JOHN PLAYFORD.
1623–1686.
THE
COUNTRY DANCE BOOK PART VI.
CONTAINING FIFTY-TWO COUNTRY DANCES FROM
THE ENGLISH DANCING MASTER (1650‑1670)
DESCRIBED BY CECIL J. SHARP.
london: NOVELLO AND COMPANY, Limited.
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 X and XI. price 2s. each.)
London NOVELLO AND COMPANY, Ltd.
CONTENTS.
The Dance—
The Room
Technical Terms and Symbols
The Music
The Steps
The Figures
The Hey
General Instructions
Notation—
Rose is White and Rose is Red (Round for as many as will)
Peppers Black (Round for as many as will)
Mill-Field (Round for as many as will)
Sage Leaf (Round for as many as will)
Mundesse (Round for six)
Epping Forest (Round for six)
The Maid in the Moon (Round for six)
Dissembling Love; or, The Lost Heart (Longways for six)
The Night Piece (Longways for six)
Jack a Lent (Longways for six)
The Whish (Longways for six)
Mall Peatly (Longways for eight)
The Shepherd’s Daughter (Longways for eight)
The Slip (Longways for eight)
LONGWAYS FOR AS MANY AS WILL.
The Mulberry Garden
Saturday Night and Sunday Morn
The Maid Peeped out at the Window; or, The Friar in the Well
Drive the Cold Winter Away
Mad Robin
Never Love thee More
Slaughter House
The Siege of Limerick
The Britains
Mr. Englefield’s New Hornpipe
Fourpence Half-Penny Farthing; or, The Jockey
From Aberdeen
My Lord Byron’s Maggot
Childgrove
Portsmouth
The Queen’s Jig
Indian Queen
The Princess
Crosbey-Square
The Round
Greenwich Park
The Jack’s Farewell
Sion-House
Bury Fair
The Queen’s Birthday
Dick’s Maggot
Jack’s Maggot
The Country Farmer
My Lady Foster’s Delight
Apley House
Old Noll’s Jig
Fy, Nay, Prithee John
Up With Aily
Nowill Hills; or, Love Neglected
Hunt the Squirrel
The Geud Man of Ballangigh
Round O
Mr. Beveridge’s Maggot
General Index (Parts 1-6)
From The English Dancing Master (1st Ed., 1650).
face p. 7]
INTRODUCTION.
This book contains a further instalment of fifty-two dances
selected from “The English Dancing Master”;
eighteen from the first four editions (1650–70), three
from the 7th edition (1686), one from the 8th (1690), seven
from the 10th (1698), eleven from the 11th (1701), nine from
the 12th (1703), and the remaining three from the 14th (1709).
These dances, with those already published in Parts 2, 3,
and 4 of this Series, make a total of 159, i.e., 21
Rounds, 6 Square‑eights; 11 For‑four;
21 Longways‑for‑six; 15
Longways‑for‑eight; and 85 Longways for
as many as will.
Of the 24 Rounds, which are all that “The English
Dancing Master” and subsequent editions contain,
we have now accounted for all but three—“The
Chirping of the Nightingale,” “Kemp’s Jig,”
and “Kettle Drum.” The first two present no difficulties
in the way of interpretation, and have been omitted only because
they are not of sufficient interest to warrant printing. “Kettle
Drum,” however, has a splendid tune (set to “Peppers
Black” in the present volume) and movements which would
apparently be interesting enough could they be deciphered, but this,
despite repeated attempts, I have so far been unable to do. In the
hope, however, that some of my readers may be more ingenious,
and partly, I admit, in self‑justification, a facsimile of
Playford’s notation of the dance is here reproduced.
The dances For-four and the Square-eights have proved more
amenable, and every one of the dances of these two types
that the Playford books contain have now been deciphered
and printed. I would that there were more of them.
Of the Longways-for-six in “The Dancing Master”
all but seven have now been published, and of the
Longways‑for‑eight all but ten. A few of the
seventeen dances thus omitted were rejected because their
interpretation was uncertain, and the remainder because they
were not sufficiently interesting to merit publication.
The seventy-four dances above enumerated represent, I
regret to say, all the older forms of the Country Dance that it
seems possible to extract from “The English Dancing
Master”, and, moreover, all that we shall ever possess;
for, as already explained, this type of dance gradually fell into
disuse during the latter years of the 17th century, and
disappeared altogether with the opening years of the following
century. All that now remains, therefore, to complete our
investigations is to examine more closely than we have yet
done the editions subsequent to the 14th (1709), and select
from those Progressive dances that may seem worthy of
preservation.
In the Introduction to my first book of Playford dances,
published in 1911, I gave as careful and detailed a description
as I was at that time able to give, of those 17th century
dances, of the way in which they were noted in “The
English Dancing Master,” and, in general terms, of the
problems to be solved in their interpretation. I have not since
returned to the subject, having been content to publish, in
Parts 3 and 4 of this series, the results of further researches
without comment. The reader, however, is entitled, and will
probably wish, to know how far further investigations and a
closer acquaintance with the Playford volumes have affected
the opinions I then expressed. This claim I will now meet;
the more readily because in preparing the second and third
selections of dances I was assisted by George Butterworth,
who brought a keen and unusually ingenious mind to bear
upon the subject, and succeeded in elucidating many
troublesome points that had hitherto baffled me; and
in compiling the present volume, although unhappily
deprived of his valuable and kindly help, I have been aided
by Miss Maud Karpeles, whose name should, and but for her
refusal to allow it, would have appeared upon the title‑page.
Any views that I have now to express are, therefore, those of
my two collaborators as much as my own.
The chief difficulties to be resolved in deciphering these
dances have been: (1) to interpret the language of the
Playford notations; (2) to determine the steps that were
used in the 17th Country Dance, a question upon which
Playford and other contemporary authorities are silent;
and (3) to capture the spirit and style of the dance.
Continued research has thrown little or no additional light
on either of the last two questions. Concerning the steps,
however, there is this to be said, that those which I originally
propounded have been tested in the last ten years in a very
practical way, and in the result have been found to be
serviceable and to satisfy the needs of the dance. Even if,
therefore, they are not historically accurate—as in the
main I still believe them to be—they at any rate serve
their purpose. And this, as later on I shall have occasion to
point out, is the chief, if not the only, function of the steps
in a dance which, like the one in question, depends almost wholly
for its expressiveness upon figure‑movements.
Nor do I think that we can have gone very far astray in our
restoration of the dance so far as its character and spirit are
concerned. The words of “a lady of distinction,”
already quoted, seem to tell us all that we need to know, viz.,
that “The characteristic of an English Country Dance is
that of gay simplicity. The steps should be few and easy, and
the corresponding motions of the arms and body unaffected,
modest, and graceful.” Confirmation of this estimate
is, moreover, implicit in the many references to the dance in
contemporary writings both before and after 1650, one and all
of which testify to the unsophisticated, jolly character of the
dance and to the pleasant contrast which in this respect it
afforded to the ceremonial dances of the Court. But stronger
still than any documentary support is the evidence of the
dance itself—the spirit and character which pervade its
every movement and are reflected in every phrase of the
accompanying music.
In regard, then, to these two important points I think it
may fairly be claimed that the dance has not been unfaithfully
presented. Where we may and no doubt have failed, in greater
or less degree, is in our interpretation of the movements and
figures. The loose, unscientific, happy‑go‑lucky
way in which the descriptions of the dances are often worded;
the frequent use of undefined technical terms and expressions
that became obsolete during the period covered by the Playford
volumes; the typographical errors which disfigure so many of
the pages—the inaccurate punctuation, the omission of
important words, sometimes whole sentences—these make
a really accurate, scientifically exact, transcription humanly
unattainable. Nevertheless, by exercising reasonable care,
by confining the published dances to those least liable to
misconstruction, by noting and allowing for the kind of error to
which experience shows that Playford editors and compositors were
most prone; it has been feasible to reduce to comparatively small
proportions, and in some cases entirely to eliminate, the element
of speculation.
We have now, I think, arrived at the meaning of all the
technical terms, used in the notations, with one
exception—the Side. Further evidence which has come
to light with respect to this very troublesome figure seems
to throw doubt upon the accuracy of the half‑turn in each
portion of the figure, in the form in which I reconstructed it.
Now if, instead of turning, the dancers were to “fall back
to places” along their own tracks, the Side would then be
identical with the Morris figure of Half‑hands, or Half‑gip.
And this, I suspect, may prove to be the more correct
interpretation; but until it is supported by far more definite and
conclusive evidence that we at present have, it would, I think, be
unwise to make any alteration in the figure as now executed.
I wish it were possible to lay bare our method fully and to
explain in detail the way in which we have dealt with the
many difficulties above referred to, but this would be an
impractically long task and occupy more space than can
be spared. One or two illustrations, may perhaps
be allowed.
From The English Dancing Master (1st Ed., 1650).
One constant source of trouble arises from the apparent
inability of the recorders of some of the notations to describe
accurately in technical language the changes in the successive
repetitions of a figure‑sequence. “Mundesse,”
a facsimile of which is here reproduced, may be taken, and not
unfairly I think, to illustrate the perplexities which proceed from
this cause.
Playford’s notation of this dance looks at first sight
very puzzling; but when the plan upon which the dance
is constructed is realised, it is not difficult to divine
what the writer intended but was unable to express. It is
merely a matter of the order in which the honours are paid,
and this order will automatically change as the figure moves
round the circle, one place in each successive repetition.
Our interpretation, (see p. 60), which is based on this
supposition is, I believe, substantially correct.
The second figure (B music) of the first Part of
“Newcastle” affords another illustration of a like
confusion, as the reader will see if he will refer to the reproduction
of the dance given in Part 2 (see p. 77). The second
half of the figure was intended no doubt to be complementary
to and symmetrical with the first; but it is not so noted. The
last sentence should of course read: “Armes againe
with your owne by the left, and We. right hands in, men goe
about them towards the right to your places.”[*] A figure
very similar to this occurs in the second Part of “Chelsea
Reach” (Part 3, p. 36), but here a general direction only
is given for the second half of the figure, the dancers being left
to work out for themselves—a much safer plan.
In a few special cases I have felt justified in making minor
technical changes when by so doing the execution of a difficult
passage was made easier or less awkward. In the first figure
of the third Part of “Step Stately” (Part 4, p. 59),
for instance, the movement is very greatly improved by making
the two files fall back before moving forward, instead of
reversing these movements, as the dancers are directed to
do in the original text.
In the Progressive dances of the later editions the chief
trouble has been to adjust the movements to the several
sections of the music. In the earlier editions the apportionment
of music to figure is usually indicated in the notations, but for
some unexplained reason this helpful plan was discontinued
in the later volumes. This has added very considerably to our
troubles, especially when, as is not infrequent, no directions
are given concerning the number of repetitions, if any, of the
several sections of the music. Here again, an illustration may
be helpful. In “Apley House” (see p. 120),
for instance, the music consists of three four‑bar sections,
but with no directions about repeats, as the following transcription
of the notation will show:—
“The two men take hands and fall back, and
turn single; the women do the same; Hands‑across
half‑round, and turn single. The second couple being
in the first place, cast off, and the other couple follow and lead
up a‑breast; the first couple cross over into the second
couple’s place, the second couple lead up and cross over into
their own places.”
In this case I believe our solution is probably right, but
I am aware that there is room for differences of opinion.
Incidentally, our notation of this dance will serve to give a
general idea of the way in which we have expanded the original
text and translated it into present‑day technical language.
We have now perhaps said enough to indicate the general
lines we have followed in our attempts to reconstruct the
dances. Those who wish for further information can obtain
it by consulting the original texts and comparing them with
our translations.
