london: NOVELLO AND COMPANY, Limited.
New York: THE H. GRAY CO., Sole Agents for the U. S. A.
Copyright, 1916, by Novello & Co., Ltd.
MADE IN ENGLAND
This Book is issued in connection with “Country Dance Tunes”
(Sets VII and VIII, price 1s. 6d. each.)
London NOVELLO AND COMPANY, Ltd.
= man;
= woman.
r. = a step taken with the right foot; l. = a step taken with the left foot.
h.r. = a hop off the right foot. l.r. = a hop off the left foot.
f.t. = feet-together.
= a spring.
* For further and more detailed information on this point see The Country Dance Book, Part I., pp. 18‑24.
r.s. (running-step).
w.s. (walking-step).
sk.s. (skipping-step).
Moving to the left.
Moving to the right.
Diagram A.
Diagram B.
Diagram C.
Diagram D.
Diagram E.
Diagram F.
Diagram G.
PUT ON THY SMOCK ON A MONDAY.Round for six; in three parts (4th Ed., 1670). | ||
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. | |
A3 | 1–4 | First man leads first and second women forward a double towards third woman, and falls back a double (r.s.). |
5–8 | First man turns third woman; while first and second women turn each other. | |
A4 | 1–8 | As in A3, first man leading third and first women towards second woman, first man turning second woman, first and third women turning each other. |
A5 | 1–8 | As in A3, first man leading second and third women towards first woman, first man turning his partner, second and third women turning each other. |
Second Part. | ||
A1 | 1–4 | Sides all. |
5–8 | Partners set and turn single. | |
A2 | 1–8 | All that again. |
A3, A4 and A5 | As in First Part, second man doing as first man did. | |
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. | |
A3, A4 and A5 | As in First Part, third man doing as first man did. | |
THE GELDING OF THE DEVIL.Round for six; in three parts (3rd Ed., 1665). | ||
MUSIC. | MOVEMENT. | |
First Part. | ||
A | 1–8 | Hands-six, eight slips clockwise and eight slips counter-clockwise to places. |
B1 | 1–4 | First man and first woman lead forward a double and fall back a double to places (r.s.). |
5–8 | Leading forward again (r.s.), they pass between second man and third woman and cast off (sk.s.) to places, the first man to his left outside second couple, and the first woman to her right outside third couple. | |
B2 | 1–8 | As in B1, second couple leading forward and passing between first woman and third man. |
B3 | 1–8 | As in B1, third couple leading forward and passing between first man and second woman. |
Second Part. | ||
A | 1–4 | Sides all. |
5–8 | That again. | |
B1, B2 and B3 | As in First Part. | |
Third Part. | ||
A | 1–4 | Partners arm with the right. |
5–8 | Partners arm with the left. | |
B1, B2 and B3 | As in First Part. | |
OAKEN LEAVES.Round for eight; in three parts (4th Ed., 1670). | ||
MUSIC. | MOVEMENT. | |
First Part. | ||
A1 | 1–4 | Hands-all, eight slips clockwise. |
5–8 | Partners set and turn single. | |
A2 | 1–4 | Hands-all, eight slips counter-clockwise to places. |
5–8 | Partners set and turn single. | |
A3 | 1–2 | First and second men change places (r.s.). |
3–4 | First and second women change places (r.s.). | |
5–8 | First and second couples circular-hey to places, two changes, partners facing. | |
A4 | 1–8 | Third and fourth couples do likewise.
N.B.—This Part can, if desired, be made equal in length to each
of the subsequent Parts, if the movements in A3 and A4 be repeated, respectively, by the
first and fourth couples and by the second and third couples. |
Second Part. | ||
A1 | 1–4 | Partners side. |
5–8 | Partners set and turn single. | |
A2 | 1–8 | All that again. |
A3 | 1–4 | Men lead their partners out a double, away from the centre, change hands, and lead them back again. |
5–8 | Men, passing in front of their partners, turn the next woman on their right once round. | |
A4, A5 and A6 | Movement in A3 repeated three times to places, the men in each repetition leading out the woman they have just turned. | |
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. | |
A3 | 1–4 | The men move forward a double to the centre and fall back a double to places. |
5–8 | Each man turns the woman on his left once-and-a-half round, and moves into her partner’s place. | |
A4, A5 and A6 | Movement in A3 repeated three times to places, the men in each repetition turning the woman on their left and passing on, clockwise, into the next man’s place. | |
SELLENGER’S ROUND; OR, THE BEGINNING OF THE WORLD.Round for as many as will; in four parts (4th Ed., 1670). | ||
MUSIC. | MOVEMENT. | |
First Part. | ||
A | 1–8 | Hands-all, eight slips clockwise and eight slips counter-clockwise to places. |
B1 | 1–2 | All move forward two singles toward the centre, beginning the first with the right foot, and the second with the left. |
3–4 | All fall back a double to places. | |
5–8 | Partners set and turn single. | |
B2 | 1–8 | All that again. |
Second Part. | ||
A | 1–4 | All take hands, move forward a double to the centre, and fall back a double to places. |
5–8 | That again. | |
B1 & B2 | As in First Part. | |
Third Part. | ||
A | 1–4 | Partners side. |
5–8 | That again. | |
B1 & B2 | As in First Part. | |
Fourth Part. | ||
A | 1–4 | Partners arm with the right. |
5–8 | Partners arm with the left. | |
B1 & B2 | As in First Part. | |
HEARTSEASE.For four; in three parts (1st Ed., 1650). | ||
MUSIC. | MOVEMENT. | |
First Part. | ||
A | 1–4 | Couples move forward a double, meet, and fall back a double to places. |
5–8 | That again. | |
B1 | 1–4 | First man and second woman face down; first woman and second man face up. All fall back a double and move forward a double. |
5–8 | First man and second woman turn with the right hands and fall back to places; while second man and first woman do the same. | |
B2 | 1–4 | All fall back a double and move forward a double to places. |
5–8 | Partners turn with the left hands. | |
Second Part. | ||
A | 1–4 | Partners side. |
5–8 | Contraries side. | |
B1 & B2 | As in First Part. | |
Third Part. | ||
A | 1–4 | Partners arm with the right. |
5–8 | Contraries arm with the left. | |
B1 & B2 | As in First Part. | |
HIT AND MISS.For four; in three parts (1st Ed. 1650). | ||
MUSIC. | MOVEMENT. | |
Running step throughout the dance.
