each woman sets to the man
on her right. |
3–4 | Each woman sets to the man opposite her. |
5–6 | Women honour their partners. |
7–8 | Men turn their partners. |
| | second part. |
A. | 1–4 | Partners side (r.s.). |
| 5–8 | That again. |
B1 | 1–8 | Same as B2 in First Part. |
B2 | 1–8 | Same as B1 in First Part. |
C1 & C2 | Same as in
First Part, the dancers folding their arms as they set. |
| | third part. |
A. | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B1 & B2 | Same as in
First Part. |
C1 & C2 | Same
as in First Part, the dancers wiping their eyes with their handkerchiefs
as they set. |
MAGE ON A CREE.[*]
Round for eight; in three parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A1 | 1–4 | All take hands, move forward a double,
and fall back a double to places (r.s.). |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | All that again. |
A3 | 1–4 | Men meet and hands-four once round
to places, facing outward. |
| 5–8 | Each man turns the woman on his
left, i.e. first man turns second woman, second man turns third woman,
etc. |
A4 | 1–4 | Women meet and hands-four once
round to places, facing outward. |
| 5–8 | Men turn their partners. |
| | second part. |
A1 | 1–4 | Partners side (r.s.). |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | All that again. |
A3 | 1–4 | Men skip half-way round, clockwise,
and fall into opposite places, each passing before the first woman on his left,
and behind the second. |
| 5–8 | Women move forward a double, and fall
back a double to places, turning single as they do so (r.s.). |
A4 | 1–4 | Men skip half-way round, clockwise, to
places places, passing before the woman on their left, and behind their partners. |
| 5–8 | Same as in A3. |
| | third part. |
A1 | 1–4 | Partners arm with the right. |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | Partners arm with the left, set, and turn single. |
A3 | 1–4 | Each man turns the woman on his left
once‑and‑a‑half round. |
| 5–8 | Each man moves round another place
clockwise, and turns the next woman once‑and‑a‑half round. |
A4 | 1–8 | Movement continued, as in A3, to places. |
* In the 17th edition the title is “Madge on a tree or Margery Cree.”
THE FINE COMPANION.
Round for eight; in three parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A1 | 1–4 | All take hands, move forward a
double, and fall back a double to places (r.s.). |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | All that again. |
B1 | 1–2 | Men move forward and meet (r.s.). |
| 3–4 | Women move forward and meet,
while men fall back to places (r.s.). |
| 5–8 | Women fall back to places; while
men meet and hands-four once round to places (r.s.). |
B2 | 1–2 | Women meet (r.s.). |
| 3–4 | Men meet, while women fall back to places (r.s.). |
| 5–8 | Men fall back to places; while women
meet and hands-four once round to places. |
| | second part. |
A1 | 1–4 | Partners side (w.s.). |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | All that again. |
B1 | 1–2 | First and third couples move forward
and meet (w.s.). |
| 3–4 | Second and fourth couples meet;
while first and third couples fall back to places (w.s.). |
| 5–8 | Second and fourth couples fall back to
places; while first and third couples meet (r.s.) and hands‑four once round
to places. |
B2 | 1–8 | Same as B1, second and fourth couples
meeting first. |
| | third part. |
A1 | 1–4 | Partners arm with the right. |
| 5–8 | Partners set and turn single. |
A2 | 1–4 | Partners arm with the left. |
| 5–8 | Partners set and turn single. |
B1 | 1–8 | Men meet (r.s.) and hands-four
once round to places, facing outward; while women skip round them
counter‑clockwise, not joining hands. |
B2 | 1–8 | Women meet (r.s.) and hands-four
to places, facing outward; while men skip round them to places,
counter-clockwise, not joining hands. |
NEWCASTLE.
Round for eight; in three parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A1 | 1–4 | All take hands, move forward a double,
and fall back a double to places (r.s.). |
| 5–6 | Partners set to each other. |
| 7–8 | Each man sets with the woman on his left. |
A2 | 1–8 | All that again. |
B1 | 1–2 | Partners link right arms and swing round
once. |
| 3–8 | Men left-hands-across, counter-clockwise, to
places (sk.s.); while women skip round them, clockwise, to places, not joining
hands. |
B2 | 1–2 | Partners link right arms and swing round
three‑quarters of a circle. |
| 3–8 | Women left-hands-across, counter-clockwise,
to places (sk.s.); while men skip round them, clockwise, to places, not joining
hands. |
| | second part. |
A1 | 1–4 | Partners side (r.s.). |
| 5–8 | Partners side to the right, and then change
places. |
A2 | 1–8 | Same again, each man siding with the
woman on his right, and changing places with her. |
B1 | 1–4 | First man and third woman lead
forward a double, change hands, and lead back a double (r.s.) (Fig. 8,
p. 34); while third man and first woman do the same. |
| 5–8 | First man and third woman hold up their
arms and make an arch; while third man and first woman do the same. Fourth
man and fourth woman now cast off (the man to his right, the woman to her left),
pass between first man and third woman and return to the same places; while
second man and second woman cast off in like manner, pass between third man
and first woman and return to the same places (r.s.). |
B2 | 1–4 | Second man and fourth woman
lead forward a double, change hands, and lead back a double; while fourth man
and second woman do the same (r.s.). |
| 5–8 | Second man and fourth woman hold
up their arms and make an arch; while fourth man and second woman do the same.
First man and first woman now cast off (the man to his right, the woman to her
left), pass between second man and fourth woman and return to the same places;
while third man and third woman, casting off in like manner, pass between fourth
man and second woman and return to the same places (r.s.). |
| | third part. |
A1 | 1–8 | Each man arms with the right,
and then with the left, the woman on his right, and changes places with her. |
A2 | 1–8 | Each man arms with the right,
and then with the left, with the next woman on his right, and changes places with her.
(Partners are now side by side, but in opposite places.) |
B1 | 1–4 | Second couple joins hands with
first man and third woman, and all four face the right wall; while fourth couple joins
hands with third man and first woman, and all four face the left wall. Standing
thus, all fall back a double and then move forward a double (r.s.). |
| 5–8 | All turn single. Each man changes places
with the woman opposite. |
B2 | 1–4 | First couple joins hands with
fourth man and second woman, and all four face up; while third couple joins hands with
second man and fourth woman, and all four face down. Standing thus, all fall back a
double and then move forward a double (r.s.). |
| 5–6 | All turn single. |
| 7–8 | Each man changes places with
the woman opposite, and all resume original places. |
GATHERING PEASCODS.