It is impossible to examine the dances of the later editions
without being impressed by the beauty of a large number of
the tunes they contain. These, with few exceptions, are frankly
composed, sophisticated tunes, and it would be interesting to
know by whom they were written or from what sources they
were derived. The volumes themselves give us no information
whatever about their origin. Some, I imagine, may have been
definitely composed for the Country Dance, but I suspect the
majority were contemporary airs pressed into the service
of the dance by the Playford editors. “The Siege of
Limerick” (“Country Dance Tunes,”
Set 10) is the tune of one of Purcell’s songs, “O how
happy’s he,” and I cannot resist a suspicion that the same
master‑hand was responsible for several of the other
triple‑time hornpipe airs, e.g., “Dick’s
Maggot,” “Mr. Isaac’s Maggot,” “The
Hare’s Maggot,” etc. Two of the airs to the dances in this
volume were later on used in “The Beggar’s
Opera”—“Of Noble Race was Shinkin”
(set to “Nowill Hills”) and “Greenwich Park.”
Whatever their origin, the beauty of these airs is incontestable,
and if we may believe that the Country Dance
attracted the attention of the best musicians of the day, and
induced them to give of their best to its service, this would be
further testimony, were it needed, of the important place
which the National dance held in the social life of the period.
C. J. S.
Hampstead,
March, 1922.
* The double figure in the third Part of this dance is correctly
noted—“turn” at the end of the first line being
obviously a misprint for “turne S.”
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.
TECHNICAL TERMS AND SYMOLS.
= 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.
The Set or the General Set is the area occupied or
enclosed by the dancers in any given dance‑formation.
A Longways dance is one in which the performers take partners
and stand in two parallel lines, those on the men on one side opposite
and facing their partners on the other, those on the men’s side facing
the right wall, those on the woman’s side facing the left wall.
The disposition of the dancers in a longways dance 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.
A Progressive dance consists of the repetition, for an indefinite
number of times of a series of movements, called the Complete Figure,
each repetition being performed by the dancers in changed positions.
The performers of each Complete Figure is called a Round.
A Progressive movement, or figure is one the performers
of which leaves the dancers relatively in different positions.
A neutral dancer is one who, in a progressive dance, is
passive during the performance of a Round.
In dances, or figures, in which two couples only are
engaged, the terms contrary woman and contrary man
are used to denote the woman or man other than the partner.
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 hand of the other, if the two
face the same way; and right hands or left hands, if they
face in opposite directions. When 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 his right and left hands respectively, 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 two dancers pass each other they should always,
unless otherwise directed, pass each other by the right.
When a woman’s path crosses that of a man’s, the man
should allow the woman to pass first and in front of him.
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 of is to turn outward and dance outside the
General Set.
To cast up or cast down is to turn outward and move
up or down outside the General Set.
To fall is to dance backwards; to lead, or move,
is to dance forwards.
To make a half-turn is to turn through half a circle and
face in the opposite direction; to make a whole‑turn is to
make a complete revolution.
The terms clockwise and counter-clockwise are
self‑explanatory and refer to the direction of circular movements.
PROGRESSIVE DANCES.
THE PROGRESSIVE LONGWAYS DANCE.
There are two methods of progression in a Longways
Dance—the whole‑set and the
minor‑set.
In the whole-set dance the progression is effected by the
transference in every Round of the top couple from the top to
the bottom of the General Set, the rest of the couples moving
up one place.
The minor-set dance is one in which the Complete Figure in
each Round is performed simultaneously by subsidiary sets or
groups of two (duple) or three (triple) adjacent couples.
The effect of every performance of the Complete Figure is
to change the positions of the couples in each minor‑set. In
a duple minor‑set dance the two couples change places, in a
triple minor‑set the two upper couples. This necessitates a
rearrangement of the minor‑sets in the following Round, and
this is effected by each top couple forming a new minor‑set
with the adjacent couple or couples below. In this way the top
couple of each minor‑set will move down the Set one
place every Round; while the lower couple of the duple minor
set, and the second couple in the triple minor set, will each
move up one place. The position of the third couple in the triple
minor‑set will be unaffected, but in the following Round
it will, as second couple, move up one place. As the dance
proceeds, therefore, every couple will move from one end of
the Set to the other, the top couples down, the rest up. In a duple
minor‑set each couple on reaching either end of the
General Set becomes neutral in the following Round. In a
triple minor‑set each couple upon reaching the top of the
General Set remains neutral during the two following Rounds;
and on reaching the bottom for one Round only. It should be
added that when the top couple of a triple minor‑set dance
reaches the last place but one it must, in the succeeding Round,
dance the progressive portion of the Complete Figure with the
last couple or change places with them.[*]
* For further and more detailed information respecting the
Progressive Longways Dances see The Country Dance Book,
Part I., pp. 17‑24.
THE PROGRESSIVE ROUND.
The direction of the progression is normally
counter-clockwise—as in the Running Set—but in
some dances, owing to the exigencies of one or other of the
movements of the Complete Figure, the couples progress in the
reverse direction, clockwise.
In the diagram at the head of the Notation of each dance,
the dancers will be numbered in the direction of the
progression. The following diagram, for instance, is of a
counter‑clockwise dance:—
Diagram 1.
The first couple opens the dance by dancing the Complete
Figure with the second couple, passing on in the next Round
to the third couple and thereafter progressing round the ring.
In the third Round the second couple will dance with the
third couple and thus become a moving couple, and begin
its progression round the ring in the train of the first couple.
Similarly every alternate Round a stationary couple will
be converted into a moving couple and begin its progression
round the ring. By the time the first couple has reached the
last couple all the couples (i.e., if the number of couples
is even; all but one, if odd) will be engaged, and the General
Set will have assumed the form of two concentric half‑circles,
the inner ring consisting of moving couples, the outer of
stationary couples, thus:—
Diagram 2.
In the next Round the first couple having come to the end of
the stationary couples will fall back into the outer ring beside
the last couple (i.e., its original station), become a
stationary couple, and, after one neutral Round, be engaged
in turn by the rest of the couples in numerical order; while at
the other end of the Set, the 7th couple, after being neutral for
one Round, will move into the inner ring, become a moving
couple, and progress round the ring, engaging the stationary
couples in turn.
The procedure should now be clear. At one end of the Set
one moving couple will be transferred, every alternate Round,
from the inner to the outer ring and become a stationary
couple; while at the other end a stationary couple, also every
alternate Round, will be transferred from the outer to the
inner ring and become a moving couple. The General Set
will always consist of a double line of couples occupying one
half of the circumference of the original ring, and that half
will move slowly round the circle, counter‑clockwise,
at the rate of one couple every alternate Round.
The dance may end progressively as it began (after the
manner of the Progressive Hey), or continue indefinitely with
all the couples engaged.
The slow and somewhat tedious opening Rounds of the
dance when begun progressively, may be omitted by starting
the dance at the point depicted in Diagram 2. In that case
it will be possible to accommodate several more couples
without enlarging the ring, thus:—
Diagram 3.
So long as the gap or vacant space separating the two ends
of the Set is clearly defined and the dancers are careful not to
encroach upon it, no confusion need arise. In the above
diagram the space allotted to the gap is three couples, and that
will probably be found in practice to be sufficient. It should
be added that if the Dance is performed in this way, the
opening movement, hands‑all, will have to be sacrificed.
The Sides and Arms, however, can be performed when the dancers
are in the double ring.
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 many of the dances in this collection
are 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 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 his original place.
Progressive figures will 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.
MOTION IN THE DANCE.
The Country Dance is pre-eminently a figure dance,
depending in the main for its expressiveness upon the weaving
of patterned, concerted evolutions rather than upon intricate
steps or elaborate body‑movements. That the steps in the
Country Dance should be few in number and technically simple
is, therefore, natural enough. For complicated foot‑work
is obviously incompatible with that free, easy, yet controlled,
movement needed in the execution of intricate figures. In
a figure‑dance such as we are now considering, the way
in which the dancer moves from place to place is obviously of
far greater importance than the steps, and to this therefore we
will first turn our attention. An analysis of the way in which the
traditional folk‑dancer moves shows that it is based upon
two main principles:—
PARSON’S FAIRWELL. [photo. by E. S. Whitney, Huntingdon.
face p. 23]
(1.) The weight of the body in motion must always
be supported wholly on one foot or the other, and
never carried on both feet at the same moment.
From this it follows that the transition from step
to step, i.e., the transference of the weight from
one foot to the other, must always be effected by
spring, high enough to raise the body off the
ground.
(2.) The motive force, although derived in
part from this foot‑spring, is chiefly due to the
action of gravity, brought into play by the inclination
of the body from the vertical. The dancer in motion
is always in unstable equilibrium, regulating both
the speed and the direction of his movement by
varying the poise and balance of his body.[*] When
moving along the straight, for instance, his body
will be poised either in front of his feet or behind
them, according as his movement is forward or
backward; and laterally when moving along a
curved track.[*]
The function of the legs is to support the body rather
than to help to move it forward, the actual motion being
set up, regulated, and directed by the sway and balance
of the body, as in skating. The body, it should be
pointed out, cannot be used in this way, that is to set
up and regulate motion, unless it is carried essentially
in line from head to foot, without bend at the neck or
at the waist, or sag at the knees.
* See photograph on opposite page.
The advantages of this way of moving are obvious.
Motion is started and kept up with the least expenditure
of muscular energy; it can be regulated, both as to speed
and direction, with the greatest ease and nicety; above all,
its expressive value is high in that it brings the whole body,
and not the legs alone, into play. This last consideration is
a weighty one. The strongest argument against
“leg‑dancing” is not merely that it is
ugly, or that it involves superfluous muscular effort, but that the
legs, being primarily concerned and almost wholly occupied in
supporting and preserving the equilibrium of the body, cannot
effectively be employed for expressive or any other purpose.
THE STEPS.
The following general directions apply to the execution of
all the steps used in the Country Dance:—
(1.) Country Dance steps always fall on the main
divisions of the bar, i.e., on each of the two beats in
duple measure (2/2 or 6/8), and of the three beats in
triple‑measure (3/2 or 9/8). In the case of a compound
step, that is, one that comprises more than one movement, the
accented movement should fall on the beat.
(2.) The step should fall on the ball of the foot, not on
the toe, with the heel off, but close to, the ground,
(3.) The feet should be held straight and parallel,
neither turned out nor in at the ankle.
(4.) The legs should never be straddled, but held close
together. Nor again should they be extended more than
is absolutely necessary; the spring should as far as possible
take the place of the stride.
(5.) The jar caused by the impact of the feet on the floor
should be absorbed mainly by the ankle‑joint, and very
little or not at all by the knees. The knees indeed should be bent
as little as possible, so little that the legs should appear to be
straight, i.e., in one line from hip to ankle.
(6.) All unnecessary movements should be suppressed,
e.g., kicking up the heels, fussing with the feet,
raising the knees, etc.
the running-step.
This is the normal Country Dance step. It is an ordinary
running‑step, executed neatly and lightly, in accordance
with the above instructions.
In the notation this step will be marked:—
r.s. (running-step).
the walking-step.
This is a modified form of the running-step, in which the
spring, though present, is scarcely noticeable.
In the notation this will be marked:—
w.s. (walking-step).
skipping-step.
This is the usual step-and-hop on alternate feet. The
accent is on the step, which must fall, therefore, on the beat.
Care should be taken to prevent the skipping‑step from
degenerating into a double‑hop, the two feet taking the
ground together, instead of in succession. The hop should
fall 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 marked:—
sk.s. (skipping-step).
slipping-step.
This is a series of springs, made sideways, off alternate
feet, the major spring being on the outside foot, i.e.,
the left when going to the left and the right when going to the
right. Although the legs are thus alternately opening and closing,
scissor‑fashion, the motion is effected almost wholly by the
spring, not the straddle; the legs, therefore, should be
separated as little as possible. The free foot should not be
allowed to scrape along the ground.
The accent falls on the foot on to which the major spring is
made, that is, the left or right, according to the direction
of motion, thus:—
Moving to the left.
Moving to the right.
In the notation this will be marked:—
sl.s (slipping step).
the double-hop.
This is sometimes, though very rarely, used in ring movements
as an alternative to the slipping‑step. It is a variant
of the Slip, in which the feet, instead of taking the ground
separately one after the other, alight together a few inches
apart.
the single.