First Part. | ||
A | 1–4 | Couples move forward a double, meet, and fall back a double to places. |
5–8 | That again. | |
B | 1–2 | Couples move forward a double and meet. |
3–4 | First man leads second woman up a double, while second man leads first woman down a double. | |
5–6 | Both couples turn and face one another. First man leads second woman down a double; while second man leads first woman up a double. | |
7–8 | First man and first woman, joining right hands, fall back a double to places; while second man and second woman do the same. | |
C | 1–6 | Circular-hey, partners facing, four changes. |
Second Part. | ||
A | 1–4 | Sides all. |
5–8 | That again. | |
B and C | As in First Part. | |
Third Part. | ||
A | 1–4 | Partners arm with the right. |
5–8 | Partners arm with the left. | |
B and C | As in First Part. | |
THE BOATMAN.Longways for six; in three parts (1st Ed. 1650). | ||
MUSIC. | MOVEMENT. | |
Running step throughout the dance.
First Part. | ||
A1 | 1–4 | All lead up a double and fall back a double to places. |
5–8 | Partners set and turn single. | |
A2 | 1–8 | All that again. |
B1 | 1–4 | First couple and second man the straight-hey, four changes (the three standing in line, second man in the middle facing first woman and passing her by the right); while the third couple and second woman do the same (the latter facing third man and passing him by the right). |
5–8 | Partners turn, the first and third couples once round, the second couple half-way round. All are now in their opposite places. | |
B2 | 1–4 | As in B1, except that the second man heys with third couple (facing third woman and passing her by the right) while second woman heys with the first couple) (facing first man and passing him by the right). |
5–8 | Partners turn, as in B1, to places. | |
Second Part. | ||
A1 | 1–4 | Sides all. |
5–8 | Partners set and turn single. | |
A2 | 1–8 | All that again. |
B1 | 1–2 | First couple and second man hands-three half-way round and stand in line facing down, second man in the middle; while third couple and second woman do likewise and stand in line facing up, second woman in the middle. |
3–4 | Still holding hands, all fall back two steps and move forward two steps. | |
5–8 | Second man and second woman meet in the middle of the Set, turn each other once‑and‑quarter round and fall into the middle station (improper); while first and third men turn their partners once round. All are now in their opposite places. | |
B2 | 1–2 | As in B1, except that the second man hands-three half-way round with third couple, second woman with first couple. |
3–8 | As in B1, to places. | |
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 | 1–4 | First and third men and second woman hands-three round second man to places. |
5–8 | Second man turns his partner. | |
B2 | 1–4 | First and third women and second man hands-three round second woman to places. |
5–8 | Second man turns his partner. | |
THE WHIRLIGIG.Longways for six; 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. |
5–8 | That again. | |
B1 | 1–4 | Second man and second woman lead up the middle to the top, cast off and return to places. |
5–8 | Second woman crosses over, passed counter-clockwise round first man and returns to her place; while second man crosses over, passes clockwise round first woman and returns to his place (r.s.). | |
B2 | 1–4 | Second man and second woman lead down the middle to the bottom, cast off and return to places. |
5–8 | Second woman crosses over, passes clockwise round third man and returns to her place; while second man crosses over, passes counter‑clockwise round third woman and returns to his place (r.s.). | |
A2 | 1–4 | First man, followed by second and third men, casts off to the bottom; while first woman, followed by second and third women, does the same (sk.s.). |
5–8 | Second man and second woman, followed respectively
by third man and third woman, lead down the middle, pass between first man and first
woman, and cast off to the top, the men to their right, the women to their left
(progressive) (sk.s.).
The movements in B1, B2 and A2 are now repeated twice to places
as in a progressive longways dance (Whole-set), the third couple
occupying the middle position in the first repetition, and the first couple in the
last. | |
Second Part. | ||
A1 | 1–4 | Partners side. |
5–8 | That again. | |
B1 | 1–8 | Second man crosses over, arms first woman with the right, and then goes the whole‑hey with the first couple, second man facing first man and passing him by the left. Simultaneously, second woman arms third man with the right and goes the whole‑hey with the third couple, second woman facing third woman and passing her by the left (r.s.). |
B2 | 1–8 | As in B1 to places, second man arming third man with the right and heying with the third couple, second woman arming first woman and heying with the first couple. |
A2 | 1–8 | As in First Part (progressive).
The movements in B1, B2 and A2 are now repeated twice
progressively to places. |
Third Part. | ||
A1 | 1–4 | Partners arm with the right. |
5–8 | Partners arm with the left. | |
B1 | 1–4 | First man, followed by second man, casts down into the second place, and returns up the middle to his own place; while first woman, followed by second woman, does the same (r.s.). |
5–8 | First and second couples right hands across (r.s.). | |
B2 | 1–4 | Third man and third woman, followed respectively by second man and second woman, cast up and return down the middle to places. |
5–8 | Second and third couples right-hands-across. | |
A2 | 1–8 | As in First Part (progressive).
The movements in B1, B2 and A2 are now repeated twice
progressively to places. |
PICKING UP STICKS.Longways for six; 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. |
5–8 | That again. | |
A2 | 1–4 | First man changes places with the middle dancer on the opposite side and then with the last dancer on his own side (r.s.). |
5–8 | All lead up a double and fall back a double to places. | |
A3 | 1–4 | First woman does as the first man did in A2. |
5–8 | As in A2. | |
A4 | 1–4 | Second woman does as the first man did in A2. |
5–8 | As in A2. | |
A5 | 1–4 | Second man does as the first man did in A2. |
5–8 | As in A2. | |
A6 | 1–4 | Third man does as the first man did in A2. |
5–8 | As in A2. | |
A7 | 1–4 | Third woman does as the first man did in A2. |
5–8 | As in A2. | |
Second Part. | ||
A1 | 1–4 | Sides all. |
5–8 | That again. | |
A2 | 1–8 | First man and first woman face, take both hands,
and go four slips down between second man and second woman; while second man and second
woman go four slips up into the top place (2 bars).
Second man and second woman take both hands and slip down to places
between first man and first woman; while first man and first woman slip up to places
(2 bars).
First and second couples repeat these movements (4 bars).
Simultaneously, third man and third woman cross over, cast up to the
top, cross over again and cast down to places (sk.s.). |
A3 | 1–8 | Third and second couples do as first and second couples did in A2, third couple first slipping up between second man and second woman; while first man and first woman cross over, cast down to the bottom, cross over again and cast up to places. |
Third Part. | ||
A1 | 1–4 | Partners arm with the right. |
5–8 | Partners arm with the left. | |
A2, A3 and A4 | First man, followed
by second and third men, crosses over and threads or heys through the three women (they
standing still), passing outside first woman, inside second, and outside third. The first
and second men, on reaching third woman pass, clockwise, round her and face up; while the
third man, instead of following second man round third woman, passes
counter‑clockwise completely round second woman and faces up, thus becoming the
head of the file (sk.s.).