Round for as many as will; in three parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A1 | 1–4 | Hands-all eight slips clockwise. |
| 5–6 | All turn single. |
A2 | 1–4 | Hands-all eight slips
counter-clockwise. |
| 5–6 | All turn single. |
B1 | 1–6 | Men meet; hands-all to places. |
B2 | 1–6 | Women the same. |
C1 | 1–2 | Men move forward
a double, and meet, clapping their hands on the first beat of the second
bar (r.s.). |
3–4 | Women move forward a double, clapping
hands on the first beat of the fourth bar; while men fall back to places (r.s.). |
5–6 | Men meet as before, clapping hands on the
first beat of the sixth bar; while women fall back to places (r.s.). |
7–8 | Men fall back to places, turning single as
they do so. |
C2 | 1–2 | Women meet,
clapping their hands on the first beat of second bar (r.s.). |
3–4 | Men meet, clapping hands on the first beat
of the fourth bar; while women fall back to places (r.s.). |
5–6 | Women meet, clapping hands on the first
beat of the sixth bar; while men fall back to places (r.s.). |
7–8 | Women fall back to places, turning single as
they go. |
| | second part. |
A1 | 1–4 | Partners side (w.s.). |
| 5–6 | All turn single. |
A2 | 1–6 | All that again. |
B1 | 1–6 | Women meet; hands-all to places. |
B2 | 1–6 | Men the same. |
C1 | 1–8 | Same as C2 in First Part. |
C2 | 1–8 | Same as C1 in First Part. |
| | third part. |
A1 | 1–4 | Partners arm with the right. |
| 5–6 | All turn single. |
A1 | 1–4 | Partners arm with the left. |
| 5–6 | All turn single. |
B1 and B2 | The same as
in First Part. |
C1 and C2 | The same as
in First Part. |
ORANGES AND LEMONS.
Square for eight; in three parts (3rd Ed. 1665).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–4 | All move forward a double, meet,
and fall back a double to places (r.s.). |
| 5–8 | That again. |
B1 Bar 1 | Men honour their
partners. |
Bar 2 | Men honour the women on the left. |
| 3–6 | Men meet in the middle, hands-four,
half-way round, clockwise, and fall into opposite places. |
Bar 7 | Women honour the men on their left. |
Bar 8 | Women honour the men on their right. |
9–12 | Women meet: hands-four,
half-way round clockwise, and fall each beside her partner. |
B2Bar 1 | Men honour their
partners. |
Bar 2 | Men honour the women on the left. |
| 3–6 | Men meet; hands-four, half-way round
counter-clockwise, to places. |
Bar 7 | Women honour the men on their left. |
Bar 8 | Women honour the men on their right. |
9–12 | Women meet; hands-four, half-way
round counter-clockwise, and fall into their own places beside their
partners. |
| | second part. |
A. | 1–4 | Partners side (w.s). |
| 5–8 | That again. |
B2 Bar 1 | Partners take right hands, raise
them, and move a single to the right. |
Bar 2 | Partners take left hands, raise
them, and move a single to the left. |
| 3–6 | The hey (Fig. 20, p. 42); partners giving
right hands to each other, and then left to the next (two changes) (sk.s.). |
7–12 | Movement continued
as in bars 1–6, all moving round one place more. |
B21–12 | Movement continued, as in B1,
to places. |
| | third part. |
A. | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B1Bar 1 | First and second couples honour
each other; while third and fourth couples do the same. |
Bar 2 | Partners honour each other. |
| 3–6 | First and second couples hands-four,
half-way round, and fall into each other’s places; while third and fourth couples
do the same. |
Bar 7 | First and fourth couples honour
each other; while second and third couples do the same. |
Bar 8 | Partners honour each other. |
9–12 | First and fourth couples
hands-four, half-way round, and fall into each other’s places; while second and third
couples do the same. |
B21–12 | Movement continued, as in B1,
to places. |
DULL SIR JOHN.
Square for eight; in three parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A1 | 1–2 | First man leads forward first woman (w.s.). |
| 3–4 | First man passes between second
and third couples, turns to his left, and returns behind the second couple to his place;
while first woman passes between third and fourth couples, turns to her right,
and returns behind fourth couple to her place (w.s.). |
| 5–8 | The third couple the same; the man
passing between first and fourth couples, the woman between first and second. |
A2 | 1–4 | The second couple the same; the
man passing between third and forth couples, the woman between first and
fourth. |
| 5–8 | The fourth couple the same; the man
passing between first and second couple, the woman between second and
third. |
B1 | 1–2 | First and third men cross over and
change places (r.s.). |
| 3–4 | First and third women the same (r.s.). |
| 5–8 | First and third couples right-hands-across,
half way round to places (sk.s.). |
B2 | 1–8 | Second and fourth couples the same;
second and fourth men stand each behind his partner. |
| | second part. |
A1 | 1–4 | First man passes between second
man and woman, and takes third woman’s place; while first woman passes between
fourth man and fourth woman into third man’s place.
Simultaneously, third man and third woman cross over and
take, respectively, first woman’s and first man’s places (r.s.). |
| 5–8 | Third man passing between fourth
man and fourth woman returns to his place; while third woman passing between
second man and second woman does the same (r.s.).
Simultaneously, first man and first woman cross over into their
places (r.s.).
First and third men then stand behind their respective
partners. |
A2 | 1–8 | The second and fourth couples do
the same as first and third couples in A1. |
B1 | 1–8 | First and third couples, standing in
single file, dance the hey (Fig. 22, p. 45), the first and third women first meeting and
passing by the right (eight changes) (sk.s.). |
B2 | 1–8 | Second and fourth couples do the same
(sk.s.). |
| | third part. |
A1 | 1–4 | The four men turn outward,
each to his left, and, passing behind their partners, move round one place,
counter‑clockwise (sk.s.). |
| 5–8 | The four women turn outward, each
to her right, and move round one place, clockwise (sk.s.). |
A2 | 1–4 | Men move round counter-clockwise
another place. |
| 5–8 | Women do the same, clockwise.
(Partners now stand side by side, first and third couples in each
other’s places, and second and fourth couples the same.) |
B1 | 1–4 | First and third men face their
partners and take them by the hands. Pushing their partners before them, the two men
move forward toward each other, pass round each other, by the right, back to back,
and fall back to the same places (r.s.). |
| 5–6 | First man and third woman meet,
take right hands and change places; while third man and first woman do the
same (r.s.). |
| 7–8 | First and third men take their partners,
each by the left hand (r.s.). (First and third couples are now in their own
places.) |
B2 | 1–8 | Second and fourth couples do the same
as first and third couples in B1. |
RUFTY TUFTY.