Playford defines the Single as “two steps, closing the
feet.” Technically this may be interpreted in the following
way: on the first beat of the bar a spring is made, forwards
or sideways, on to one foot, say the right; the left foot is
then brought up beside it, the weight wholly or in part
momentarily supported upon it, and, on the second beat of
the bar, transferred to the right foot in position.
This step is subject to various modifications, partly
individual, but more often arising from the character of the
dance or phrase in which the step occurs. Many dancers, for
instance, never allow the foot on which the initial spring
is made (i.e., the right foot in the above description) to
leave the ground when the left foot is bought up beside it; but
instead, rise on the toes of both feet on the intermediate
accent, and then on the second beat sink back on to the
ball of the right foot.
the double.
This is defined in The English Dancing Master as “four
steps forward or backward closing the feet,” i.e., four
running or walking steps, the last of which is made in position (that
is, beside the other foot), the weight being supported either on the
one foot or on both feet, according to circumstances.
the turn single.
The dancer makes a whole turn on his axis, clockwise (unless
otherwise directed), taking four (in triple measure, three or
six) low springing steps off alternate feet, beginning with the
right foot. The body must be held erect, and the turn regulated
so that the dancer completes the circle and regains his
original position on the last step.
In the notations specific steps are in some cases prescribed,
but these are not to be regarded as obligatory. When no
directions are given the choice of step must be determined by
the performers themselves. In such cases dancers should
remember (1) that the running‑step is the normal Country
Dance step, and that it is only in comparatively few cases that
any other step can effectively be substituted for it; (2) that
slipping and skipping‑steps, being compound steps,
occupy more time in their execution than the “simple”
running‑step, and should not therefore be used except in
dances of slow or moderate time; (3) that it is not necessary for
every dancer to use the same step at the same time; nor, again,
is it necessary (4) that a single figure should always be danced
to one step throughout—the arbitrary change of step in the
course of a movement is not only permissible, but is in many
cases to be commended.
ARMS AND HANDS.
Nearly all the prescribed arm‑movements in the
Country Dance relate to the joining of hands. Of ornamental
or fanciful movements there are none, nor any of formal
design that are devised—like many of the
arm‑movements of the Morris Dance—to assist
the actions of the dancer. Nevertheless, perhaps for this reason,
the carriage and manipulation of the hands and arms form a very
characteristic feature of the Country Dance.
It may be taken as a general rule that when the arms are
not in active use, i.e., when they are not being directly
employed for some specific purpose, they should be allowed to
swing quietly and loosely by the side. This involves complete
relaxation of the muscles that control the shoulder, elbow,
and wrist joints, and the capacity to resist sympathetic,
involuntary tension in other muscles.
The dancer may sometimes find it necessary to make use of
his arms to maintain his balance, e.g., to throw out the
outside arm when moving swiftly round a sharp curve. This is
permissible, provided that such movements are made only
when really necessary, simply, and without exaggeration.
All the prescribed hand and arm movements in the Country
Dance have definite purpose, and in their execution no more
is required of the dancer that that he should fulfil this
purpose effectively and in the simplest and most direct way.
For instance, in “leading” the taking of hands is
not a mere formality; the dancer should actually lead—that
is, support his partner, guide and regulate her movement.
the joining of hands.
In linking right hand with right, or left with left, the hands
are held sideways (i.e., in a vertical plane), thumbs
uppermost and brought lightly together, not clenched, the
four fingers of each hand resting on the palm of the other,
and the thumb pressing on the knuckle of the middle finger.
The hands should be joined in this manner in leading,
in handing in the Hey, and in the
Turn‑with‑one‑hand.
In joining inside hands, that is, right hand with left, or left
hand with right, e.g., in rings, the Turn, the Poussette,
etc., the man holds his hand palm upward, the woman places her
hand in his, and the fingers are clasped as before.
When two men or two women join hands inside hands, it is
suggested that the dancer having the lower number should
always take the man’s position (i.e., give his hand palm
upward).
MOVEMENTS OF COURTESY.
the honour.
This a formal obeisance made by partners to one another
at the conclusion, and sometimes in the course, of the dance.
The man bows, head erect, making a slight forward inclination
of the body from the hips; the woman, placing her left
foot behind the right, makes a quick downward and upward
movement by bending and straightening the knees.
The honour should always be made in rhythm with the
music and, if possible, in conjunction with some corresponding
movement of the feet. The exact way in which this is done
depends upon circumstances. The usual method is to place
the right foot on the ground twelve inches or so to the side
say, on the first beat of the bar, and to bring up the left foot
beside it—or, in the case of a woman, behind it—on
the following beat when the obeisance is made.
the set.
This is a 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 sideways,
followed by a single to the left back to position (two bars).
the set-and-honour.
This is a lengthened form of the Set occupying four instead
of two bars. On the first beat of the fist bar the right foot
is placed on the ground sideways to the right; on the first
beat of the second bar the left foot is brought up beside it
and the honour paid in the manner already explained (two
bars). These movements are then repeated in the reverse
direction, the left foot being moved to the side, the right foot
brought up beside it, and the honour paid (two bars, i.e.,
four bars in all).
the side.
This is performed by two dancers, usually partners, but
not necessarily so.They face each other, and move forward
a double obliquely to the right, i.e., passing by the left.
On the third step they make a half‑turn
counter‑clockwise, completing the turn on the fourth step
as they face one another (two bars). This completes the first half
of the movement, and is called side to the right. In the second
half of the movement, side to the left, the dancers retrace their
steps along the same tracks, moving obliquely to the left (passing by
the right), turn clockwise, and face each other on the fourth step.
The whole movement occupies four bars of the music.
The dancers must remember to face each other at the
beginning and close of each movement, to pass close to each
other, shoulder to shoulder, and always to face in the direction
in which they are moving.
arm with the right (or left).
Two performers, usually partners, meet, link right (or left)
arms, swing round a complete circle, clockwise (or
counter‑clockwise) (two bars), separate, and fall back
to places (r.s.) (two bars, i.e., four bars in all).
In order that the dancers may give and receive mutual
support in the execution of the whole turn, the arms, crooked
at right angles, must be linked at the elbows, the dancers
lean slightly away from each other, so as to throw part
of their weight on their arms.
THE FIGURES.
Figure 1.
hands-three, hands-four, etc.
Three or more dancers, as directed, form a ring, extend
arms, join hands a little above waist‑level, and dance
round. In the absence of specific instructions to the contrary it
is to be understood that one complete circuit is to be danced,
clockwise, the performers facing centre.
The dancers should clasp hands firmly, lean outward, and
thus support each other. When the movement is followed
by a repetition in the reverse direction, counter‑clockwise,
the dancers may stamp on the first step of the second movement.
Occasionally this figure is performed with the backs to the
centre, the dancers facing outward.
When space is restricted and the ring reduced in size, and
it is no longer feasible to extend the arms, the arms should
be raised, sharply bent at the elbows (upper arms horizontal,
fore‑arms approximately vertical) and the hands joined
above head‑level. This, too, will be found to be the easier
and more convenient method when the movement is slow and
formal in character, as is not infrequently in the case of
back‑rings (e.g., the back‑ring in “Fye,
Nay, Prithee John,” p. 122).
Figure 2.
the turn.
Two dancers face one another, join both hands, swing once
round clockwise (unless otherwise directed), separate, and fall
back to places.
In turning, performers should clasp hands firmly, arms at
full stretch, and lean back so as mutually to give and receive
support. If either the skipping‑step or running‑step
be used, the feet should be slightly crossed so that the dancers
may face each other squarely throughout the movement.
Figure 3.
the swing.
This is similar to the preceding movement, the dancers
however turning continuously and, on occasion, moving from
place to place as directed.
Figure 4.
the turn with the right or left hand.
Two dancers join right or left hands, as directed, and move
round in a complete circle, separate, and fall back to places.
The carriage of the dancers and the position of their arms
will depend upon the size of the circle describes and the
speed with which the figure is executed. When eight steps
are allotted to the figure the dancers should describe a large
circle, lean slightly towards each other, and join hands above
head‑level. As the taking of hands in this case is for the
purpose of balance rather than support, there is no pull on
the arms and no necessity, therefore, to extend them at full
stretch. The arms should, accordingly, be held loosely and
slightly curved at the elbow (not bent at an angle). If, however,
the Turn has to be completed in four steps, the arms
should be fully extended and the arms joined a little above
waist‑level, the dancers leaning away from and supporting
each other; while in still faster turns, where the dancers are
compelled to turn in a very small circle (as in the Do‑Si in
the Running Set) they should join hands below waist‑level
with arms tense and sharply crooked at the elbow.
Figure 5.
right- (or left-) hands-across.
This is performed usually by four dancers (say, the first and
second couples in a longways dance), but occasionally by
three or six.
In the first case, first man and second woman join right (or
left) hands, while second man and first woman do the same.
Holding their hands close together, head‑level, the four
dancers dance round clockwise (or counter‑clockwise),
inclining inwards towards the centre, and facing in the
direction they are moving.
When three performers only are engaged, two of them join
hands and the third places his hand on theirs.
It is to be understood that the dancers make one complete
circuit unless specific instructions to the contrary are given.
Figure 6.
half-pousette.
This is performed by two adjacent couples.
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 with 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 7.
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.
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 alongside the lines show
the direction in which the dancers move.
Figure 8.
whole-gip facing center.
First man moves forward along line a, dances round circle
b c d, facing 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, facing the centre, and falls back
along dotted line p s to place (four bars). In the execution
of the running‑step the feet will have to be slightly crossed
in order that the dancers may face each other squarely throughout
the movement.
The arrows and arrow heads have the same significations
as in the preceding figure.
Figure 9.
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).
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 10.
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 4.
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 diagram 5, 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 opposing 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 5.
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 (1) the first pass is by the right, and (2) the dancers
pass without handing.
Figure 11.
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 4, Fig. 10); 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 6.
The movement now proceeds in the usual way. At the
end of every complete circuit the position will be
as follows:—
Diagram 7.
The figure is concluded in the following manner:—Nos. 1
and 2, upon reaching their original places (see diagram 7),
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 12.
the straight hey.
The dancers stand in a straight line at equi-distant
stations, alternately facing up and down, thus:—
Diagram 8.
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 9, the dotted and unbroken
lines indicating, respectively, the upward and downward
tracks described by the dancers:—
Diagram 9.
It will be seen that the dancers after making the last pass
at either end make a whole‑turn—bearing to the right
if the last pass was by the right, or to the left if the last pass was
by the left—and re‑enter the line, now in reverse direction,
the first pass after re‑entrance being by the same shoulder,
right or left, as the preceding one.
When the Straight-hey 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 case in detail.
the striaght hey-for-three.
Diagram 10.
No.1 faces down, Nos. 2 and 3 up.
All simultaneously describe the figure eight, as shown in
the above diagram, and return to places, passing along the
unbroken line as they move down, and along the dotted line
as they move up. At the beginning of the movement,
therefore, No. 1 will dance along line a b, No. 2 along
d c, and No. 3 along g e, i.e., Nos. 1 and 2
will pass by the right, Nos. 1 and 3 by the left.
In order that the dancers may not obstruct one another the
two lobes of the figure should be made as broad as time and
space will permit.
This is presumably the correct way in which the
hey-for-three should be executed in the Country Dance,
although we have no direct evidence that it was in fact
so danced in Playford’s day. Hogarth, however, in his
Analysis of Beauty (1753), after defining the hey as
“a cypher of S’s, a number of serpentine lines
interlacing and intervolving one another,” prints a diagram
of the hey‑for‑three which, although it might have
been clearer, seems to show that the way the figure was danced
at that period was substantially the same as that described above.
Moreover, Wilson (The Anahjsis of Country Dancing,
1811) also describes the figure and prints a diagram, of
which the following—except that for clearness’ sake the
tracks are differentiated by means of varied lines—is a
faithful reproduction:—
No. 1 moves along the broken line a; No. 2 along the
line b; and No. 3 along the dotted line c.
Except that the two half-heys are inverted—the two
lower dancers beginning the movement and passing
by the left—the method shown in the diagram is
precisely the same as that we have above described.
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 explained in Fig. 11.