Third man, followed by first and second men, then heys up to the top,
the second man (now the hindermost), instead of following first man round first woman,
passing counter‑clockwise round second woman, and facing down.
The three, now led by second man, then hey once more to the bottom, the
first man (now the hindermost) passing counter‑clockwise completely round second
woman and facing up.
Led by first man, the three, now in their proper order hey up to the
top, turn to their right, cast down to the bottom, and then move up to their respective
places. | |
A5, A6 and A7 | The women do as the men did in A2, A3, and A4. | |
SCOTCH CAP.Longways for six; in three parts (1st Ed., 1650). | ||
MUSIC. | MOVEMENT. | |
Running step throughout the dance.
First Part. | ||
A | 1–4 | All lead up a double and fall back a double to places. |
5–8 | That again. | |
B1 | 1–4 | First and second women and second and third men fall back two steps, cross over and change places, first woman with second man and second woman with third man. |
5–8 | First man and third woman cross over and change places. | |
B2 | 1–8 | All that again to places. |
Second Part. | ||
A | 1–4 | Partners side. |
5–8 | That again. | |
B1 | 1–4 | The men take hands, fall back a double and move forward a double to places; while the women do the same. |
5–8 | First & third men, first & third women, second man & second woman, arm with the right and fall back to places. | |
B2 | 1–4 | As in B1. |
5–8 | Partners turn. | |
Third Part. | ||
A1 | 1–4 | Partners arm with the right. |
5–8 | Partners arm with the left. | |
B1 | 1–2 | The men go four slips up, while the women go four slips down, so that third man faces first women. |
3–8 | Progressive hey, handing, three changes, to places, third man and first woman beginning the movement. (In the third and last change, second man turns his partner once round with the right hand, while first and third men turn their partners three‑quarters round.) | |
B2 | 1–8 | Same movement as in B1, except that the men slip down and the women slip up, and first man and third woman begin the progressive hey. |
GREENWOOD.Longways for six; in six parts (1st Ed. 1650). | ||
MUSIC. | MOVEMENT. | |
First Part. | ||
A1 | 1–4 | All facing front, move forward a double and fall back a double to places. |
5–8 | Partners set and turn single. | |
A2 | 1–4 | The second man leads the first and third women out a double, changes hands and leads them back a double to places; while the second woman does the same with first and third men. |
5–8 | Partners set and turn single. | |
A3 | 1–4 | Second man sides with his partner; while first first man sides with third man, and first woman with third woman. |
5–8 | Partners set and turn single. | |
A4 | 1–4 | First man sides with second woman, and second man with first woman; while third man sides with his partner. |
5–8 | Partners set and turn single. | |
A5 | 1–4 | Second man sides with third woman, and third man with second woman; while first man sides with his partner. |
5–8 | Partners set and turn single. | |
Second Part. | ||
A1 & A2 | As in First Part. | |
A3 & A4 | As in First Part, except that the dancers arm with the right instead of siding. | |
A5 | 1–8 | As in First Part, except that the dancers arm with the left instead of siding. |
Third Part. | ||
A1 & A2 | As in First Part. | |
A3 | 1–4 | Each file hands-three. |
5–8 | Partners set and turn single. | |
A4 | 1–4 | First couple and second man hands-three; while third couple and second woman do the same. |
5–8 | Partners set and turn single. | |
A5 | 1–4 | Third couple and second man hands-three; while first couple and second woman do the same. |
5–8 | Partners set and turn single. | |
Fourth Part. | ||
A1 & A2 | As in First Part. | |
A3 | 1–8 | Each file goes the whole-hey. |
A4 | 1–8 | First woman moves forward between first and
second men and all three go the whole‑hey, second man and first woman passing by
the right.
Simultaneously, third man moves forward between second man and third
woman and all three go the whole‑hey, third man and second woman passing by the
right. |
A5 | 1–8 | First man moves forward between first and second
women and all three go the whole‑hey, first man facing second woman and passing by
the left.
Simultaneously, third woman moves forward between second and third man
and all three go the whole‑hey, third woman and second man facing and passing by
the left. |
Fifth Part. | ||
A1 & A2 | As in First Part. | |
A3 | 1–4 | The three men go hands-three round second woman. |
5–8 | Partners set and turn single. | |
A4 | 1–4 | The three women go hands-three round second man. |
5–8 | Partners set and turn single. | |
Sixth Part. | ||
A1 & A2 | As in First Part. | |
A3 | 1–8 | The second woman falling back, the three men go the whole-hey, second man moving between first and third men and passing the latter by the right. |
A4 | 1–8 | The second man falling back, the three women go the whole-hey, second woman moving between first and third women and passing the former by the right. |
A5 & A6 | Same as A1 and A2 in First Part. | |
STEP STATELY.Longways for three, five, seven or nine couples; in three parts (1st Ed. 1650). | ||
MUSIC. | MOVEMENT. | |
First Part. | ||
A | 1–2 | All lead up a double. |
3–4 | Still facing up, men go four slips to their right behind their partners; while the women go four slips to their left. | |
5–8 | The men face the right wall and join hands, while the women face the left wall and do likewise. The first man, followed by the other men, casts down to the bottom of the Set and stands with the rest of the men on his right hand, all facing the Presence; while the women, in like manner, led by first women, cast down and stand in line with the men, first woman next to first man. | |
B | 1–4 | All take hands, move up a double and fall back a double. |
5–8 | First man and first woman, having released their hands, the women, hand-in-hand, move to the right in front of the men and dance up to places; while the men move to the left and do the same. | |
Second Part. (Duple minor-set.) | ||
A | 1–4 | First man and first woman lead up a double, change hands, and lead back to places. |
5–6 | First and second couples hands-four half-way round (r.s). | |
7–8 | First man and second woman change places. | |
B | 1–4 | First and second women lead up to the top, cross over and stand, the first woman behind the second man, the second woman behind first man. |
5–8 | The two men, giving right hands, pass each other, and then turn their partners with left hands, the first couple falling into the second place, the second couple into the first place (progressive) (sk.s.). | |
Third Part. (Progressive.) | ||
A | 1–4 | First man and first woman cross over, cast down and cross again in the second place, the second couple moving up to the top. |
5–6 | The first three men taking hands, the first three women doing the same, all move forward a double, first man and first woman meeting, second and third men changing places with their partners. | |
7–8 | The two files fall back a double. | |
B | 1–4 | First man and first woman lead up to the top and then, followed by second couple, cast down into the third place, second couple falling into the second place, and third couple moving up into the first place. |
5–8 | Second and third couples hands-four half-way round; while first man and first woman arm with the right (progressive). | |
When three couples only are dancing, the
progressive movement is that of an ordinary Whole‑set dance. When, however five,
seven, or nine couples are dancing, the progressive movement is that of a triple
minor-set with this difference that the leading couples gain two places in each round
instead of one. In this latter case, couples going up the dance should be careful to
note at the beginning of each round to which minor-set they belong and their place in
that set. This they can most easily do by carefully noting the positions and movements of
the leading couples. It should be noted that the restriction with regard to the
number of performers is operative in the Third Part only.