For four; in three parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–4 | Both couples move forward a double,
meet, and fall back a double to places (r.s.). |
| 5–8 | That again. |
B. | 1–4 | Partners set and turn single. |
| 5–8 | That again. |
C. | 1–2 | First man, with his left hand, leads
his partner a double toward the left wall; while second man, with his left hand,
leads his partner a double toward the right wall (w.s.). |
| 3–4 | Both couples turn round and face
each other; the men, with their right hands, lead their partners a double to
places (r.s.). |
| 5–6 | All turn single. |
7–10 | First man,
with his right hand, leads second woman up a double, turns round and, with his
left hand, leads her down a double to her place; while second man, with his right
hand, leads first woman down a double, turns round and, with his left hand, leads
her up a double to her place (r.s.). |
11–12 | All turn single. |
| | second part. |
A. | 1–4 | Partners side with each other (w.s.). |
| 5–8 | That again. |
B. | 1–8 | The same as B in First Part. |
C.1–12 | The same as C in First
Part. |
| | third part. |
A. | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B. | 1–8 | The same as B in First Part. |
C.1–12 | The same as C in First
Part. |
PARSON’S FAREWELL.
For four; in three parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–2 | Couples advance a double
and meet (w.s.). |
3–4 | First man and first woman move sideways
four slips up; while second man and second woman move sideways four slips
down. |
5–6 | All fall back a double (w.s.). |
7–8 | First man and first woman move sideways
four slips down; while second man and second woman move sideways four slips up,
to place. |
B1 | 1–2 | The two men rise (see p. 31) on the first
beat of the bar. The two women rise on the first beat of the second bar. |
| 3–4 | All rise four times, on the first and middle
beats of each bar. |
| 5–8 | First man turns second woman; while second
man turns first woman. |
B2 | 1–2 | The two women rise on the first beat of the
first bar. The two men rise on the first beat of the second bar. |
| 3–8 | The same as in B1. |
| | second part. |
A. | 1–2 | Couples move forward a double
and meet (w.s.). |
3–4 | First man leads second woman up a double;
while second man leads first woman down a double (r.s.). |
5–6 | All four turn round, face in the opposite
direction, and change hands. First man then leads second woman down a double;
while the second man leads first woman up a double (r.s.). |
7–8 | All release hands. The two man lead their
partners to their places (w.s.). |
B1Bar 1 | The two men meet (r.s.), and
take right hands. |
Bar 2 | Releasing right hands, they clasp left
hands. |
| 3–4 | First man passes second man by the left,
turns second woman with his right hand and moves into second man’s place; while
second man turns first woman with his right hand and moves into first man’s
place (r.s.). |
| 5–6 | The two men meet again, clasp right, and
then left hands. |
| 7–8 | Passing each other, by the left, first man
turns his partner with his right hand and returns to his place; while second man
does the same (r.s.). |
B2Bar 1 | The two women meet (r.s.) and
take left hands. |
Bar 2 | They release left and join right hands. |
| 3–4 | First woman, passing second woman by the
right, turns second man with her left hand and moves into second woman’s
place; while second woman turns first man with her left hand and moves into
first woman’s place (sk.s.). |
| 5–6 | The two women meet (r.s.), clasp left hands
and then right. |
| 7–8 | Passing each other by the right, each woman
turns her partner with her left hand and moves into her place (sk.s.). |
| | third part. |
A. | 1–2 | The two men face their
partners, take them by both hands, move sideways four slips toward each other,
and meet. |
3–4 | First man faces second woman, takes her
by both hands and moves sideways four slips up; while second man faces first woman,
takes her by both hands and moves sideways four slips down. |
5–6 | The same couples move sideways four slips
towards each other and meet. |
7–8 | First man takes his partner by the right hand
and falls back to his place; while second man does the same with his
partner (w.s.). |
B1 | 1–2 | First man turns his partner with his
right hand; while second man does the same with his partner. |
| 3–4 | The two men cross over and change
places (sk.s.). |
| 5–8 | Partners face, and all dance the hey
(three changes) (Fig. 20, p. 42) until first man is in second woman’s places, and
second man in first woman’s place (sk.s.); whereupon each man turns his
partner. |
B2 | 1–2 | First and second men turn their partners
with left hands. |
| 3–4 | The two women cross over and change
places (sk.s.). |
| 5–8 | Partners face, and all dance the hey (three
changes) to places (sk.s.); whereupon each man turns his partner. |
THE GLORY OF THE WEST.
For four; in three parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–2 | Both couples move forward
a double and meet (r.s.). |
3–4 | Both couples fall back a double to
places (r.s.). |
5–6 | Both couples fall back a double (r.s.). |
7–8 | Both couples move forward a double to places. |
B1 | 1–2 | Men fall back a double;
while women turn single (r.s.). |
3–4 | Women fall back a double; while men turn
single (r.s.). |
5–6 | Men cross over and change places (r.s.). |
7–8 | Women do the same. |
9–10 | Hands-four, half-way round,
to places. |
B21–10 | Same as B1. |
| | second part. |
A. | 1–4 | First man and second woman side;
while second man and first woman do the same (w.s.). |
| 5–8 | Partners side with each other (w.s.). |
B1 | 1–2 | Men turn outward, each to his left,
and stand back-to-back behind their respective partners (r.s.). |
| 3–5 | First man and first woman, standing
back-to-back, turn round, counter‑clockwise, to places (sl.s.); while
second man and second woman do the same. |
| 6–7 | Women turn outward, each to her right,
and fall back-to-back behind their respective partners (r.s.). |
8–10 | First woman and
first man, standing back-to-back, turn round, clockwise, to places (sl.s.);
while second woman
and second man do the same. |
B2 | 1–4 | All move round in a ring, clockwise,
to places (without handing), facing in the direction in which they
move (r.s.). |
5–10 | Right-hands-across,
once round, to places (sk.s.). |
| | third part. |
A. | 1–4 | First man and second woman arm and side;
while second man and first woman do the same (r.s.). |
| 5–8 | Partners arm and side (r.s.). |
B1 | 1–2 | The two women meet (w.s.), and make an
arch with their right arms. |
| 3–5 | The two men meet under the arch and pass
by the right; each man then turns to his left, moves round outside the other’s
partner, and returns to his place (sk.s.). |
| 6–7 | The two men meet, and make an arch with
their right arms (r.s.). |
8–10 | The two women
meet under the arch and pass by the left; each woman then turns to her right, moves
round outside the other’s partner, and returns to her place (sk.s.). |
B2 | 1–2 | First man and second women meet, take
right hands, pass and change places; while second man and first woman do the
same (r.s.). |
| 3–4 | Partners meet, take left hands, pass and
change places (r.s.). |
| 5–8 | Hands-four, half-way round, to places. |
9–10 | All face up and,
standing in line, first couple to the left, honour the Presence. |
SAINT MARTIN’S.