Playford 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
is not always the case, I have, with some reluctance, substituted
the terms used in the text, which are self‑explanatory and
free from ambiguity.
THE TECHNIQUE OF FIGURE-DANCING.
The first requisite of the figure dancer, as has been already
pointed out, is the capacity to move hither and thither, freely
and easily, with complete control over direction and
speed. Having attained this power he must then learn (1)
to “time” his movements accurately; (2) to
phrase them in accord with the music; (3) to blend them into
one continuous movement without halts or hesitations; and
(4) to execute them in consert with his fellow‑dancers.
Timing.—As the movements and the figures of the
dance are but the translation, in terms of bodily action, of the music
which accompanies them, the dancer when learning a dance
should first of all listen carefully to the tune, and, if possible,
memorise it. In particular he should note the number and
relative lengths of its several phrases and calculate the number
of steps that can be danced to each of them (two in every bar
in duple, and three in triple‑measure).
In the description of the dances given in the notation it
will be found that a definite number of bars, and therefore of
steps, is allotted to every figure and to every part of every
figure, and it is by this system of measurement by step that
dancers “time” their movements with the music.
Every dancers, therefore, must always have in mind not only
the form and the shape of the figure he is executing, but the
number of steps apportioned to the figure as a whole and to
each subsidiary section of which that figure is compounded.
So long, however, as he “times” his movements
correctly and arrives at his appointed station at the end of each
section of the figure, it is for him to determine the precise manner
in which he shall distribute his steps in relation to the track or
course described. He may, for instance, enlarge his track by
taking larger steps, or restrict it by taking shorter ones. In
the Gip, for example, the size of the circle described by the
two dancers is immaterial, so long as, by regulating their
speed, they success in completing the circuit and regaining
their original stations in the prescribed number of steps.
When pressed for time the dancer may find it helpful to anticipate
a movement, i.e., to start it a beat or so in advance; or
per contra when he has time in hand, to delay it by taking
one or more preliminary “balance steps” before
getting under way. Devices of this kind should, of course, be
employed sparingly and never without good reason, as, for example,
in the cases above cited, to avoid unseemly scurrying on the one
hand or a premature conclusion on the other.
Phrasing.—It is just as necessary for the dancer to phrase
his steps and movements as it is for the musician to phrase
his notes and strains, or for the writer to punctuate his
sentences. The purpose in each case is the same—to define
and make intelligible what would otherwise be ambiguous
or meaningless. A series of equally accented dance‑steps,
musical sounds, or verbal syllables, conveys no meaning
until by the periodic recurrence of stronger accents the steps,
sounds, or words, are separated into groups, co‑ordinated,
and some sort of relationship established between them.
The writer indicates these groups and their relative values
by punctuation; the speaker by pauses, emphasis of
particular words, and by the rise and fall of his voice;
the musician by slurs or phrases, which define the positions
of the rhythmical accents; while the dancer groups his steps
in correspondence with the rhythmic phrases of the accompanying
music. The dancer, like the musician, must be careful to distinguish
between the metrical accents (i.e., the accents and beats
within the bar) and the rhythmical accents (of which the bar itself
is the unit), the former corresponding to the “foot”
in prosody, the latter to the “verse.”
Technically, the dancer phrases his movements by
gradating the accents which he imparts to his steps, giving
strongest accent to the first step of a group and the
weakest to the last. The strength of the step accent depends
partly upon foot‑spring, but mainly upon body‑balance.
In a stationary figure like the turn‑single, the step‑accents
are determined solely by the height and energy of the springs
with which the steps are made. When, however, the dancer
is in motion, the accent of the step depends less upon the
strength of the spring forward than upon the momentum
generated and controlled by the inclination of the body
in the direction of motion. Before beginning a movement
from rest, therefore, the dancer should throw his weight on
to one foot and adjust the inclination of his body so that the
first step of his phrase, which is always the most important,
as it is also the strongest, may be made with the requisite
emphasis.
The dancer must never make any movement in the dance,
however insignificant, that is not phrased, i.e., executed
rhythmically in accord with the music. This injunction must
be held to apply as much to arm‑movements as to steps.
For instance, in giving or taking a hand, he should begin the
movement in plenty of time—two or three beats
beforehand—and raise and move the arm in rhythm with
the music.
Continuity.—The directions given in the notation
are divided into Parts, figures, etc., only for the sake of clearness
of description. The aim of the dancer should be to conceal,
not to call attention to these divisions. In learning a dance
it will probably be necessary to dissect its movements, to
parse, so to speak, each component section; but in the
finished dance these subordinate elements must be pieced
together and merged into one continuous movement as
complete and organic in structure as the movements of a
symphony.
To this end the dancer must think ahead, perceive
the relation between that which he is at the moment
doing with that which is to follow, so that he may give to the
concluding cadence of each subsidiary phrase its just degree
of emphasis, and pass on without hesitation to the movement
that follows. If he fails in this, his movements will be
spasmodic, his phrases isolated and unrelated, and his
performance as a whole unintelligible and difficult to follow
as reading aloud by a child who spells out and pronounces
with equal emphasis each word as he proceeds.
Concerted movement.—The performer in a concerted
dance has not only to consider his own individual movements,
but to relate them to those of his companions in the dance.
The expert figure‑dancer is probably far more conscious
of the movements of his fellow‑dancers than of his own;
indeed, his pleasure, as well as theirs, depends very largely upon
the completeness with which he effaces his own personality and
loses himself in the dance.
Although the continuous and accurate adjustment of position
by the dancer in a figure‑dance is of first‑rate
importance, it is quite possible to exaggerate it, and by paying
too much attention to precision of line and symmetry of
figure, to stiffen and formalize the movements, and to give to
the dance the appearance of a military drill. The ideal is to
steer a middle course. To this end the following general
directions will be found useful:—
In line formation each dancer should adjust his position in
relation to the dancer on either side. In dual movements,
e.g., the Side, Arms, Back‑to‑back,
etc., the distance traversed by each performer should be
approximately equal. In the heys—especially the
straight‑hey‑for‑three—and the
Gip, the performers should describe identically the same track.
In the forming of rings the dancers should extend their arms
and move round in a circle, edging towards the centre until
they are near enough to link hands with the dancers on either
side.
STYLE.
The foregoing explanations will, it is hoped, enable the
reader to interpret the figures described in the notations that
are presently to follow. The dancer should, however, be
reminded that technical proficiency has no value except as an
aid to artistic expression, and indeed, if it be not so used, the
dance will never rise above the level of a physical exercise.
Although in the nature of things it is impossible to
instruct the dancer how he may impart æsthetic significance
to his physical movements, there are nevertheless certain
general considerations to which his attention may profitably
be directed. He can, for instance, turn his attention to Style,
the cultivation of which will carry him a few steps at any
rate along the right road. By style we do not mean polish,
i.e., perfected physical movement, but rather the air,
the manner with which physical movements are executed.
It is partly individual, the expression—that is, voluntary
or involuntary—of the dancer’s personality, and partly
derived from the character of the dance itself.
Although the personal factor is inherent in every human
action, and can never, therefore, be entirely eliminated
therefrom, it may be, and often is, suppressed to the point
where it becomes unconscious, as in walking and other
common activities and habits. Now the folk‑dance, owing
to its corporate, unconscious origin, is essentially an impersonal
dance, a unique instrument for the expression of these ideas
and emotions that are held and felt collectively, but peculiarly
unfitted for the exploitation of personal idiosyncrasies. The
folk dance, therefore, is emphatically not the place for the
display of those self‑conscious airs and graces, fanciful
posings and so forth, that play so large a part in dances of a more
conventional order.
The dancer must therefore put these aside and seek
elsewhere for material upon which to mould his style, and
this he will find in the character of the dance itself. He should
note that the Country Dance is less strenuous, less stern, and
less detached than the Morris; less involved and less intense
than the Sword Dance; but freer, jollier, more intimate, and,
in a sense, more human than either—perhaps because
it is the only one of the three in which both sexes take part. It
is a mannered dance, gentle and gracious, formal in a simple,
straightforward way, but above all gay and sociable. The
spirit of merriment, however, although never wholly absent
from the dance, is not always equally obvious. There are
certain dances that are comparatively quiet and subdued in
style, in which the normal gaiety is toned down to a decorous
suavity; while between dances of this kind and those of the
more light‑hearted variety, there are many that are
emotionally intermediate in type. It should be the aim of the
dancer to feel these temperamental differences, and reflect
them in his manner and style.
The clue to these emotional variations he will, of course,
find in the accompanying music. The dance is but the
interpretation or translation, in terms of bodily action, of the
music upon which it is woven, just as the melody of the song
is primarily the expression of the text. Music moreover is the
predominant partner of the union; there can be no dance
without music. This intimate relationship between the music
and the dance and, in a sense, the subservience of the latter
to the former, must always be present to the mind of the
dancer. Not only must his rhythms accord with those of the
music, as has already been pointed out, but his style, the
character that he gives to his movements, must also be in
harmony with the character of the music.
The application of this principle, viz., the subordination of
the dance to the music, is imperative, especially in the case of
the dances in the present volume. For the Playford dances,
despite the number and variety of their figures, are very
persistent in type, and were it not for the wide range of the
emotional content of the tunes it would be difficult to give to
them the necessary variety of treatment.
It should be added that any spectacular qualities that the
Country Dances may possess are fortuitous, or, rather the
inevitable outcome of the perfect fashioning of means to
end. Its beauty, being implicit, needs, therefore no artificial
embellishment. An elaborate theatrical setting would be
as irrelevant and impertinent as for the dancers to deck
themselves in rich and fanciful costumes. All that the dancers
need is plenty of space, an even, non‑slippery floor and
dresses which will allow to the body and limbs complete
freedom of action.
NOTATION.
ROSE IS WHITE AND ROSE IS RED.
Round for as many as will; in six parts (1st Ed., 1650).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A1 | 1–4 | All take hands, move forward a double to
centre and fall back a double to places. |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | All that again. |
| | Second Part.
(Progressive.) |
A1 | 1–4 | First couple leads forward a double to second
man and falls back a double. |
| 5–8 | First couple and second man hands-three. |
A2 | 1–4 | First couple leads forward a double to second
woman and falls back a double. |
| 5–8 | First couple and second woman hands-three. |
| | Third Part. |
A1 | 1–4 | Partners side. |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | All that again. |
| | Fourth Part.
(Progressive.) |
A1 | 1–4 | As in A1, Second Part. |
| 5–8 | First couple and second man the
straight-hey (first man in the middle passing second man by the left). |
A2 | 1–4 | As in A2, Second Part. |
| 5–8 | First couple and second woman
the straight-hey (first man passing second woman by the left). |
| | 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. |
| | Sixth Part.
(Progressive.) |
A1 | 1–2 | First man and first woman, joining
inside hands, make an arch and move forward a double to second man; while second
man moves forward a double and passes under the arch. |
| 3–4 | All three make a half-turn and repeat the
movement in the reverse direction. |
| 5–8 | The two men turn their partners. |
A2 | 1–8 | As in A1 with second woman instead
of second man. |
PEPPERS BLACK.
Round for as many as will; in four parts (1st Ed., 1650).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A | 1–8 | Hands all eight slips clockwise and eight slips
counter-clockwise to places. |
B | 1–4 | Partners set and turn single. |
| 5–8 | That again. |
| | Second Part.
(Progressive.) |
A | 1–4 | First couple leads forward a double to second
couple and falls back a double. |
| 5–8 | That again. |
B | 1–4 | First man turns second woman; while second
man turns first woman. |
| 5–8 | First and second men turn their partners. |
| | Third Part.
(Progressive.) |
A | 1–8 | As in Second Part. |
B | 1–8 | First and second couples circular hey (four
changes), partners facing. |
| | Fourth Part.
(Progressive.) |
A | 1–2 | First man and first woman, joining inside
hands, move forward a double to second couple. |
| 3–4 | The second man linking his right hand with
first man’s left, all three fall back a double. |
| 5–8 | The three, still holding hands, move forward a
double and fall back a double. |
B | 1–4 | First man, raising his left arm and making
an arch with second man, makes a whole turn counter‑clockwise on his axis and
swings his partner round under the arch back to her place. |
| 5–8 | First man, raising his right arm and making
an arch with his partner, makes a whole turn clockwise on his axis and swings second
man under the arch back to his place.