AYE ME; OR, THE SYMPHONY.Longways for eight; in three parts (1st Ed. 1650). | ||
MUSIC. | MOVEMENT. | |
Running step throughout the dance.
First Part. | ||
A1 | 1–4 | Partners lead up a double and fall back a double to places. |
5–6 | Partners face; men fall back two steps in fifth bar, women the same in sixth bar. | |
7–8 | All move forward to places, turning single as they do so. | |
A2 | 1–8 | All that again. |
B1 | 1–4 | First man and first woman cast down, meet below the second couple and change places; while fourth man and fourth woman cast up, meet above the third couple and change places. |
5–8 | First man and first woman cast up to the top, cross over and move down into the second place, the first man taking second man by both hands and turning him counter‑clockwise up into the first place, the first woman in like manner turning second woman clockwise into the first place. Simultaneously, fourth and third couples do likewise. | |
B2 | 1–8 | All that again to places, second and third couples initiating the movement. |
Second Part. | ||
A1 | 1–4 | Partners honour (2 bars) and change places, passing by the left (2 bars). |
5–6 | Men fall back two steps in fifth bar, women the same in sixth bar. | |
7–8 | All move forward a double to places, turning single as they do so. | |
A2 | 1–8 | All that again to places. |
B1 | 1–2 | All face up. First and third men and women go four slips outward; while second and fourth men and women go four slips inward. |
3–4 | First and third couples fall back a double; while second and fourth couples move up a double. | |
5–6 | Still facing up, first and third men and women go four slips inward; while second and fourth men and women go four slips outward. | |
7–8 | First and third couples move forward a double; while second and fourth couples fall back a double. | |
B2 | 1–2 | As in B1, all facing down. |
3–4 | First and third couples move forward a double; while second and fourth couples fall back a double. | |
5–6 | As in B1, all facing down. | |
7–8 | First and third couples fall back a double to places; while second and fourth couples move forward a double to places. | |
Third Part. | ||
A1 | 1–4 | Partners arm by the right once-and-a-half round, and change places. |
5–6 | Men fall back two steps in fifth bar, women the same in sixth bar. | |
7–8 | All move forward a double, turning single as they do so. | |
A2 | 1–4 | Partners arm by the left once-and-a-half round, and change places. |
5–8 | As in A1 to places. | |
B1 | 1–4 | Second and third couples cast off and move into first
and fourth places respectively.
Simultaneously, first and fourth couples face, move forward, meet,
change places (opposites pass by the right), and stay in the third and second stations
respectively. Whereupon first and fourth men change places with their
partners. |
5–6 | First man with his right hand takes the fourth man by the left and changes places with him, both moving counter‑clockwise; while first woman with her left hand takes the fourth woman by the right and changes places with her, both moving clockwise. | |
7–8 | First and fourth men change places with their partners. | |
B2 | 1–8 | Movement repeated to place, first and fourth couples casting off, while second and third couples meet, pass each other, etc. |
PRINCE RUPERT’S MARCH.Longways for eight; in three parts (1st Ed. 1650). | ||
MUSIC. | MOVEMENT. | |
Walking-step throughout the dance.
First Part. | ||
A | 1–8 | First couple, followed by second, third and fourth couples, leads round to the right to the bottom, and then up the middle to places. |
B1 | 1–4 | First man, followed by second, third and fourth men, crosses over, moves down outside the women and stands behind fourth woman. |
5–6 | All face left wall and move forward a double. | |
7–8 | Men change places with the woman opposite them. | |
B2 | 1–4 | As in B1, fourth man leading the other men. |
5–6 | As in B1. | |
7–8 | Partners change places. | |
Second Part. | ||
A | 1–8 | First couple, followed by the remaining three couples, leads round to the left to the bottom and then up the middle to places. |
B1 & B2 | The women do as the men did in the First Part, moving down behind the men, advancing toward the right wall, etc. | |
Third Part. | ||
A | 1–8 | As in First Part. |
B1 | 1–4 | The first man, followed by the other three men, crosses over and moves down to the bottom on the women’s side; while the fourth woman, followed by the other three woman, crosses over and moves up to the top on the men’s side (i.e., all move round clockwise). |
5–8 | Partners face. All fall back a double and move forward a double. | |
B2 | 1–4 | Movement in B1 repeated in reverse, the men headed by fourth man, the women headed by first woman moving down and up respectively to places (i.e., all moving round counter‑clockwise). |
5–8 | As in B1. | |
THE HEALTH; OR, THE MERRY WASSAIL.Longways for eight; 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. |
5–8 | Partners set-and-honour. | |
A2 | 1–8 | All that again. |
A3 | 1–4 | First and fourth couples face each other, meet and go back-to-back, staying in the second and third places respectively; while second couple casts up into the first place, and third couple casts down into fourth place (r.s.). |
5–8 | First man and first woman cast up to the top, and return down the middle to the same places; while fourth man and fourth woman cast down to the bottom, and return up the middle to the same places (r.s.). | |
A4 | 1–8 | Movement repeated to places, second and third couples meeting, going back‑to‑back, etc. |
Second Part. | ||
A1 | 1–4 | Hands-all, half-way round, facing outward (r.s.). |
5–8 | Partners set-and-honour. | |
A2 | 1–4 | Hands-all, half-way round, counter‑clockwise, facing outward to places (r.s.). |
5–8 | Partners set-and-honour. | |
A3 | 1–4 | As in A3, First Part. |
5–8 | First and fourth couples hands-four, facing outward (r.s.). | |
A4 | 1–8 | As in A3, second and third couples meeting, going back-to-back, etc. |
Third Part. | ||
A1 | 1–4 | Partners turn once-and-a-half round and change places (sk.s.). |
5–6 | First and second men, third and fourth men, first and second women, and third and fourth women turn half‑way round and change places (sk.s.). | |
7–8 | Partners set. | |
A2 | 1–8 | All that again to places. |
A3 | 1–4 | First and fourth couples face each other and meet; while second and third couples cast up and down respectively into first and fourth places (r.s.). |
5–8 | First and fourth men and women clap their hands and go right-hands-across. | |
A4 | 1–8 | Movement repeated to places, second and
third couples meeting, clapping hands, etc.