For four; in three parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A1 | 1–2 | Both couples move forward
a double and meet (w.s.). |
3–4 | First man and first woman move sideways
two slips up and two slips back again; while the second man and second woman
move sideways two slips down and two slips back again. |
5–6 | All turn single, the men counter-clockwise,
the women clockwise. |
7–8 | All turn single, men clockwise, women
counter-clockwise, to places. |
A2 | 1–4 | The two couples cross over and change
places (r.s.). |
| 5–6 | Partners change places (r.s.). |
| 7–8 | All turn single. |
B1 | 1–2 | Men fall back a double (r.s.); while women
turn single. |
| 3–4 | The two men meet, take left hands and change
places (r.s.). |
| 5–8 | First man turns second woman with his right
hand and changes places with her; while second man does the same with first
woman (sk.s.). |
B2 | 1–2 | The two women fall back a double (r.s.);
while men turn single. |
| 3–4 | The two women meet, take right hands, and
change places (r.s.). |
| 5–8 | Partners turn left hands and change
places (r.s.). |
| | second part. |
A1 | 1–4 | Couples cross over and change places
(r.s.). |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | All that again. |
B1Bar 1 | The two men meet and stand
face to face (r.s.). |
Bar 2 | The two women do the same (r.s.). |
| 3–6 | Hands-four, half-way round. |
| 7–8 | All turn single. |
B2Bar 1 | The two women meet and
stand face to face (r.s.). |
Bar 2 | The two men do the same (r.s.). |
| 3–6 | Hands-four, half-way round to places. |
| 7–8 | All turn single. |
| | third part. |
A1 | 1–2 | Both couples move forward a double and
meet (r.s.). Each man takes the woman opposite by both hands. |
| 3–4 | First man and second woman move sideways
two slips up and then two slips back again; while second man and first woman
move sideways two slips down and then two slips back again. |
| 5–8 | Both men cast off by the left, and, followed
by their partners, return up the middle to places (r.s.). |
A2 | 1–2 | All fall back a double (r.s.). |
| 3–4 | Partners change places (r.s.). |
| 5–8 | The two men meet, pass by the left, and
fall back to proper places; while—immediately after the men have
passed each other—the two women meet, pass by the right and fall back to their proper
places (r.s.). |
B1 | 1–2 | Men honour their partners. |
| 3–4 | Women honour their partners. |
| 5–8 | Right-hands-across, once round clockwise,
to places (sk.s.). |
B2 | 1–2 | Women honour their
partners. |
3–4 | Men honour their partners. |
5–6 | Left-hands-across, half-way round,
counter‑clockwise (sk.s.). |
7–8 | All face up and, standing in line, first couple
on the right, honour the Presence. |
HEY, BOYS, UP GO WE.
For four; in three parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–4 | Couples move forward a double and fall
back a double to places (r.s.). |
| 5–8 | That again. |
B1 | 1–4 | First man and second woman whole-gip
facing outward, clockwise (Fig. 17, p. 40); while second man and first woman do the
same (r.s.). |
| 5–8 | First man and second woman whole-gip
facing centre, counter-clockwise (Fig. 16, p. 39); while second man and first woman
do the same (r.s.). |
B2 | 1–4 | First man and first woman whole-gip facing
outward; while second man and second woman do the same, clockwise;
(r.s.). |
| 5–8 | First man and first woman whole-gip facing
centre, counter-clockwise; while second man and second woman do the same
(r.s.). |
| | second part. |
A. | 1–4 | Partners side (r.s.). |
| 5–8 | First man and second woman side;
while second man and first woman do the same. |
B1 | 1–2 | Two men change places (r.s.). |
| 3–4 | Two women do the same. |
| 5–8 | Hands-four once round. |
B2 | 1–2 | Two women change places (r.s.). |
| 3–4 | Two men do the same. |
| 5–8 | Hands-four once round to places. |
| | third part. |
A. | 1–4 | Partners arm with the right. |
| 5–8 | First man and second woman arm with the
left; while second man and first woman do the same. |
B1 | 1–4 | First man takes second woman by both
hands and, pushing her before him, moves half‑way round a small circle
counter‑clockwise, he falling into her place, she into his; while second man
does the same with first woman (r.s.). |
| 5–8 | First man turns outward to his right and,
followed by his partner, casts off and returns up the middle to the same place;
while second man casts off to his right and, followed by his partner, does the
same (sk.s.). |
B2 | 1–4 | Same as B1, each couple moving
clockwise to places (r.s.). |
| 5–8 | Same as B1, each man casting off to
his left and, followed by his partner, returning up the middle to his
place (sk.s.). |
GRIMSTOCK.
Longways for six; in three parts (2nd Ed. 1652).

|
MUSIC. | MOVEMENT. |
| | first part. |
A1 | 1–4 | All lead up a double and fall back a double
to places (r.s.). |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | All that again. |
B.Bar 1 | First and second couples change
places, first couple going down between the second (sk.s.). |
Bar 2 | First and third couples change
places, third couple coming up between the first (sk.s.). |
| 3–4 | Second and third couples change places,
second couple going down between the third (sk.s.). |
Bar 5 | First and second couples change
places, first couple coming up between the second (sk.s.). |
Bar 6 | First and third couples change places,
third couple going down between the first (sk.s.). |
| 7–8 | Second and third couples change places,
second couple coming up between the third (sk.s.). |
| | second part. |
A1 | 1–4 | Partners side (r.s.). |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | All that again. |
B. | 1–8 | Same as B in First Part, partners
facing each other with both hands joined (r.s.). |
| | third part. |
A1 | 1–4 | Partners arm with the right. |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | Partners arm with the left, set and turn single. |
B.Bar 1 | First man changes places with
first woman (sk.s.). |
| 2–4 | Half-hey (Fig. 23, p. 46) on each side (sk.s.). |
Bar 5 | First man changes places with first
woman (sk.s.). |
| 6–8 | Half-hey on each side to places (sk.s.). |
THE BEGGAR BOY.