N.B.—It is suggested that the movements in this Part be
repeated, the second woman (instead of the second man) linking right
hand with the first man’s left, and doing as second
man did. |
MILL-FIELD.
Round for as many as will; in two parts (1st Ed., 1650).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A | 1–8 | Hands-all eight slips clockwise and eight slips
counter-clockwise to places. |
B | 1–4 | Partners set and turn single. |
| 5–8 | That again. |
| | Second Part.
(Progressive.) |
A1 | 1–2 | First man and first woman make an arch and
lead a double forward to second man; while second man moved forward a double and passes
under the arch. |
| 3–4 | First man turns his partner half-way round. |
| 5–6 | As in bars 1–2 in reverse direction to
places. |
| 7–8 | First man turns his partner half-way round. |
B1 | 1–4 | First couple and second man set and turn
single. |
| 5–8 | That again. |
A2 | 1–2 | As in A1, first and second men making the
arch and leading to first woman. |
| 3–4 | First and second men arm with the right half-way
round. |
| 5–6 | As in bars 1–2 in reverse direction to
places. |
| 7–8 | First and second men arm with the left half-way
round. |
B2 | 1–8 | As in B1. |
A3 | 1–2 | As in A1, second man and first woman
making the arch and leading to first man. |
| 3–4 | Second man turns first woman half-way
round. |
| 5–6 | As in bars 1–2 in reverse direction to
places. |
| 7–8 | Second man turns first woman half-way round. |
B3 | 1–8 | As in B1. |
A4, B4, A5, B5, A6, and B6 | As
in A1–B3, second woman doing as second man did. |
SAGE LEAF.
Round for as many as will (4th Ed., 1670).

|
MUSIC. | MOVEMENT. |
A1 | 1–4 | Hands-all
eight slips clockwise. |
A1 (repeat) | Hands-all eight slips
counter-clockwise to places. |
B | 1–4 | The men move forward a double to centre
and fall back a double to places. |
| 5–8 | The women do likewise. |
C | 1–4 | First couple leads forward a double
to centre and falls back a double. |
5–8
(Played as many times
as there are couples.) |
First man and first woman turn with right hands.
This figure is then performed in turn by each of the other
couples. |
D1–4
(Played as many times
as there are couples) |
Each man turns his partner with the right hand, passes her on and turns the next woman
on his right in a like manner and proceeds in this way round the ring,
counter‑clockwise to his place. |
B, C, and D (repeated) |
The three figures B, C, and D are executed as many times as there are couples. In the
first repetition, however, the second couple, instead of the first, will initiate the C
movement, in the second repetition the third couple, and so on. After the last repetition
of these three figures the dance is brought to a conclusion as
follows:— |
A2 | 1–4 | Hands-all eight slips clockwise. |
A2 (repeat) | Hands-all eight slips
counter-clockwise to places. |
MUNDESSE.
Round for six; in seven 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. |
| 5–8 | Partners set and turn single. |
B | 1–4 | First man sets to his partner and turns
single. |
| 5–8 | First woman sets to her partner and turns
single. |
C | 1–2 | First man honours his partner. |
| 3–4 | Second man the same. |
| 5–6 | Third man the same. |
| 7–8 | Partners honour each other. |
D | 1–4 | Partners turn. |
| 5–8 | Each man turns the woman on his left. |
| | Second Part. |
A1 | 1–8 | First man leads his partner forward eight
steps and falls back eight steps. |
A2 | 1–8 | First man leads his partner forward
between second and third couples; they cast off, the man to his left, the woman to
her right, and return to places, passing behind the third and second couples
respectively. |
B | 1–4 | First woman sets to second man and
turns single. |
| 5–8 | Second man sets to first woman and turns
single. |
C | 1–2 | First woman honours the man on her
right. |
| 3–4 | Second woman the same. |
| 5–6 | Third woman the same. |
| 7–8 | Partners honour. |
D | 1–8 | As in First Part. |
| | Third Part. |
A1 & A2 | As in Second Part,
first woman leading second man between third man and third woman. |
B | 1–4 | Second man sets to his partner and turns
single. |
| 5–8 | Second woman sets to her partner and turns
single. |
C | 1–2 | Second man honours his partner. |
| 3–4 | Third man the same. |
| 5–6 | First man the same. |
| 7–8 | Partners honour. |
D | 1–8 | As in First Part. |
| | Fourth Part. |
A1 & A2 | As in Second Part,
second man leading his partner between first and third couples. |
B | 1–4 | Second woman sets to third man and turns
single. |
| 5–8 | Third man sets to second woman and turns
single. |
C | 1–2 | Second woman honours the man on her
right. |
| 3–4 | Third woman the same. |
| 5–6 | First woman the same. |
| 7–8 | Partners honour. |
D | 1–8 | As in First Part. |
| | Fifth Part. |
A1 & A2 | As in Second
Part, second woman leading third man between first man and first
woman. |
B | 1–4 | Third man sets to his partner and turns
single. |
| 5–8 | Third woman sets to her partner and turns
single. |
C | 1–2 | Third man honours his partner. |
| 3–4 | First man the same. |
| 5–6 | Second man the same. |
| 7–8 | Partners honour. |
D | 1–8 | As in First Part. |
| | Sixth Part. |
A1 & A2 | As in Second Part, third
man leading his partner between first and second couples. |
B | 1–4 | Third woman sets to first man and turns
single. |
| 5–8 | First man sets to third woman and turns
single. |
C | 1–2 | Third woman honours the man on her
right. |
| 8–4 | First woman the same. |
| 5–6 | Second woman the same. |
| 7–8 | Partners honour. |
D | 1–8 | As in First Part. |
| | Seventh Part. |
A1 & A2 | As in Second Part,
third woman leading first man between second man and second woman. |
B | 1–8 | As in First Part. |
C | 1–8 | As in First Part. |
D | 1–8 | As in First Part. |
EPPING FOREST.
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. |
B | 1–4 | Men set-and-honour to partners. |
| 5–8 | Men set-and-honour each to the woman on his
left. |
C | 1–4 | Men turn their partners. |
| 5–8 | Men turn each the woman on his
left. |
| | Second Part. |
A1 | 1–4 | Partners side. |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | All that again. |
B and C | As in First Part. |
| | Third Part. |
A1 | 1–4 | Partners arm with the right. |
| 5–8 | Partners set and turn single. |
A1 | 1–4 | Partners arm with the left. |
| 5–8 | Partners set and turn single. |
B and C | As in First Part. |
THE MAID IN THE MOON.
Round for six; in three parts (4th Ed., 1670).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A1 | 1–4 | All take hands, move forward a double
to centre and fall back a double to places. |
| 5–8 | Partners set and turn single.[*] |
A2 | 1–8 | All that again. |
B1 | 1–2 | First man and third woman meet and join
right hands. |
| 3–4 | Second man and first woman do the same. |
| 5–6 | Third man and second woman do the same. |
7–10 | Right-hands-across once round to
places. |
B2 | 1–2 | First man and third woman honour. |
| 3–4 | Second man and first woman do the same. |
| 5–6 | Third man and second woman do the same. |
7–10 | Right-hands-across to places. |
| | Second Part. |
A1 | 1–4 | Partners side. |
| 5–8 | Partners set and turn single. |
A2 | 1–8 | All that again. |
B11–10 |
As in First Part. |
B2 | 1–2 | First man and second woman honour. |
| 3–4 | Second man and third woman honour. |
| 5–6 | Third man and first woman honour. |
7–10 | Right-hands-across 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. |
B11–10 | As in B1, First Part, but joining left hands and
going left-hands-across. |
B2 | 1–2 | First man and first woman honour. |
| 3–4 | Second man and second woman do honour. |
| 5–6 | Third man and third woman honour. |
7–10 | Left-hands-across. |
* The interpolation of a “Set and turn single” in A1
and A2 of each Part is rendered necessary by the change of tune.
DISSEMBLING LOVE; OR, THE LOST HEART.
Longways for six; in three parts (1st Ed., 1650).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A | 1–4 | Partners lead up a double and fall back
a double to places. |
| 5–8 | That again. |
B1 | 1–4 | First man and woman cross over,
cast down, cross over between the second and third couples, cast down and fall into
the third places, second and third couples moving up into the first and second places
respectively (sk.s.). |
B2 | 1–4 | Second couple does the same as first
couple did in B1. |
B3 | 1–4 | Third couple the same. |
| | Second Part. |
A | 1–4 | Partners side. |
| 5–8 | That again. |
B1 | 1–2 | Straight-hey on the men’s side and
on the women’s side, two changes (i.e., the top dancer moving down two
places to the bottom, the other two each moving up one place). |
| 3–4 | All turn single. |
B2 | 1–4 | As in B1. |
B3 | 1–4 | As in B1 to places. |
| | Third Part. |
A | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B1 | 1–2 | The middle man falling back,
the men go hands-three a third of the way round (i.e., the top man going
down two places to the bottom, the other two each moving up one place); while
the women go hands‑three counter‑clockwise a third of the way
round. |
| 3–4 | All turn single. |
B1 | 1–4 | As in B1. |
B2 | 1–4 | As in B1 to places. |
THE NIGHT PIECE.
Longways for six; in three parts (1st Ed., 1650).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A | 1–4 | Partners lead up a double and fall back a
double to places. |
| 5–8 | That again. |
B1 | 1–4 | Top and bottom couples face, move
forward and pass each other (opposites passing by the right) and fall, the top couple
into the bottom place, the bottom couple into the middle place; while the middle
man and woman fall back and slip up into the first place. |
B2 | 1–4 | As in B1. |
B3 | 1–4 | As in B1 to places. |
| | Second Part. |
A | 1–4 | Partners side. |
| 5–8 | That again. |
B1 | 1–4 | Top man and top woman cross
over, cast down, cross again between middle and bottom couples and cast down
into bottom place (sk.s.), the other couples each moving up one place. |
B2 | 1–4 | As in B1. |
B3 | 1–4 | As in B1 to places. |
| | Third Part. |
A | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B1 | 1–2 | First man changes places with the second
woman. |
| 3–4 | First woman changes places with second man;
while third man changes places with his partner. |
B2 | 1–2 | First man changes places with third woman. |
| 3–4 | First woman changes places with third man;
while second man changes places with his partner. |
B3 | 1–4 | Partners set and turn single.
The following variation of the last three movements is suggested in
order that the dancers may finish in their proper places. |
B1 | 1–4 | In the first two bars first man changes places
with the second woman, in the next two bars first woman changes places with second man;
while third man and third woman cross over and cast up into first place
(improper). |
B2 | 1–4 | Third woman changes places with second man
(2 bars) and third man with second woman (2 bars); while first man and first woman cross
over and cast up to places. |
B3 | 1–4 | Partners set and turn single. |
JACK A LENT.