Alternative Version. |
A3 | 1–2 | First man and fourth woman move forward, meet and join right hands; while second man casts up into first place and third woman casts down into fourth place (r.s.). |
3–4 | First woman and fourth man move forward, meet and join right hands; while second woman casts up into first place and third man casts down into fourth place. | |
5–8 | First and fourth couples right-hands-across once round. | |
A4 | 1–8 | Movement continued to places, second man and third woman meeting, joining hands, etc. |
HALFE HANNIKIN.Longways for as many as will; in three parts (1st Ed. 1650). | ||
MUSIC. | MOVEMENT. | |
(Progressive.) | ||
A1 | 1–4 | All lead up a double and fall back a double to places. |
5–8 | That again. | |
B1 | 1–4 | Opposites side. |
5–8 | The top dancer on the men’s side and the
bottom dancer on the women’s side turn their opposites and then fall out, the
former standing neutral at the top, and on the right of the General Set, and the
latter at the bottom and on the left; while the rest of the dancers on the men’s
side turn their opposites and move up one place.
All (with the exception of the two neutral dancers)
are now facing up in couples, second man with first woman, third man with second
woman, and so forth. | |
A2 | 1–4 | All the dancers lead up a double and fall back a double to places. |
5–8 | That again. | |
B2 | 1–4 | Opposites side. |
5–8 | All the dancers on the women’s side turn their
opposites and move down one place, the neutral dancer at the top moving into the vacant
place at the top of the women’s side, and the neutral dancer at the bottom into the
vacant place at the bottom of the men’s side (progressive).
The above movements are then repeated, and the dance proceeds until all the men have
changed over to the women’s side (first man at the lower end), and
all the women have changed over to the men’s side (last women at the upper
end); or, if preferred, until all are once again in their original
places. | |
THE COLLIER’S DAUGHTER; OR, THE DUKE OF RUTLAND’S DELIGHT.Longways for as many as will; in one part (Vol. 2, 4th Ed. 1728). | ||
MUSIC. | MOVEMENT. | |
(Triple minor-set.) | ||
A1 | 1–4 | First man and first woman cross over and cast down into second place (improper), second couple moving up into first place. |
5–8 | First man turns first woman. | |
A2 | 1–4 | First man and first woman cross over and cast down into the third place (proper), third couple moving up into the second place. |
5–8 | First man turns first woman. | |
B1 | 1–2 | First man leads first woman up the middle into the second place, third couple moving down into the third place (progressive). |
3–6 | First and second couples hands-four. | |
7–8 | All four turn single. | |
B2 | 1–4 | First and second couples circular-hey, four changes, partners facing. |
5–8 | First and second men turn their partners. | |
UP GOES ELY.Longways for as many as will; in one part (Vol. 3, c. 1728). | ||
MUSIC. | MOVEMENT. | |
N.B.—The tune is in triple time, i.e.,
three steps to the bar. Running-step throughout the dance. (Triple minor-set.) | ||
A | 1–4 | First man and first woman cast off into the second place (second couple moving up into the first place), turn each other half‑way round and change places (improper), cast off again and meet below third couple. |
5–8 | First man and first woman lead up the middle to the top and cast off into the second place (still improper). | |
B | 1–2 | First man moves into the middle
and, facing down, goes hands-three with the third couple half‑way round; while first
woman, facing up, does the same with the second couple.
Second and third men have changed places with their partners; while
first woman is standing above the second couple, facing down, and first man below the
third couple, facing up. |
3–4 | First man and first woman meet, turn half-way round and fall back, each into the other’s place. | |
5–6 | First man (standing above second couple, facing down) goes hands-three with second couple half‑way round; while first woman (standing below third couple, facing up) does the same with third couple. | |
7–8 | Second and third men turn their partners; while first man and first woman face, turn three‑quarters round, and fall into the second place (progressive; proper). | |
EVERY LAD HIS LASS.Longways for as many as will; in one part (Vol. 2, 4th Ed. 1728). | ||
MUSIC. | MOVEMENT. | |
(Triple minor-set.) | ||
A | 1–4 | First man and first woman set and cast down into second place, second couple moving up into first place. |
5–8 | Second couple set and cast down into second place, first couple moving up into first place. | |
B | 1–2 | First man and second woman meet with two steps and a jump on the two beats of the first bar and the first beat of the second, respectively. |
3–4 | First woman and second man meet in like manner. | |
5–6 | All four return to places, turning single as they do so. | |
7–12 | First man and first woman cross over, cast down, meet below second couple, cross over again, cast down, meet below third couple, and move up the middle into the second place; while second couple moves up into first place (progressive). | |
EPSOM NEW WELLS.Longways for as many as will; in one part (Vol. 2, 4th Ed. 1728). | ||
MUSIC. | MOVEMENT. | |
(Triple minor-set.) | ||
A | 1–4 | First man turns second woman half-way round, with the right hand. First man then passes clockwise round second man and returns to his place; while second woman passes clockwise round first woman and returns to her place. |
5–8 | First woman turns second man half-way round. First woman then passes clockwise round first man and returns to her place; while second man passes clockwise round second woman and returns to his place. | |
B1 | 1–8 | First man and first woman lead down the middle, while second man and second woman cast up and then follow behind them. First and second couples lead through the third couple, cast up, men to the right and women to their left, and return to places. |
B2 | 1–4 | First and second men lead a double to the left wall, change hands, and lead a double back again to places; while first and second women lead to the right wall and back again in like manner. |
5–6 | Partners set. | |
7–8 | First man and first woman cast down into second place, second couple moving up into first place (progressive). | |
MY LADY’S COURANT.Longways for as many as will; in one part (Vol. 2, 4th Ed. 1728). | ||
MUSIC. | MOVEMENT. | |
(Triple minor-set.) | ||
A1 | 1–4 | First man and first woman cast down into the second place, second couple moving up into first place. |
5–8 | Second couple and first man hands-three once round, while third couple and first woman do the same. | |
A2 | 1–8 | First man and first woman cast up to the top, cross over, cast down and hands-three once round, the man with second and third woman, the woman with second and third men. The first couple is now in the second place (improper). |
B1 | 1–4 | First woman moves up the middle and passes clockwise round second woman to the second place on her own side; while first man moves up the middle and passes counter‑clockwise round second man to the second place on his own side. |
5–8 | First man and first woman turn each other and then cast up into the first place, second couple moving down into the second place. | |
B2 | 1–6 | First man, taking his partner’s left hand in his right—she taking the second woman’s left in her right—casts off to his left, and, followed by first and second women, goes a complete circle, counter‑clockwise, round second man. |
7–8 | First man and first woman cast down into the second place, second couple moving up into the first place (progressive). | |
ORLEANS BAFFLED.Longways for as many as will; in one part (Vol. 2, 4th Ed. 1728). | ||
MUSIC. | MOVEMENT. | |
N.B.—The tune is in triple time, i.e.,
three steps to the bar. Running-step throughout the dance. (Triple minor-set.) | ||
A | 1–2 | First man and first woman cast down into second place, second couple moving up into first place. |
3–4 | First and third couples half-pousette and change places (first man pushing and then pulling). | |