Longways for six; in three parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–4 | All lead up a double and fall back a double
to places (r.s.). |
| 5–8 | That again. |
B1 | 1–4 | First and third men face the left wall, move
forward a double, and fall back a double to places; while first and third women
face the right wall and do the same (r.s.). Simultaneously, second man and second
woman advance a double and fall back a double to places (r.s.). |
| 5–8 | Men hands-three, half-way round; while the
women do the same on their own side. |
B2 | 1–8 | Same as B1. |
| | second part. |
A. | 1–4 | Partners side (w.s.). |
| 5–8 | That again. |
B1 | 1–4 | First couple faces down and the third
couple up; they change places, the first couple passing between the third man and the
third woman; while the second man and the second woman fall back a double and
move forward a double to places (r.s.). |
| 5–8 | Third and second couples hands-four, once
round; while first man and first woman set and turn single. |
B2 | 1–8 | Repeat B1, to places. |
| | third part. |
A. | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B1 | 1–4 | All fall back a double and then move
forward a double to places (r.s.). |
| 5–8 | Men the half-hey (Fig. 22, p. 46); while
the women do the same on their own side (sk.s.). |
B2 | 1–8 | Repeat B1, to places. |
CHESTNUT; OR, DOVE’S FIGARY.
Longways for six; in three parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–4 | All lead up a double and fall back a double
to places (r.s.). |
| 5–8 | That again. |
B1Bar 1 | All, facing front, fall back two
small steps (r.s.). |
| 2–4 | Partners cross over and change places
(r.s.). |
| 5–8 | Men hands-three on the women’s side; while
women do the same on the men’s side. |
B2 | 1–8 | Repeat B1, to places. |
| | second part. |
A. | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B1 | 1–4 | Same as B1 in First Part. |
| 5–8 | Men the half-hey (Fig. 22, p. 46) on the
women’s side; while women do the same on the men’s side (sk.s.). |
B2 | 1–8 | Repeat B1 to places. |
| | third part. |
A. | 1–4 | Partners side (r.s.). |
| 5–8 | That again. |
B1 | 1–4 | Same as B1 in First Part. |
| 5–8 | First couple leads down the middle to the
last place, followed by second and third couples (w.s.). |
B2 | 1–4 | Same as B1 in First Part. |
| 5–8 | First man, followed by second and third men,
casts off and returns to his place; while first woman, followed by second and third women,
casts off and returns to her place sk.s.). |
THE BLACK NAG.
Longways for six; in three parts (4th Ed. 1670).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–4 | All lead up a double and fall back a double
to places (r.s.). |
| 5–8 | That again. |
B1 | 1–2 | First man and first woman
face each other, take both hands, and dance four slips up. |
3–4 | Second couple the same. |
5–6 | Third couple the same. |
7–8 | All turn single. |
B2 | 1–2 | Third man and third woman
take both hands and dance four slips back to places. |
3–4 | Second couple the same. |
5–6 | First couple the same. |
7–8 | All turn single. |
| | second part. |
A. | 1–4 | Partners side (r.s.). |
| 5–8 | That again. |
B1 | 1–2 | First man changes places
with third woman (sl.s.). |
3–4 | First woman changes places with third man (sl.s.). |
5–6 | Second man changes places with second woman (sl.s.). |
7–8 | All turn single. |
B2 | 1–8 | All that again to places. |
| | third part. |
A. | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B1 | 1–8 | Men the whole-hey (Fig. 22, p. 46)
on their own side (sk.s.). |
B2 | 1–8 | Women the whole-hey (Fig. 22, p. 46)
on their own side (sk.s.). |
CHEERILY AND MERRILY.
Longways for eight; in six parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–4 | All lead up a double and fall back a double
to places (r.s.). |
| 5–8 | That again. |
B. | 1–4 | Partners set and turn single. |
| 5–8 | That again. |
| | second part. |
A. | 1–2 | Second man and third woman cross and
change places (r.s.). |
| 3–4 | Third man and second woman do the
same. |
| 5–8 | First and third couples hands-four once
round; while second and fourth couples do the same. |
B. | 1–2 | Second man and third woman cross and
change places (r.s.). |
| 3–4 | Third man and second woman do the
same. |
| 5–8 | First and second couples hands-four
once round; while third and fourth couples do the same. |
A. | 1–4 | Partners side (r.s.). |
| 5–8 | That again. |
B. | 1–4 | Partners set and turn single. |
| 5–8 | That again. |
| | fourth part. |
A. | 1–4 | First and fourth men and woman move forward a
double and meet their partners; whereupon first and fourth couples meet, the former
leading down, the latter up (r.s.). Simultaneously, second and third men and second
and third women fall back a double and then dance four slips, the second couple up
and the third down. |
| 5–8 | First and fourth couples hands-four once
round; while second and third men turn their partners. |
B. | 1–4 | Second and third men and woman move forward a
double and meet their partners; whereupon second and third couples meet, the former
leading down, the latter up (r.s.). Simultaneously, first and fourth men and first
and fourth women fall back a double and then dance four slips, the first couple up
and the fourth down. |
| 5–8 | Second and third couples hands-four
once round; while first and fourth men turn their partners. |
| | fifth part. |
A. | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B. | 1–4 | Partners set and turn single. |
| 5–8 | That again. |
| | sixth part. |
A. | 1–4 | Men hands-four. |
| 5–8 | Women the same. |
B. | 1–8 | Men the whole-hey (Fig. 22, p. 46)
on their own side; while women do the same. |
TEN POUND LASS.
Longways for eight; in three parts (4th Ed. 1670), sanding thus:–

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–4 | Facing front, all fall back a double and move
forward a double to places (r.s.). |
| 5–8 | All lead up a double and fall back a double
to places (r.s.). |
B1 | 1–4 | All face left wall and move forward
(sk.s.). |
| 5–8 | All face front. Partners cross over and
change places (r.s.). |
B2 | 1–4 | All face right wall and move
forwards (sk.s.). |
| 5–8 | All face front. Partners cross over and
change places (r.s.). |
| | second part. |
A. | 1–4 | Partners side (r.s.). |
| 5–8 | That again. |
B1 | 1–4 | First and fourth couples meet
(r.s.)—the first couple moving down, the fourth up—and hands‑four
once round; while second and third men and second and third women fall back a
double (r.s.), and then dance four slips, the second couple up, the third down, to
top and bottom places respectively. |
| 5–8 | Partners set and turn single. |
B2 | 1–4 | Second and third couples meet
(r.s.)—the second moving down, the third up—and hands‑four once
round to places; while first and fourth men and first and fourth women fall back a double,
and dance four slips, the first couple up, the fourth down, to places. |
| 5–8 | Partners set and turn single. |
| | third part. |
A. | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B1 | 1–4 | Partners cross over and change places
(r.s.). |
| 5–8 | First and second men and third and fourth
women, hands-four, half-way round; while first and second women, third and fourth
men do the same. |
B2 | 1–4 | Partners cross over and change places
(r.s.). |
| 5–8 | Same as B1, to places. |
NONESUCH; OR,
A LA MODE DE FRANCE.