Longways for six; in six parts (1st Ed., 1650).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A1 | 1–4 | Partners lead up a double and fall back
a double to places. |
| 5–8 | That again. |
B1 | 1–4 | Top dancer on the men’s side
changes places with the middle dancer on the opposite side and both turn
single. |
| 5–8 | The same dancer changes places
with the bottom dancer on the opposite side and both turn single. |
A2 | 1–8 | As in A1. |
B2 | 1–8 | Top dancer on the women’s side does
as the top dancer on the men’s side did in B1. |
A3 | 1–8 | As in A1. |
B3 | 1–8 | As in B1. |
A4 | 1–8 | As in A1. |
B4 | 1–8 | As in B2. |
A5 | 1–8 | As in A1. |
B5 | 1–8 | As in B1. |
A6 | 1–8 | As in A1. |
B6 | 1–8 | As in B2 to places. |
| | Second Part. |
A1 | 1–8 | As in A1, First Part. |
B1 | 1–8 | First man and woman cross
over, cast down and cross over again between second and third couples, cast
down below the third couple and fall into third place (sk.s.), the second and
third couples moving up one place. |
A2 | 1–8 | As in A1. |
B2 | 1–8 | Second couple do as first couple
did in B1. |
A3 | 1–8 | As in A1. |
B3 | 1–8 | Third couple do as first couple
did in B1. |
| | Third Part. |
A1 | 1–8 | As in A1, First Part. |
B1Bar
1 | Partners face and join both hands. First and second couples
change places, the first couple going between and under the arms of the second
couple (sk.s.). |
Bar 2 | First and third couples change
places, third couple going under the arms of the first couple. |
Bar 3 | Second and third couples
change places, second couple going under the arms of the third couple. |
Bar 4 | First and second couples
change places, first couple going under the arms of the second couple. |
Bar 5 | First and third couples
change places, third couple going under the arms of the first couple. |
Bar 6 | Second and third couples
change places, second couple going under the arms of the third couple. |
| 7–8 | First man and first woman cast down
to the bottom (sk.s.), second and third couples moving up one place. |
A2 | 1–8 | As in A1. |
B2 | 1–8 | As in B1, second and third couples
beginning the movement, and second man and woman casting down. |
A3 | 1–8 | As in A1. |
B2 | 1–8 | As in B1 to places, third and first
couples beginning the movement, and third man and woman casting down. |
| | Fourth Part. |
A1 | 1–8 | As in A1, First Part. |
B1 | 1–8 | First man does down the middle
(r.s.), turns third man half-way round clockwise, and the second man the whole
way round counter‑clockwise, and then casts down to the bottom (sk.s.),
second and third men moving up one place; while first woman goes down the middle,
turns third woman half‑way round counter‑clockwise, and the second
woman the whole way round clockwise, and then casts down to the bottom (sk.s.),
second and third women moving up one place. |
A2 | 1–8 | As in A1, First Part. |
B2 | 1–8 | As in B1, second and second
woman going down the middle, turning the two men and women respectively, and
casting off. |
A3 | 1–8 | As in A1, First Part. |
B2 | 1–8 | As in B1 to places, third man and
third woman going down the middle, turning, and casting off. |
| | Fifth Part. |
A1 | 1–4 | First man and last woman meet, turn,
and fall back to places. |
| 5–8 | First woman and last man do the same. |
B1 | 1–8 | First man goes back two steps,
moves down the middle, turns the last man once‑and‑a‑half
round and falls into the last place on the men’s side, second and third men moving
up one place; while first woman goes down the middle, turns the last woman
once‑and‑a‑half round and falls into last place on her own
side, second and third women moving up one place. |
A2 | 1–8 | As in A1, second man turning first woman,
and second woman turning first man. |
B2 | 1–8 | As in B1, second and second woman
going down the middle, turning first man and first woman respectively, and falling
into bottom places. |
A3 | 1–8 | As in A1, third man turning second woman,
and third woman turning second man. |
B3 | 1–8 | As in B1, third man and third woman
going down, turning second man and second woman respectively, and falling into their
own places. |
| | Sixth Part. |
A1 | 1–4 | Partners lead up a double and fall back a
double to places. |
| 5–8 | That again. |
B1 | 1–4 | Partners set and turn single. |
| 5–8 | That again. |
THE WHISH.
Longways for six; in three parts (1st Ed., 1650).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A1 | 1–4 | Partners lead up a double and fall back a
double to places. |
| 5–6 | Partners face and set to each other, falling
back as they do so. |
Bar 7 | Partners move forward and meet. |
A2 | 1–7 | All that again. |
A3 | 1–4 | The second man leads first man between the
first and second women and casts off to his place, the first man doing
likewise. |
| 5–7 | First and second men arm with the left. |
A4 | 1–7 | As in A3, the second man leading third
man between the second and third women, and arming him with the left. |
A5 | 1–4 | As in A3, the second woman leading first
woman between the first and second men. |
| 5–7 | First and second women arm with the right. |
A6 | 1–7 | As in A5, the second woman leading
third woman between the second and third men, and arming her with the right. |
| | Second Part. |
A1 | 1–4 | Partners side. |
| 5–7 | As in A1, First Part. |
A2 | 1–7 | All that again. |
A3 | 1–4 | Second man leads his partner between
first man and first woman and casts off to his place, his partner doing
likewise. |
| 5–7 | Second man turn his partner. |
A4 | 1–7 | As in A3, the second man leading his
partner between the third man and third women, and turning her. |
A5 & A6 | As in A3 and A4, First
Part. |
A7 & A8 | As in A5 and A6, First
Part. |
| | Third Part. |
A1 | 1–4 | Partners arm with the right. |
| 5–7 | As in A1, First Part. |
A2 | 1–4 | Partners arm with the left. |
| 5–7 | As in A1, First Part. |
A3 | 1–7 | The second couple goes the
Figure-8 through the third couple (sk.s.), second man crossing over and passing
counter‑clockwise round third woman and clockwise round third man,
second woman crossing over and passing clockwise round third man and
counter‑clockwise round third woman. |
A4 | 1–7 | The second couple goes the Figure-8
through the first couple (sk.s.), second man crossing over and passing clockwise
round first woman and counter‑clockwise round first man, second woman
crossing over and passing counter‑clockwise round first man and clockwise
round first woman. |
A5, A6, A7, and A8 | As in A3, A4,
A5, and A6, First Part. |
MALL PEATLY.
Longways for eight; in three parts (4th Ed., 1670).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A | 1–4 | Partners lead up a double and fall back
a double to places. |
| 5–8 | That again. |
B1 | 1–2 | First man sets to first woman; while
fourth man sets to fourth woman. |
| 3–4 | First man sets to second woman; while
fourth man sets to third woman. |
5–10 | First man heys with
the third and fourth women, five changes, passing fourth woman by the right, and
falls into the last place on the men’s side; while fourth man heys with the first and
second women, five changes, passing first woman by the left, and falls into the top
place on his own side (sk.s.). |
B21–10 | As in B1 to places, fourth man doing as the first
man did, and first man as the fourth. |
| | Second Part. |
A | 1–4 | Partners side. |
| 5–8 | That again. |
B1 | 1–2 | First woman sets to first man;
while fourth woman sets to fourth man. |
| 3–4 | First woman sets to second man;
while fourth woman sets to third man. |
5–10 | First woman heys with
the third and fourth men, five changes, passing fourth man by the left, and falls into
the last place on her own side; while fourth woman heys with the first and second
men, five changes, passing first man by the right, and falls into the first place on
her own side (sk.s.). |
B21–10 | As in B1 to places, fourth woman doing as the
first woman did, and first woman as the fourth. |
| | Third Part. |
A | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B1 | 1–2 | First man and fourth woman set
to their partners. |
| 3–4 | First man sets to second woman;
while fourth woman sets to third man. |
5–10 | First man heys with
second and third women, five changes, passing third woman by the right, and falls
into the last place on his own side; while fourth woman heys with the second and
third men, seven changes, passing second man by the right, and falls into the first
place on her own side&mdashsecond, third and fourth men moving up one
place; first, second and third women moving down one place. |
B2 | 1–2 | First man sets to third woman;
while fourth woman sets to second man. |
| 3–4 | First man sets to second woman;
while fourth woman sets to third man. |
5–10 | First man heys with
first and second women, five changes, passing first woman by the left, and falls
into his proper place; while fourth woman heys with the third and fourth men,
five changes, passing fourth man by the left, and falls into her own
place—second, third and fourth men moving down one place; first,
second and third women moving up one place. |
THE SHEPHERD’S DAUGHTER.
Longways for eight; in three parts (2nd Ed., 1652).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A | 1–4 | Partners lead up a double and fall back
a double to places. |
| 5–8 | That again. |
B | 1–4 | First and second men, joining
inside hands, lead a double to left wall, change hands, and lead back again, the
first and second women doing the same; while third and fourth women lead a
double to right wall, change hands and lead back again, third and fourth men
doing the same. |
| 5–8 | First and second couples lead up
a double, change hands and lead back to places; while third and fourth couples
lead down a double, change hands and lead back to places. |
C | 1–4 | First and third men turn second
and fourth women respectively; while second and fourth men turn first and third
women (r.s.). |
| 5–8 | Partners turn (r.s.). |
| | Second Part. |
A | 1–4 | Partners side. |
| 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 SLIP.
Longways for eight; in two parts (1st Ed., 1650).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A | 1–4 | All, facing up, set-and-honour to the
Presence. |
| 5–8 | Partners set-and-honour. |
B1 | 1–2 | First and second men, joining inside
hands, fall back a double, their partners doing the same; while third and fourth men
and their partners do the same. |
| 3–4 | Releasing hands, partners set, falling
back with the single on the right foot, and moving forward with the single on the
left. |
| 5–8 | Partners cross over and change places. |
B2 | 1–8 | Same again to places. |
| | Second Part. |
A | 1–4 | Top man leads his partner a double half-way
down the middle and honours her. |
| 5–8 | Top man leads his partner a double to the
bottom and honours her (the other three couples moving up one place). |
B1 and 2 | As in First Part.
These movements are repeated three times to
places. |
THE MULBERRY GARDEN.
Longways for as many as will; in two parts (4th Ed., 1670).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A | 1–4 | Partners lead up a double and fall
back a double to places. |
| 5–8 | That again. |
B | 1–4 | Partners face. All fall back a
double and move forward a double to places. |
| 5–8 | Partners turn. |
| | Second Part.
(Duple minor-set) |
A | 1–4 | First and second men go
back-to-back with their partners. |
| 5–8 | First and second men go
back-to-back; while first and second women do the same. |
B | 1–2 | Hands-four half-way round (sl.s.). |
| 3–4 | Partners change places (progressive). |
| 5–8 | Second couple casts down into second
place and leads up the middle to first place; while first couple leads up the middle
to first place and casts down into second place. |
SATURDAY NIGHT AND SUNDAY MORN.
Longways for as many as will; in three parts (1st Ed., 1650).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A | 1–4 | Partners lead up a double and fall back
a double to places. |
| 5–8 | That again. |
B | 1–4 | Partners set and turn single. |
| 5–8 | That again. |
| | Second Part.
(Duple minor-set) |
A | 1–4 | First man and first woman
whole-gip facing centre, clockwise (Fig. 8, p. 36); while second man and
second woman do the same. |
| 5–8 | First and second men whole-gip
facing centre, counter-clockwise; while first and second women do the
same. |
B | 1–2 | First man changes places with second
woman. |
| 3–4 | First woman changes places with second
man. |
| 5–6 | Partners change places (progressive). |
| 7–8 | Partners set. |
| | Third Part.
(Duple minor-set) |
A | 1–2 | First man and first woman, joining
right hands, move down a double; while second man and second woman, joining
right hands and making an arch, move up a double, the first couple passing under
their arms. |
| 3–4 | Both couples return to places,
second couple passing under the arch made by first couple. |
| 5–8 | First man, joining inside hands
with second man, casts off, followed by second man, and returns up the
middle to his place; while the two women, joining inside hands, do the
same (sk.s.). |
B | 1–2 | Partners change places. |
| 3–4 | The two men change places; while the
two women do the same. |
| 5–6 | Partners change places
(progressive). |
| 7–8 | Partners set. |
| | Playford gives a Fourth Part which is omitted in
the text. |
THE MAID PEEPED OUT AT THE WINDOW;
OR, THE FRIAR IN THE WELL.
Longways for as many as will; in three parts (1st Ed., 1650).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A | 1–4 | Partners lead up a double and fall back a
double to places. |
| 5–8 | That again. |
B1 | 1–4 | First man, followed by the rest of the
men, casts off to the bottom of the Set; while first woman, followed by the rest of the
women does the same (sk.s.). |
| 5–8 | Partners set and turn single. |
B2 | 1–4 | As in B1, casting up to places. |
| 5–8 | Partners set and turn single. |
| | Second Part. |
A | 1–4 | Partners side. |
| 5–8 | That again. |
B1 | 1–2 | All face up. The men go four slips
to their right on to the women’s side, while the women go four slips to their left,
on to the men’s side, the men passing in front of their partners. |
| 3–4 | All move up a double. |
| 5–8 | Partners set and turn single. |
B2 | 1–2 | All face down. The men go four
slips to their right onto their own side, while the women go four slips to their
left, on to their own side, the women passing in front of their partners. |
| 3–4 | All move down a double. |
| 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 | All couples half-poussette, odd couples
changing places with even couples, the former going first toward the right wall, the
latter toward the left wall. |
| 5–8 | All set and turn single. |
B2 | 1–4 | As in B1 to places, odd couples
going first toward the left wall, even couples toward the right wall. |
| 5–8 | Partners set and turn single. |
DRIVE THE COLD WINTER AWAY.