5–6 | First man and first woman cast up into second place, third couple moving down into the third place. | |
7–8 | First and second couples half-pousette and change places (first man pulling and then pushing). | |
Bar 9 | First man and second woman change places. | |
Bar 10 | Second man and first woman change places. | |
11–12 | First and second couples circular-hey, three changes, men facing and women facing (progressive). | |
A TRIP TO KILBURN.Longways for as many as will; in one part (Vol. 2, 4th Ed. 1728). | ||
MUSIC. | MOVEMENT. | |
(Triple minor-set.) | ||
A1 | 1–2 | First man and first woman cast down into second place, second couple moving up into first place. |
3–6 | First and third couples hands-four. | |
7–8 | First couple leads through third couple. | |
A2 | 1–2 | First man and first woman cast up into the second place. |
3–6 | First and second couples hands-four. | |
7–8 | First couple leads through second couple. | |
B1 | 1–2 | First man and first woman cast off into second place (progressive). |
3–8 | First, second and third couples hands-six. | |
B2 | 1–4 | First and second couples circular-hey, four changes, partners facing. |
5–8 | First and second men turn their partners. | |
MY LADY WINWOOD’S MAGGOT.Longways for as many as will; in one part (Vol. 3, c. 1728). | ||
MUSIC. | MOVEMENT. | |
(Triple minor-set.) | ||
A1 | 1–4 | First man and first woman set and cast down into second place, second couple moving up into first place. |
5–8 | First man and first woman lead through the third couple and cast up into second place (progressive). | |
A2 | 1–8 | First man goes figure of eight with third couple, passing counter-clockwise round the third woman and clockwise round the third man; while first woman does the same with second couple, passing counter‑clockwise round second man and clockwise round second woman (sk.s.). |
B1 | 1–4 | First, second and third couples hands-six. |
5–8 | First, second and third men go back-to-back with their partners. | |
B2 | 1–4 | First man and first woman lead down through third couple, cast up to the top and lead down the middle to second place. |
5–8 | First man turns his partner. | |
THE MAIDEN’S BLUSH.Longways for as many as will; in one part (Vol. 2, 4th Ed. 1728). | ||
MUSIC. | MOVEMENT. | |
(Triple minor-set.) | ||
A | 1–4 | First man and first woman set and cast down into second place, second couple moving up into first place. |
5–8 | Same again, first couple changing places with third couple. | |
B1 | 1–4 | First man and first woman lead up to the top, and cast down into second place, third couples moving down into third place. |
5–8 | First and second couples circular-hey, two changes, partners facing. | |
B2 | 1–4 | First and second men turn their partners. |
5–8 | First and second couples circular-hey, two changes, partners facing (progressive). | |
JENNY, COME TIE MY CRAVAT.Longways for as many as will; in two parts (8th Ed. 1690) | ||
MUSIC. | MOVEMENT. | |
First Part.
(Triple minor-set.) | ||
A | 1–4 | First man turns second woman. |
5–8 | First woman turns second man. | |
B | 1–8 | First man and first woman cross over, cast down, cross over below the second couple, cast down again, meet below the third couple, lead up the middle to the top, and cast down into second place, second couple moving up into first place (progressive). |
Second Part.
(Duple minor-set.) | ||
A | 1–2 | First and second women fall back a double, while first and second men move forward a double. |
3–4 | All four turn single. | |
5–6 | The two men fall back a double, and the two women move forward a double to places. | |
7–8 | All four turn single. | |
B | 1–4 | Partners side, all clapping their hands on the first beat of the first bar. |
5–6 | All four turn single. | |
7–8 | First man and first woman cast down into second place, while second couple moves up into first place, partners striking each other’s hands (right on left and left on right) on the first beat of the bar (progressive). | |
MR ISAAC’S MAGGOT.Longways for as many as will; in one part (9th Ed. 1695). | ||
MUSIC. | MOVEMENT. | |
N.B.—The tune is in triple-time; i.e.,
three steps to the bar. (Duple minor-set.) | ||
A | 1–4 | First man turns second woman with the right hand and returns clockwise round second man to his place. |
5–8 | First woman turns second man with the left hand and returns counter-clockwise round second woman to her place. | |
B | 1–4 | First and second men take hands, fall back six steps and move forward to places, turning single on the last three steps as they do so; while the first and second women do the same. |
5–8 | First and second couples circular-hey, three changes, partners facing. All four face up in line, first man and first woman standing between second man and second woman. | |
9–10 | First and second couples, four abreast, with linked hands, lead up three steps and fall back three steps. | |
11–12 | First and second couple lead up three steps, the second couple staying in the first place, while first man and first woman cast down into second place (progressive). | |
THE FIT’S COME ON ME NOW.Longways for as many as will; in one part (7th Ed. 1686). | ||
MUSIC. | MOVEMENT. | |
N.B.—The tune is in triple-time; i.e.,
three steps to the bar. (Duple minor-set.) | ||
A | 1–2 | First man casts down, passes below second man and returns up the middle to his place; while the second woman moves up the middle, casts down and returns to her place. |
3–4 | First and second men turn their partners. | |
5–6 | First woman casts down, passes below the second woman and returns up the middle to her place; while the second man moves up the middle, casts down and returns to his place. | |
7–8 | First and second men turn their partners. | |
BBar 1 | First and second men change places with their partners. | |
2–4 | First woman and first man cross over and move down between second couple, cast up to their original places, and turn single. | |
Bar 5 | Second man and second woman cast up to the first place (improper), first couple moving down to second place (progressive). | |
6–8 | Second man and second woman cross over and move down between first couple, cast up into the first place, and turn single. | |
THE CORONATION DAY.Longways for as many as will; in one part (10th Ed. 1698). | ||
MUSIC. | MOVEMENT. | |
(Duple minor-set.) | ||
A | 1–4 | First man with his right hand takes his partner by her left hand and leads her down the middle, passing her before him into second man’s place, he falling into second woman’s place; while second man and second woman cast up to the top, cross over and change sides. |
5–8 | Second man with his left hand takes his partner by her right hand, and leads her down the middle into the second place, passing her before him on to her own side; while first man and first woman cast up to the top, cross over and change sides. | |
B1 | 1–4 | First man moves round his partner counter-clockwise into her place, while she (in bars 3 and 4) moves down into the second woman’s place, turning single as she does so. Simultaneously, second woman passes counter‑clockwise round her partner into his place, while he (in bars 3 and 4) moves up into first man’s place, turning single, clockwise, as he does so. |
5–8 | First man and first woman lead to the left wall between second man and second woman, cast off and return to the same places. | |
B2 | 1–2 | Second man casts down and crosses over into the second place on the women’s side; while first woman crosses over into the first place on the men’s side. |
3–4 | All four turn single. | |
5–8 | First man and first woman cross over and cast down into the second place; while second man with his right hand takes his partner by her left hand and leads her the middle, passing her before him into the first place on the women’s side, he falling into the first place on the men’s side (progressive). | |
LADY BANBURY’S HORNPIPE.Longways for as many as will; in three parts (3rd Ed. 1665). | ||
MUSIC. | MOVEMENT. | |
N.B.—The tune is in triple time, i.e.,
three steps to the bar.[*]
First part.