Longways for eight; in five parts (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A1 | 1–4 | All lead up a double and fall back a double
to places (r.s.). |
| 5–8 | That again. |
B1 | 1–4 | Partners set and turn single. |
| 5–8 | That again. |
| | second
part. (Duple minor-set.) |
A1 | 1–4 | First man and first woman face, join both
hands, and slip down between second man and second woman. First man faces
second man, while first woman faces second woman. |
| 5–8 | First man takes second man by both hands
and pushes him back four steps, and then up four steps into the top place, he
himself falling into the second place (r.s.); while first and second women do the
same (progressive). |
B1 | 1–4 | All four, facing front, fall back a double and
move forward a double (r.s.). |
| 5–8 | First and second men turn their partners. |
| | third part. |
A1 | 1–2 | Partners side to the right (r.s.)
(Fig. 3, p. 33). |
3–4 | All turn single. |
5–6 | Partners side to the left (r.s.) (Fig. 3, p. 33). |
7–8 | All turn single. |
B1Bar 1 | First man slips diagonally
up and toward the right wall, and stands midway between the two lines, facing
down. |
Bar 2 | First woman slips in front of her partner
and stands facing him. |
| 3–4 | Second man and second woman do the
same. |
| 5–8 | Third couple does the same; and then the
fourth couple. |
| | fourth part. |
A1 | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B1 | 1–4 | Men dance four slips towards the right wall
and four slips back again; while women dance four slips towards the left wall, and
four slips back again. |
| 5–8 | Men dance four slips towards the left wall
and four slips back again; while women dance four slips towards the right wall,
and four slips back again. |
| | fifth part. |
A.Bar 1 | First man slips down and
towards the left wall in his original place, and faces front. |
Bar 2 | First woman slips, in like manner,
into her own place. |
| 3–4 | Second man does the same; then second
woman. |
| 5–8 | Third couple the same; then the fourth. |
B1 and B2 | Circular hey,
danced progressively, all handing as they pass (sk.s.). First man and first woman
begin the movement by passing each other by the right, and, upon completing one
circuit, stay in their places while the rest finish the figure (Fig. 21,
p. 43). |
DARGASON; OR, SEDANY.
For as many as will; in three parts (2nd Ed. 1652), standing thus:—

|
MUSIC. | MOVEMENT. |
| | first part. |
A1 | 1–4 | First man and first woman side (r.s.). |
| 5–6 | They set to each other. |
| 7–8 | They pass each other, by the left, turning
single as they do so, the man clockwise, the woman
counter‑clockwise. |
A2 | 1–8 | First man and second woman side, set,
turn single and pass each other, as in A1; while second man and first woman do the
same. |
A3 | 1–8 | Same movements performed by three
pairs of dancers, viz., first man and third woman, third man and first woman, and second
man and second woman.
These movements are performed as many times as there are couples, that
is, until the first man and second woman reach, respectively, the bottom and top of the
line. At the conclusion of the last of these repetitions, all the dancers make a
half‑turn, men clockwise and women counter‑clockwise, and face in the reverse
direction. This ends the first half of the figure.
In the second half of the figure the same movements are repeated, but in
reverse order, the men moving and facing up, the women down. At the end of the first
change (danced by the same pairs as the last change of the first half) the last
man and the last woman, having reached their own places, remain there and take
no further part in their performance of the figure. In each subsequent change two
dancers, one at each end, will, in like manner, reach their own places and become
neutral; so that upon the conclusion of the final repetition (danced by the
first couple only) all their performers will be in their original places. |
| | second part. |
| | Same as in First Part, except that dancers
arm as they side. |
| | third part. |
| | First, third, fifth, etc., men, and second,
fourth, sixth, etc., women face down; the rest face up.
Standing thus, all dance the Hey one complete circuit to places, handing
as they pass (sk.s.). (Fig. 22, p. 45). |
GODDESSES.
Longways as many as will;[*] in eleven parts. (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–4 | All lead up a double and fall back a double
to places (w.s.). |
| 5–8 | That again. |
B. | 1–4 | First man casts off and, followed by the
rest of the men, casts down to the bottom place; while first woman, followed by the
rest of the women, does the same (sk.s.). |
| 5–8 | First man casts off and, followed by the
rest of the men, casts up to his place; while the women do the
same (sk.s.). |
| | second part. |
A. | 1–4 | First man crosses over and, followed by the
rest of the men, casts down outside the women until he stands behind the last
woman (r.s.). |
| 5–8 | Last man crosses over and, followed by the
rest of the men moves down to his place (r.s.). |
B. | 1–8 | As in First Part. |
| | third part. |
A. | 1–8 | Women do as men did in Second Part
(sk.s.). |
B. | 1–8 | As in First Part. |
| | fourth part. |
A. | 1–8 | First man crosses over and, followed by the
rest of the men, dances down outside the women, turns to his right below last
woman and dances up the middle to his place (r.s.). |
B. | 1–8 | As in First Part. |
| | fifth part. |
A. | 1–8 | Women do as men did in the Fourth
Part (sk.s.). |
B. | 1–8 | As in First Part. |
| | sixth part. |
A. | 1–4 | Men hands-all, clockwise. |
| 5–8 | Men hands-all, counter-clockwise,
to places./td> |
B. | 1–8 | As in First Part. |
| | seventh part. |
A. | 1–8 | Women do as men did in Sixth Part. |
B. | 1–8 | As in First Part. |
| | eighth part. |
A. | 1–4 | Men and women hands-all, clockwise. |
| 5–8 | All dance back again, counter-clockwise,
to places. |
B. | 1–8 | As in First Part. |
| | ninth part. |
A. | 1–8 | Men dance the whole-hey on their
own side, odd numbers facing down, even numbers up (sk.s.). (Fig. 22,
p. 45). |
B. | 1–8 | As in First Part. |
| | tenth part. |
A. | 1–8 | Women do as men did in Ninth Part
(sk.s.). |
B. | 1–8 | As in First Part. |
| | eleventh part. |
A.ad lib. | All dance
circular-hey (Fig. 20, p. 42), odd numbers facing up, even number down,
first man and first woman passing by the right (sk.s.). |
B. | 1–8 | As in First Part. |
* When there are more than four couples, it will be necessary
to repeat each strain of the music throughout the dance, with the
exception of the first strain, A1, in the First Part.