Longways for as many as will; in three parts (1st Ed., 1650).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A | 1–4 | Partners lead up a double and fall back a
double to places. |
| 5–8 | That again. |
B1 | 1–8 | First man take two steps backward
and moves down the middle (r.s.), turns the last woman but one counter‑clockwise
and then the last woman clockwise (sk.s.), falling back into the last place on
his own side (r.s.); while the second man, followed by the rest of the men,
crosses over, passes between first and second women, casts off to his left and goes
down the men’s side, meeting the first man (sk.s.). |
B2 | 1–8 | First man take two steps backward
and moves up the middle (r.s.), turns the second woman clockwise and then the first
woman counter‑clockwise (sk.s.), falling back into his own place (r.s.);
while the second man, followed by the rest of the men, crosses over, passes between
the last two women, casts off to his right and moves up the men’s side to his
place (sk.s.). |
| | Second Part. |
A | 1–4 | Partners side. |
| 5–8 | That again. |
B1 | 1–8 | First woman take two steps backward
and moves down the middle (r.s.), turns the last man but one clockwise and then the
last man counter‑clockwise (sk.s.), falling back into the last place on
her own side (r.s.); while the second woman, followed by the rest of the women,
crosses over, passes between first and second men, casts off to her right and dances down
her own side, meeting the first woman (sk.s.). |
B2 | 1–8 | First woman take two steps backward
and moves up the middle (r.s.), turns the second man counter‑clockwise and then
the first man clockwise (sk.s.), and falls back into her own place (r.s.); while
the second woman, followed by the rest of the women, crosses over, passes between
the last two men, casts off to her left and dances up the women’s side to her
place (sk.s.). |
| | Third Part. |
A | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. |
B1 & B2 | As in First Part. |
MAD ROBIN.
Longways for as many as will; in one part (7th Ed., 1686)

|
MUSIC. | MOVEMENT. |
| | (Duple Minor Set.) |
A1 | 1–8 | First man turns second woman with the
right hand, his partner with the left hand and then casts down into second place, second
man moving up into first place. |
A2 | 1–8 | First woman turns her partner with the
left hand, the second man with the right hand and then casts down into second place,
second woman moving up into first place (progressive). |
B1 | 1–4 | First woman moves up the middle and
casts down to the second place; while the first man casts up and moves down the middle
into the second place. |
| 5–8 | First man turns his partner. |
B2 | 1–4 | First man moves up the middle and casts
down to the same place; while his partner casts up and moves down the middle into the
second place. |
| 5–8 | First man turns his partner. |
NEVER LOVE THEE MORE.
Longways for as many as will; in two parts (7th Ed., 1686).

|
MUSIC. | MOVEMENT. |
| | First Part. |
A | 1–4 | All face up and set-and-honour to the
Presence. |
| 5–8 | Partners set-and-honour. |
9–12 | Partners lead up a double and fall
back a double to places. |
3–16 | That again. |
| | Second Part.
(Duple minor-set.) |
A1 | 1–4 | Partners go back-to-back passing by the
right. |
| 5–8 | That again passing by the left. |
9–16 | First man and woman go the
Figure-8 through second couple, first man passing counter‑clockwise round second
woman and clockwise round second man to place; while first woman passes clockwise round
second man and counter‑clockwise round second woman to place (sk.s.). |
A2 | 1–2 | Hands four half-way round (sl.s.). |
| 3–4 | All fall back a double. |
| 5–8 | Partners cross over and change places
(progressive). |
9–12 | Right-hands-across. |
3–16 | Left-hands-across. |
SLAUGHTER HOUSE.
Longways for as many as will; in one part (8th Ed., 1703)

|
MUSIC. | MOVEMENT. |
| | (Duple Minor Set.) |
A1 | 1–4 | First couple and second woman
hands-three. |
| 5–8 | Second couple and first man
hands-three. |
A2 | 1–4 | First man and first woman cross over,
cast down into second place (improper), move up and stand between second couple,
four abreast. |
| 5–8 | All take hands, move forward a double and
fall back a double, the first couple falling into second place (improper), the second
couple into first place (proper). |
B | 1–4 | First man cross over, pass counter-clockwise
round second man and move into second place on his own side; while first woman crosses
over, passes clockwise round second woman and moves into second place on her own
side. |
| 5–8 | First and second couples circular-hey, three changes,
to places, partners facing. |
C | 1–4 | First couple leads down between second couple,
and casts up to places. |
| 5–6 | On the first beat of each bar all four clap their
own hands, partners clapping right hands on the second beat of the fifth bar, and left
hands on the second beat of the sixth bar. |
| 7–8 | First couple casts down into second place,
second couple moving up into first place (progressive). |
THE SIEGE OF LIMERICK.
Longways for as many as will; in one part (10th Ed., 1698).

|
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 casts down below second man,
crosses over and passes clockwise round second woman into the second place on his own
side, the second man moving up into first place. |
| 5–8 | First woman casts down below second woman,
crosses over and passes counter clockwise round first man into the second place on her own
side, the second woman moving up into first place. |
B | 1–2 | First man and first woman cast up to the top,
second couple moving down into their own place. |
| 3–4 | First and second men go back-to-back with their
partners. |
| 5–8 | Circular-hey once round, partners facing
(sk.s.). |
9–12 | First couple leads down the
middle six steps (r.s.), and back again and casts down into the second place (sk.s.),
second couple moving up into first place in the last bar (progressive). |
THE BRITAINS.
Longways for as many as will; in one part (10th Ed., 1698).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–4 | First man casts down and crosses over
into second woman’s place; while second woman casts up and crosses over into first
man’s place. |
| 5–8 | First man and second woman turn once-and-a-half
round to places. |
A2 | 1–8 | First woman and second man do the same. |
B1 | 1–4 | The two men lead between the two women,
cast off, meet and change places. |
| 5–8 | First and second couples hands-four. |
B2 | 1–4 | The two women lead between the two men,
cast off, meet and change places (progressive). |
| 5–8 | First and second couples hands-four. |
Mr. ENGLEFIELD’S NEW HORNPIPE.
Longways for as many as will; in one part (10th Ed., 1698).

|
MUSIC. | MOVEMENT. |
| | N.B.—The tune is in triple time,
i.e., three steps to the bar. (Duple minor-set.) |
A1Bar 1 |
The first man turns his partner half-way round and changes places with her. |
| 2–4 | First man, honouring his partner on the
first beat of the second bar, joins both hands with her, moves backwards, pulling her
after him, bears to his left and falls into the second place, second couple moving up
into first place. |
| 5–8 | Second couple does the same, first couple
moving up into first place. |
BBar 1 |
Partners face and join both hands. The first couple slips down three steps
while the second couple slips up three steps, the second couple going between the
first man and first woman and under their arms. |
Bar 2 | Same again in reverse to places,
the first couple passing between the second man and second woman and under their
arms. |
| 3–4 | All fall back three steps and move forward
to places, turning single as they do so. |
| 5–6 | As in bars 1 and 2. |
| 7–8 | First man and first woman cast down into
second place; while second couple leads up into first place (progressive). |
FOURPENCE HALF-PENNY FARTHING;
OR, THE JOCKEY.
Longways for as many as will; in one part (10th Ed., 1709).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–4 | First man sets to second woman,
moving forwards towards her, and falls back a double to place. |
| 5–8 | First man turns second woman. |
A2 | 1–8 | Second man does the same to first woman. |
B1 | 1–2 | First man changes places with second woman. |
| 3–4 | First woman changes places with second man. |
| 5–8 | First man crosses over and passes counter-clockwise
round second woman into the second place on his own side; while first woman crosses over
and passes clockwise round second man into the second place on her own side. |
B2 | 1–4 | Second man crosses over and passes clockwise
round first man into the first place on his own side; while second woman crosses over and
passes counter‑clockwise round first woman into first place on her own side
(progressive). |
| 5–8 | First and second men turn their partners. |
FROM ABERDEEN.
Longways for as many as will; in one part (10th Ed., 1698).

|
MUSIC. | MOVEMENT. |
| | (Triple minor-set.) |
A | 1–2 | First man and first woman cast down
into the second place, the second couple moving up into first place. |
| 3–8 | First man turns his partner once-and-a-half
round and falls back between and below third couple, his partner falling back between
and above second couple. |
B1 | 1–4 | First man and third couple hands-three
once round; while first woman and second couple do the same. |
| 5–8 | First man (having passed outside third man)
hands-three with second and third men; while first woman (having passed outside second
woman) does the same with second and third women. |
9–10 | First man and first woman meet
and fall back, the man between and above second couple, the woman between and below
third couple. |
B2 | 1–4 | As in B1, except that first man hands-three
with second couple and first woman with third couple. |
| 5–8 | As in B1, except that first man hands-three
with second and third women and first woman with second and third men. |
9–10 | First man and first woman turn
half-way round and fall back, the man into the second place on his own side and the woman
into the second place on her side (progressive). |
MY LORD BYRON’S MAGGOT.
Longways for as many as will; in one part (11th Ed., 1701).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–2 | First man beckons to second woman,
who thereupon dances four steps towards him. |
| 3–4 | The second woman, beckoning to first
man, falls back to place, the first man moving forward at the same time. |
| 5–8 | First man turns second woman. |
A2 | 1–8 | Second man and first woman do the same. |
B | 1–4 | The two men lead between the two woman and
cast off back to places. |
| 5–6 | On the first beat of each bar all four clap their
own hands; while on the second beat of fifth bar partners clap right hands and on the
second beat of the following bar, left hands. |
| 7–8 | As in bars 5–6. |
9–12 | First couple casts down into
second place, second couple leading up into first place (progressive). |
CHILDGROVE.
Longways for as many as will; in one part (11th Ed., 1701).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–4 | First man and second man side with their
partners. |
| 5–8 | First man and second man go back-to-back
with their partners. |
A2 | 1–4 | The two men side; while the two women
side. |
| 5–8 | The two men go back-to-back; while the two
women do the same. |
B1 | 1–4 | The two men turn once-and-a-half round
and change places; while the two women do the same (sk.s.) (progressive). |
| 5–8 | Partners turn (r.s.). |
B2 | 1–8 | First man and first woman go the
Figure-8 through the second couple (r.s.), the first man crossing over, passing
clockwise round second woman and counter‑clockwise round second man,
the first woman crossing over, passing counter-clockwise round second man and
clockwise round second woman. |
PORTSMOUTH.
Longways for as many as will; in one part (11th Ed., 1701).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–8 | First man goes the hey with first and
second women (passing second woman by the right). |
A2 | 1–8 | First woman goes the hey with first
and second men (passing second man by the left). |
B | 1–4 | First man crosses over, passes
counter-clockwise round second woman and returns to his place; while first woman
crosses over, passes clockwise round second man and returns to her place. |
| 5–8 | Circular-hey, three changes, partners facing. |
THE QUEEN’S JIG.
Longways for as many as will; in one part (11th Ed., 1701).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–4 | First man sides with second woman. |
| 5–8 | First man and second woman set and turn
single. |
A2 | 1–8 | Second man and first woman do the same. |
B1 | 1–2 | First man changes places with second woman. |
| 3–4 | First woman changes places with second man. |
| 5–8 | The two men and the two women fall back two
steps, cross over and change places (progressive). |
B2 | 1–6 | First and second couples right-hands-across. |
| 7–8 | All turn single. |
THE INDIAN QUEEN.