(Duple minor-set.) | ||
A | 1–4 | First man and first woman cast down into the second place, cross over and stand, first man on the outside of second woman (both facing down), first woman on the outside of second man (both facing up). |
B | 1–2 | First man and second woman (taking inside hands) lead down three steps and fall back three steps; while second man and first woman (taking inside hands) lead up three steps and fall back three steps. |
3–4 | Second man and second woman go right-hands-across half-way round, holding first woman and first man respectively in their left hands. Upon the conclusion of this movement, first couple falls into second place, while second man changes places with second woman and both fall into the first place (progressive). | |
Second Part.
(Duple minor-set.) | ||
A | 1–2 | The two men face and take both hands, the two
women doing the same. First man pulls second man up three steps and pushes him down the
middle three steps; while the second woman pulls first woman down three steps and then
pushes her up the middle three steps.
All four are now in line, second man and first woman back to
back. |
3–4 | First man and second woman change places, both moving to their left, i.e., clockwise. | |
B | 1–2 | Second man and first woman go three slips to their left—second man toward left wall, first woman toward right wall. Whereupon second woman and first man change places. |
3–4 | First and second couples hands-across rather less than half-way round (three steps), and partners change places (progressive). | |
Third Part.
(Duple minor-set.) | ||
ABar 1 | First man moves forward and stands above his partner, both facing up. | |
Bar 2 | Second man in like manner moves in front of his partner. | |
3–4 | All four move up three steps and fall back three steps (w.s.). | |
BBar 1 | The first man goes three slips to his right, while his partner goes three slips to her left. | |
Bar 2 | Second man and second woman do the same. | |
Bar 3 | First man and first woman cast down into the second place, second couple leading up into the first place. | |
Bar 4 | First and second men change places with their partners (progressive). | |
CHRISTCHURCH BELLS.Longways for as many as will; in one part (7th Ed. 1686). | ||
MUSIC. | MOVEMENT. | |
(Duple minor-set) | ||
A | 1–8 | First man turns second woman with the right hand and then turns his partner with the left, falling back into his place. |
B | 1–8 | Second man turns first woman with the left hand and then turns his partner with the right, falling back into his place. |
C | 1–4 | First and second couples hands-four. |
Bar 5 | On the first beat of the bar, all clap hands; on the middle beat of the bar partners strike right hands together. | |
Bar 6 | As in previous bar, except that, on the middle beat of the bar partners strike left hands together. | |
7–8 | First man and first woman cast down into second place; while second couple leads up into first place (progressive). | |
THE WHIM.Longways for as many as will; in one part (9th Ed. 1695). | ||
MUSIC. | MOVEMENT. | |
(Duple minor-set.) | ||
A | 1–2 | First and second men take hands and fall back a double; while first and second woman do the same. |
3–6 | Releasing hands, all four move forward, cross over, and change sides. | |
7–12 | Same again to places. | |
B | 1–4 | First and second men go back-to-back, while first and second women do the same. |
5–6 | All four turn single. | |
7–12 | Circular-hey, three changes, partners facing, the first couple falling into the second place and the second couple into the first (progressive). | |
LOVE LIES A-BLEEDING.Longways for as many as will; in one part (7th Ed. 1686). | ||
MUSIC. | MOVEMENT. | |
(Duple minor-set.) | ||
A | 1–4 | First man and first woman cast down into the second place, and then go back-to-back, passing by the right; while second couple moves up into the first place. |
5–8 | First man and first woman cast up into the first place and then go back-to-back, passing by the left; while second couple move down into the second place. | |
B Bar 1 | On the first beat of the bar, first and second men clap hands and, on the middle beat, strike each other’s hands (right on left and left on right); while the two women do the same. | |
Bar 2 | As in previous bar, except that, on the middle beat, partners strike each other’s hands. | |
3–4 | First man and first woman cast down into the second place, second couple moving up into the first place (progressive). | |
5–6 | As in bars 1–2 | |
7–8 | Partners turn each other. | |
JACOB HALL’S JIG.Longways for as many as will; in one part (9th Ed. 1695). | ||
MUSIC. | MOVEMENT. | |
(Duple minor-set.) | ||
A1 | 1–4 | First man turns second woman with the right hand and then turns his partner with the left. |
5–8 | First couple and second woman hands-three, counter-clockwise, to places. | |
A2 | 1–4 | Second man turns first woman with the left hand and then turns his partner with the right. |
5–8 | Second couple and first woman hands-three, clockwise, to places. | |
B1 | 1–4 | First man and first woman lead down the middle, change hands, lead up and stand between second man and second woman, all four facing up. |
5–8 | Taking hands, all four move up a double and fall back a double, first couple into second place, second couple into first place (progressive). | |
B2 | 1–4 | First and second couples hands-four. |
5–8 | First man and first woman lead up the middle, and cast down into second place. | |
THE TEMPLE CHANGE.Longways for as many as will; in one part (Vol. 2, 2nd Ed. 1698). | ||
MUSIC. | MOVEMENT. | |
(Duple minor-set.) | ||
A | 1–2 | First and second couples hands-four half-way round. |
3–4 | All turn single. | |
5–8 | All that again. | |
B | 1–2 | First man and second woman change places. |
3–4 | First woman and second man change places. | |
5–6 | Hands-four half-way round. | |
7–8 | First man and first woman cast down into second place, the second couple leading up into first place (progressive). | |
THE MARY AND DOROTHY.Longways for as many as will; in one part (Vol. 3, c. 1728). | ||
MUSIC. | MOVEMENT. | |
(Duple minor-set.) | ||
A | 1–4 | First and second couples set and turn single. |
5–8 | First and second couples hands-four. | |
B | 1–4 | First man leads first woman a double down the middle with inside hands, changes hands and leads her a double up. |
5–6 | First man and first woman cast down into second place, second couple moving up into first place (progressive). | |
JOG ON.Longways for as many as will; in four parts (1st Ed. 1650). | ||
MUSIC. | MOVEMENT. | |
First Part. | ||
A1 | 1–4 | All lead up a double and fall back a double to places. |
5–8 | Partners set and turn single. | |
A2 | 1–8 | All that again. |
Second Part.