NEW BO-PEEP; OR, PICKADILLA.
Longways as many as will; in three parts. (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–4 | All lead up a double and fall back a double
to places (r.s.). |
| 5–8 | That again. |
B1 | 1–2 | Women turn round and face the right wall,
and move forward a double (small skipping‑steps). |
| 3–4 | Men move forward a double toward
right wall (r.s.). Each man stands behind his partner and places his hands upon
her shoulders. |
| 5–8 | Each man peeps four times over his partner’s
shoulders, alternately to right and left, upon the first beat of each bar. |
9–10 | All fall back to places
(sk.s.). |
11–12 | All turn single. |
B2 | 1–2 | Men turn, face the left wall, and move forward
a double (small running‑steps). |
| 3–4 | Women follow them and stand each behind
her partner, places her hands upon his shoulders (sk.s.). |
| 5–8 | Women peep over their partners’ shoulders
four times, as the men did in B1. |
9–10 | All fall back to places (sk.s.). |
11–12 | All turn single. |
| | second part. |
A. | 1–4 | Partners side (r.s.). |
| 5–8 | That again. |
B11–12 | Same as B2 in First
Part. |
B21–12 | Same as B1 in First
Part. |
| | third part. |
A. | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B1 and B2 | Same as in First
Part. |
STAINES MORRIS.
Longways as many as will; in as many parts as there are dancers (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–4 | All lead up a double and fall back a double
to places (r.s.). |
| 5–8 | That again. |
B. | 1–2 | All face left wall and move forward a
double (r.s.). |
| 3–4 | All fall back a double to places and face
front (r.s.). |
C. | 1–4 | Partners set and turn single. |
| 5–8 | That again. |
| | second
part. (Whole-set). |
A. | 1–4 | First man moves down the middle and
stands before the last woman (r.s.). |
| 5–8 | First man and last woman side. |
B. | 1–2 | Both set, holding and raising right
hands. |
| 3–4 | Same again, holding and raising left hands. |
C.Bar 1 | First man crosses hands with last
woman and turns her half-round, counter‑clockwise, so that her back is
turned to him. |
Bar 2 | Standing in this position, they
salute. |
| 3–4 | Same again, the man turning the woman
completely round clockwise. |
| 5–8 | First man leads last woman up the middle to
the first place (sk.s.), the rest of the women moving down one place (progressive).
[It is suggested that the last section be performed in the
following way:— |
C.Bar 1 | First man moves a single to the
right. |
Bar 2 | First man honours last woman. |
Bar 3 | First man moves a single to the
left. |
Bar 4 | First man honours last woman. |
| 5–8 | As above.]
These two parts are repeated until the first man has
brought his own partner to the top, when all will once again be in their original
places. |
AMARILLIS.
Longways as many as will; in three parts. (4th Ed. 1670).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–4 | All lead up a double and fall back a double
to places (r.s.). |
| 5–8 | That again. |
B. | 1–4 | Men set to their partners, and then fall back
four small steps to places (r.s.). |
| 5–8 | Each man take right hands with his partner
and turns her once or twice round under his right arm, clockwise, and hands her
back to her place. |
| | second
part. (Duple minor-set.) |
A. | 1–2 | First woman crosses over
into the second place on the men’s side; and then first man crosses over into the second
place on the women’s side (r.s.). |
3–4 | Second couple leads up into first place (r.s.). |
5–6 | Second woman crosses over into the second
place on the men’s side; and then second man crosses over into the second place
on the women’s side (r.s.). |
7–8 | First couple leads up into first place (r.s.). |
B. | 1–2 | First man and second woman change places
(r.s.). |
| 3–4 | Second man and first woman change places
(r.s.) (progressive). |
| 5–8 | First and second couples hands-four, once
round. |
| | third
part. (Duple minor-set.) |
A. | 1–2 | Second couple leads up
between first couple (w.s.). |
3–4 | Second man, facing up, dances four slips toward
left wall; while second woman dances four slips toward right wall. |
5–6 | Second man and second woman fall back four
steps (r.s.). |
7–8 | Second man and second woman face front
and move forward four steps to places (r.s.). |
B. | 1–2 | First couple lead down into second place
(w.s.). |
| 3–4 | First man and first woman cast up to places
(r.s.). |
| 5–8 | First couple casts off into second place
(Fig. 14, p. 37), (progressive). |
BLACK JACK.
Longways as many as will; in four parts (4th Ed. 1670).

|
MUSIC. | MOVEMENT. |
| | first part. |
A. | 1–4 | All lead up a double and fall back a double
to places (r.s.). |
| 5–8 | That again. |
B. | 1–4 | Partners set and then fall back from each
other four small steps (r.s.). |
| 5–8 | That again. |
| | second
part. (Duple minor-set.) |
A1 | 1–4 | First man turns outward to his left and,
followed by second woman, casts down below second man and moves up the middle
to his place, second woman returning to her place (r.s.). |
| 5–8 | First woman turns outward to her right and,
followed by second man, casts down below second woman, and then moves up the
middle to her place, second man returning to his place (r.s.). |
B1 | 1–4 | First couple leads down the middle and back
again (w.s.) (Fig. 4, Part I, p. 29). |
| 5–6 | First couple casts off (r.s.) into the second
place (Fig. 14, p. 37) (progressive). |
| 7–8 | First man and first woman set. |
| | third
part. (Duple minor-set.) |
A1 | 1–4 | First man moves forward between first and
second woman. All three face right wall, take hands, move forward a double and
fall back a double to places (r.s.). |
| 5–8 | First and second men face left wall, take
hands, move forward a double and fall back a double to places (r.s.). |
B1 | 1–2 | First and second couples
hands-four, half‑way round. |
3–4 | Partners set. |
5–6 | First and second couples hands-four,
half-way round, counter‑clockwise, to places. |
7–8 | First couple casts off (r.s.) into second place
(Fig. 14, p. 37) (progressive). |
| | fourth
part. (Duple minor-set.) |
A1 | 1–4 | First man and first woman cast off,
meet below second man and second woman, and stand between
them (r.s.). |
| 5–8 | All four face up, take hands, move forward
a double, and fall back a double (r.s.), first couple into the second place, and
second couple into the first (progressive). |
B1 | 1–4 | First man turns his partner; while second
man and woman set. |
| 5–8 | Second man turns his partner; while the
other two set. |
JAMAICA.