(Duple minor-set.) | ||
A | 1–4 | First man, with his back to the Presence, faces his partner and, taking her by both hands, falls back two steps and then pushes her down the middle between second man and second woman. |
5–8 | First man and second couple hands-three round first woman (first man standing on the right of second man), first couple falling into second place, second couple into first place (progressive). | |
Third Part.
(Duple minor-set.) | ||
A | 1–4 | First man takes first woman by both hands, pushes her down behind second woman, and then into second man’s place, he moving into second woman’s place; while second couple moves up into the first place (progressive, improper). |
5–8 | First and second men turn their partners.
In the next round, first man pushes his partner behind third man into third woman’s place (progressive, proper). | |
Fourth Part. | ||
A | 1–4 | First man and first woman cast down and stand on the outside of second man and second woman respectively, all four facing up. Taking hands, all move up a double and fall back a double, the first couple into the second place, the second couple into the first (progressive). |
5–8 | First and second men arm their partners with the right. | |
THE MOCK HOBBY HORSE.Longways for as many as will; in one part (10th Ed. 1698). | ||
MUSIC. | MOVEMENT. | |
(Duple minor-set.) | ||
A | 1–4 | First man turns second woman. |
5–8 | Second man turns first woman. | |
B1 | 1–4 | First and second men take hands, move forward between first and second women and cast off to places, first man to his left, second man to his right. |
5–8 | First and second men turn once-and-a-half round and change places; while first and second women do the same (progressive). | |
B2 | 1–4 | Women do as men did in B1. |
5–8 | Partners turn. | |
JUICE OF BARLEY.Longways for as many as will; in one part (8th Ed. 1690). | ||
MUSIC. | MOVEMENT. | |
(Duple minor-set.) | ||
A | 1–4 | First man and first woman go back-to-back; while second man and second woman do the same. |
5–8 | Partners turn. | |
B1 | 1–4 | First man, followed by second man, passes between first and second women, turns to his right into second place, second man turning to his left into first place. |
5–8 | All clap hands on the first beat of the fifth bar and go hands-four once round. | |
B2 | 1–4 | First woman, followed by second woman, passes between first and second men, turns to her left into second place, second woman turning to her right into first place (progressive). |
5–8 | As in B1. | |
MAIDS’ MORRIS.Longways for as many as will; in one part (8th Ed. 1690). | ||
MUSIC. | MOVEMENT. | |
(Duple minor-set.) | ||
A | 1–4 | First and second men take hands, fall back a double, and then move forward a double to places, turning single as they do so. |
5–8 | First and second women do the same. | |
B1 | 1–2 | First and second couples hands-four four slips clockwise. |
3–4 | All four turn single. | |
5–6 | First and second couples hands-four four slips counter-clockwise to places. | |
7–8 | All turn single. | |
B2 | 1–6 | Circular hey to places, four changes, partners facing. |
7–8 | First man leads first woman down the middle into second place; while second man and second woman cast up into the first place (progressive). | |
LILLI BURLERO.Longways for as many as will; in one part (8th Ed. 1690). | ||
MUSIC. | MOVEMENT. | |
(Duple minor-set.) | ||
A | 1–4 | First man and first woman lead down the middle below second couple, cast up and return to places. |
5–8 | Second man and second woman lead up the middle, cast down and return to places. | |
B1 | 1–2 | First man and second woman change places. |
3–4 | First woman and second man change places. | |
5–6 | All fall back a double. | |
7–8 | All move forward a double, turning single as they do so. | |
B2 | 1–2 | First and second men cross over and change places with their partners. |
3–4 | First and second men move backward into the other’s place; while first and second women do the same. | |
5–8 | Circular-hey, three changes, partners facing (progressive). | |
POOL’S HOLE.Longways for as many as will; in one part (8th Ed. 1690). | ||
MUSIC. | MOVEMENT. | |
(Duple minor-set.) | ||
A | 1–4 | First man and first woman cast down into the second place, second couple moving up into the first place. First woman then passes counter‑clockwise round second man into the second place on the men’s side; while first man passes clockwise round second woman into the second place on the women’s side. |
5–6 | First and second men change places. | |
7–8 | First and second women change places. | |
B | 1–4 | First and second couples hands-four. |
5–8 | First and second couples progressive-hey, three changes, first man and first women beginning the movement by passing by the right (progressive). | |
KING OF POLAND.Longways for as many as will; in one part (10th Ed. 1698). | ||
MUSIC. | MOVEMENT. | |
(Duple minor-set.)
Throughout this dance the leading couples are improper. Partners on
reaching the top or bottom of the Set must therefore remember to change
places. | ||
A | 1–4 | The first couple being improper, first man and second woman turn once-and-a-half round and change places; while second man and first woman do the same. |
5–8 | First and second men cross over and change places with their partners, and then, turning their partners half‑way round, fall back to the same places. | |
B1 | 1–2 | First couple leads up to the top; while second man and second woman cast down into the second place. |
3–6 | Circular-hey, three changes, partners facing (progressive; improper). | |
B2 | 1–6 | First woman and first man cross
between second man and second woman and pass, the first woman clockwise round second
woman, the first man counter‑clockwise round second man, meet, turn half-way
round and fall back to places.
The Round believes in doing this fast, with forearm holds for the turns
in A1 and A2. |