Longways for as many as will; in two parts (4th Ed. 1670).

|
MUSIC. | MOVEMENT. |
| | first
part. (Duple minor-set.) |
A1 | 1–4 | First man and first woman cross hands,
right over left, move half way round a small circle, clockwise, and change
places (sl.s.). |
| 5–8 | First man changes places with second woman
in like manner; while second man does the same with first woman (progressive;
improper[*]). |
B1 | 1–8 | First man and first woman fall back two
small steps, and then dance the figure eight round second couple, both passing
above and round second man and second woman (r.s.) (Fig. 17,
Part I, p. 37). |
| | second
part. (Duple minor-set.) |
A1 | 1–4 | First man turns second woman. |
| 5–8 | Second man turns first woman. |
B1 | 1–4 | First man turns second man once-and-a-half
round and changes places with him; while first woman does the same with the
second woman (progressive). |
| 5–8 | First and second men turn their partners. |
* In the next round the first couple will be proper, the second couple improper.
Couples will be alternately proper and improper throughout the movement.
MY LADY CULLEN.
Longways as many as will; in three parts. (1st Ed. 1650).

|
MUSIC. | MOVEMENT. |
| | first part. |
A1 | 1–4 | All lead up a double and fall back a double
to places (r.s.). |
| 5–8 | That again. |
B1 | 1–4 | Partners set and turn single. |
| 5–8 | That again. |
| | second
part. (Duple minor-set.) |
A1Bar 1 | First man and first woman
cross over and change places (r.s.). |
| 2–3 | First man casts off outside second woman
into second place; while first woman casts off outside second man into second
place. Simultaneously, second couple moves up into first place (r.s.). |
Bar 4 | First man and first woman cross
over (r.s.) and change places (progressive). |
| 5–8 | First couple stands between second couple.
All face up, take hands, move forward a double and fall back a double, first couple
into second place, and second couple into first place (r.s.). |
B1 | 1–4 | Right-hands-across with first and second
couples (sk.s.). |
| 5–8 | Left-hands-across with first and second
couples (sk.s.). |
| | third
part. (Duple minor-set.) |
A1 | 1–4 | First man and first woman cast off and move
up between second couple (r.s.). |
| 5–8 | Second man and second woman turn outward,
the former to his right and the latter to her left, and cast up into the
first place (r.s.) (progressive). |
B1 | 1–4 | Second man and second woman face and
take both hands, while first man and first woman do the same. Both couples then
dance four slips up and four slips back again. |
| 5–8 | Partners set and turn single. |
| | fourth
part. (Duple minor-set.) |
A1 | 1–8 | Same as in Second Part (progressive). |
B1 | 1–4 | Partners face and clap hands on the first beat
of the first bar. First and second woman arm with the right; while first and second
men do the same. |
| 5–8 | Partners arm with the left. |
LONDON IS A FINE TOWN; OR,
WATTON TOWN’S END.
Longways as many as will; in three parts (3rd Ed. 1665).

|
MUSIC. | MOVEMENT. |
| | first part. |
A1 | 1–4 | All lead up a double and fall back a double
to places (r.s.). |
| 5–6 | All jump three times in front of their partners,
on the two beats of bar 5 and the first beat of the following bar. |
| 7–8 | All turn single. |
A2 | 1–8 | All that again. |
| | second
part. (Duple minor-set.) |
A1 | 1–4 | First and second men fall back a double,
and move forward a double to places; while first and second women do the
same (r.s.). |
| 5–6 | First and second men and their partners
jump three times as before. |
| 7–8 | First couple casts off (r.s.) into second place
(Fig. 14, p. 37), (progressive). |
| | third
part. (Duple minor-set.) |
A1 | 1–2 | First man and second woman
cross over and change places (r.s.). |
3–4 | First woman and second man cross over and
change places (r.s.). |
5–6 | First and second men and their partners
jump three times as before. |
7–8 | First and second men change places with
their partners (r.s.), (progressive). |
| | fourth
part. (Duple minor-set.) |
A1 | 1–4 | First and second couple hands-four, half-way
round. |
| 5–6 | First and second men and their partners
jump three times as before. |
| 7–8 | First and second men change places with
their partners (r.s.), (progressive). |
THE TWENTY-NINTH OF MAY.
Longways as many as will; in three parts. (7th Ed. 1686).

|
MUSIC. | MOVEMENT. |
| | first
part. (Duple minor-set.) |
A1 | 1–8 | First and second couples whole-pousette
(r.s.) (Fig. 13, p. 36). |
B1Bar 1 | First man and second woman
change places (r.s.). |
Bar 2 | Second man and first woman change
places (r.s.). |
Bar 3 | First and second couples hands-four
two slips clockwise. |
| 4–6 | Same couples hands-four six slips,
counter‑clockwise, to places. |
| 7–8 | First couple casts off (r.s.) into second place
(Fig. 14, p. 37), (progressive). |
| | second
part. (Duple minor-set.) |
A1 | 1–4 | First man and second woman fall back two
small steps, and then dance back-to-back, to places (r.s.) (Fig. 15,
p. 38). |
| 5–8 | Second man and first woman do the
same. |
B1 | 1–6 | First and second couples hands-four
once-and-a-half round, men falling on the women’s side, and women on the men’s,
and first couple below second couple. |
| 7–8 | Partners cross over and change places
(progressive). |
| | third
part. (Duple minor-set.) |
A1 | 1–4 | First man and first woman cross over, cast
down, meet below the second couple, move up between second couple and stand, side
by side, facing up (r.s.). |
| 5–8 | Second man, first woman, first man and
second woman, four abreast, face up, take hands, move forward a double, and fall
back a double (r.s.). |
B1Bar 1 | First and second men honour,
respectively, second and first women. |
Bar 2 | First and second men honour their
partners. |
| 3–4 | First man turns second woman; while second
man turns first woman. |
| 5–8 | First and second men turn their partners,
first falling into second place and second couple into first place
(progressive). |