Longways for as many as will; in one part (11th Ed., 1701).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–4 | First man and second woman move
forward setting to each other and fall back to places, turning single as they
do so. |
| 5–8 | First man turns second woman. |
A2 | 1–8 | Second man and first woman do the same. |
B1 | 1–4 | First and second couples right-hands-across. |
| 5–8 | First and second couples left-hands-across. |
B2 | 1–4 | Partners go back to back. |
| 5–8 | Circular-hey, three changes, partners facing
(progressive). |
THE PRINCESS.
Longways for as many as will; in one part (11th Ed., 1701).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–4 | First and second men and first and
second women fall back a double and move forward a double to places, turning
single as they do so. |
| 5–6 | First couple leads down into second
place (w.s.), second couple casting up into first place. |
| 7–8 | Partners set. |
A2 | 1–8 | All that again to places, second couple
leading down. |
B1 | 1–4 | First man, joining both hands with
his partner, falls back, pulling his partner after him, bears to his right and falls into
second place (improper); while second woman, joining both hands with her partner,
falls back, bears to her right and falls into first place (improper). |
| 5–8 | First couple leads up between second
couple (w.s.) and casts off into second place (r.s.) (improper). |
B2 | 1–6 | First and second couples circular-hey,
four changes, partners facing (sk.s.). |
| 7–8 | Partners turn half-way round and change
places (r.s.) (progressive). |
CROSBEY SQUARE.
Longways for as many as will; in one part (11th Ed., 1701)

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A | 1–2 | First man and first woman clap their
own hands on the first beat of each bar, right hands on the second beat of first bar
and left hands on second beat of second bar. |
| 3–4 | First couple casts off into second place,
second couple moving up one place. |
| 5–8 | Second couple does the same. |
B1 | 1–4 | First man, joining both hands
with his partner, falls back, pulling his partner after him, bears to his right and
falls into second place (improper); while second woman, joining both hands
with her partner, falls back, bears to her right and falls into first place
(improper). |
| 5–6 | First man changes places with second
woman, and first woman with second man. |
B2 | 1–2 | First couple casts down into
second place, second couple leading up into first place (progressive). |
| 3–6 | Partners turn. |
THE ROUND.
Longways for as many as will; in one part (11th Ed., 1701).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–4 | First couple swings down the middle
into the second place, second couple casting up into first place. |
| 5–8 | Second couple swings down the middle
into the second place, first couple casting up into first place. |
A2 | 1–4 | First and second men go four slips
up and four slips down to places; while first and second women go four slips down
and four slips up to places. |
| 5–8 | Partners arm with the right. |
B1 | 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. |
| 5–6 | All turn single. |
| 7–8 | First man, joining both hands with his
partner, goes four slips down the middle into second place; while second man
and second woman go four slips up into first place, passing outside the first
couple (progressive). |
B2 | 1–4 | First and second couples circular-hey,
four changes, partners facing. |
| 5–8 | Partners arm with the right. |
GREENWICH PARK.
Longways for as many as will; in one part (11th Ed., 1701).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–4 | First couple leads up the middle of the
set (w.s.). |
| 5–8 | The first couple leads back again and,
releasing hands, passes outside the second couple into the second place (sk.s.),
the second couple, in the last four steps, leading up into first place. |
A2 | 1–8 | The second couple does the same. |
B1 | 1–4 | First man and first woman cross over and
cast down below the second couple. |
| 5–8 | First couple swings up the middle into first
place. |
B2 | 1–4 | Partners go back-to-back. |
| 5–6 | All four clap their own hands on the first
beat of each bar, partners clapping right hands on the second beat of fifth bar and left
hands on the second beat of the following bar. |
| 7–8 | The first couple casts down into second
place; while the second couple leads up into first place (progressive). |
THE JACK’S FAREWELL.
Longways for as many as will; in one part (11th Ed., 1701).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A | 1–2 | First man and first woman face down
and set to the second couple, moving forward. |
| 3–4 | First man and first woman fall back to places,
turning single as they do so. |
| 5–6 | Partners set, moving forward. |
| 7–8 | All fall back to places, turning single. |
B | 1–2 | First and second couples hands-four half-way
round. |
| 3–4 | Partners change places (progressive). |
| 5–6 | First man passes clockwise round
second woman into the second place on the women’s side; while first woman
passes counter‑clockwise round second man into second place on the men’s
side (sk.s.). |
| 7–8 | First man and first woman turn half-way
round. |
SION-HOUSE.
Longways for as many as will; in one part (11th Ed., 1701).

|
MUSIC. | MOVEMENT. |
| | N.B.—The tune is in triple time, i.e.,
three steps to the bar. (Duple minor-set.) |
A | 1–2 | First and second couples hands-four half-way
round. |
| 3–4 | The first woman changes places with the second
man; while first man and second woman turn single. |
| 5–6 | Hands-four half-way round. |
| 7–8 | The first man changes places with the second
woman; while the first woman and second man turn single. |
B1 | 1–4 | First and second men, joining
inside hands, lead between the two women (w.s.) and cast off back to the same
places (r.s.). |
| 5–8 | Partners turn once-and-a-half round
and change places (progressive). |
B2 | 1–4 | First and second women, joining
inside hands, lead between the two men and cast off back to the same places. |
| 5–8 | First man passes clockwise round second
woman and returns to his place; while first woman passes counter‑clockwise
round second man and returns to her place. |
BURY FAIR.
Longways for as many as will; in one part (10th Ed., 1698).

|
MUSIC. | MOVEMENT. |
| | (Triple minor-set.) |
A | 1–4 | First man casts down below third
couple and stands between third man and woman, all three facing up. |
| 5–6 | First woman casts down below second
woman and stands between second man and woman, all three facing down. |
| 7–8 | Opposites set to one another i.e., first man
to his partner, second woman to third woman and second man to third man. |
B | 1–4 | Second couple and first woman hands-three;
while third couple and first man do the same. |
| 5–8 | The same again, counter-clockwise. |
C | 1–8 | First woman and second couple go the hey
(first woman facing second man and passing by the right); while third couple and first man
do the same (first man facing third woman and passing by the right), the first couple
falling into the second place and the second couple into first place
(progressive). |
D | 1–4 | First couple leads down through the third couple
and cast up into the second place. |
| 5–8 | First couple leads up through the second couple
and casts down into the second place. |
THE QUEEN’S BIRTHDAY.
Longways for as many as will; in one part (12th Ed., 1703).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–4 | First man and second woman turn with the
right hands. |
| 5–8 | First man and second woman turn with the left
hands. |
A2 | 1–4 | First woman and second man turn with the
right hands. |
| 5–8 | First woman and second man turn with the
left hands. |
B1 | 1–4 | First man crosses over and passes
counter-clockwise round second woman into the second place on his own side;
while first woman crosses over and passes clockwise round second man into the
second place on her own side, second couple moving up into first place
(progressive). |
| 5–8 | Partners turn. |
DICK’S MAGGOT.
Longways for as many as will; in one part (12th Ed., 1703).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.)
N.B.—The tune is in triple time, i.e., three steps to the bar. |
A | 1–2 | First man changes places with his partner. |
| 3–4 | First couple leads down into second place,
while second couple casts up into first place. |
| 5–8 | Partners fall back three steps, cross over and
change places. |
B1 | 1–2 | Second man changes places with his partner. |
| 3–4 | Second couple leads down into second place;
while first couple casts up into first place. |
| 5–8 | Partners go back-to-back. |
B2 | 1–4 | First and second couples circular-hey, three
changes, partners facing (progressive). |
| 5–8 | Partners turn twice around. |
JACK’S MAGGOT.
Longways for as many as will; in one part (12th Ed., 1703).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–8 | First man crosses over and goes
the hey with the two women (passing second woman by the right). |
A2 | 1–8 | First woman does the same with the two
men (passing second man by the left). |
B1 | 1–4 | First and second couples
right-hands-across. |
| 5–8 | First and second couples
left-hands-across. |
B2 | 1–2 | First man changes places with second
woman. |
| 3–4 | First woman changes places with second
man. |
| 5–6 | Hands-four half-way round. |
| 7–8 | First couple casts off into second place,
second couple leading up into first place (progressive). |
THE COUNTRY FARMER.
Longways for as many as will; in one part (12th Ed., 1703).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A | 1–4 | The first man, followed by his
partner, casts off into the second place (improper), second couple moving up into
first place. |
| 5–8 | The second man, followed by his
partner, does the same, first couple moving up into first place. |
B1 | 1–2 | First woman changes places with second
man. |
| 3–4 | First man changes places with second
woman. |
| 5–8 | First couple casts up into first place, second
couple lead down into second place. |
B2 | 1–4 | First and second couples hands-four
(sl.s.). |
| 5–8 | Circular-hey, three changes, partners facing
(progressive). |
MY LADY FOSTER’S DELIGHT.
Longways for as many as will; in one part (12th Ed., 1703).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–4 | First couple casts down into second place,
second couple moving up into first place. |
| 5–8 | First and second men turn each other; while
first and second women do the same. |
A2 | 1–4 | Second couple leads down between the
first couple and casts up into the same place. |
| 5–8 | Partners go back-to-back. |
B1 | 1–4 | First man casts up and crosses over
into the first place on the women’s side; while second woman casts down and crosses
over into the second place on the men’s side (sk.s.). |
| 5–8 | Second man casts down and crosses
over into the second place on the women’s side; while first woman casts up and
crosses over into the first place on the men’s side (sk.s.). |
B2 | 1–4 | First man and first woman lead
down and cast up to places; while second man and second woman cast up and
lead down to places. |
| 5–8 | First and second couples circular-hey,
two changes, men facing and women facing (progressive) (sk.s.). |
APLEY HOUSE.
Longways for as many as will; in one part (12th Ed., 1703).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A | 1–4 | First and second men take hands,
fall back a double and, releasing hands, move forward a double to places, turning
single as they do so. |
| 5–8 | First and second women do the same. |
B | 1–2 | First and second couples right-hands-across
half-way round. |
| 3–4 | All turn single. |
| 5–8 | Second woman, followed by first woman,
and second man, followed by first man, cast down and form a line, four abreast, facing
up, first man and first woman on the outside. |
C | 1–4 | Taking hands, all four move forward a
double and fall back a double, the first couple falling into the first place (improper)
and the second couple into the second place (improper). |
| 5–8 | First man and first woman cast down into
the second place, cross over and change places; while second man and second woman
lead up into the first place, cross over and change places (progressive). |
OLD NOLL’S JIG.
Longways for as many as will; in one part (12th Ed., 1703).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–2 | First man and first woman change places,
turning single as they do so. |
| 3–8 | They set to one another and cast off into
second place, second couple moving up into first place. |
A2 | 1–8 | The second couple does the same. |
B | 1–4 | First and second couples right-hands-across
(sk.s.). |
| 5–8 | First and second couples left-hands-across
(sk.s.). |
C | 1–4 | First man crosses over, passes clockwise
round second woman and returns to the same place, jumping on the second beat of
the fourth bar; while the first woman crosses over, passes counter‑clockwise
round second man and returns to place, jumping on the second beat of the
fourth bar. |
| 5–8 | First man and first woman cast off into the
second place, turn each other half-way round and change places, second couple leading
up into first place and turning in like manner (progressive). |
FY, NAY, PRITHEE JOHN.
Longways for as many as will; in one part (12th Ed., 1703).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–4 | First and second men and women
fall back two steps, and move forward six steps, partners changing places without
turning round. |
| 5–8 | First and second couples hands-four half-way
round, facing outward. |
A2 | 1–8 | Second man and woman (now at the top)
cross over, cast down, cross over again below first couple, cast up to the top and turn
each other (sk.s.). |
B | 1–2 | All four clap their own hands on first beat
of first and second bars, partners clapping right hands on second beat of first bar and left
hands on second beat of second$nbsp;bar. |
| 3–4 | Second couple casts down into second place,
first couple leading up. |
| 5–6 | As in bars 1 and 2. |
| 3–4 | First couple casts down into second place,
second couple leading up into first place (progressive). |
UP WITH AILY.
Longways for as many as will; in one part (12th Ed., 1703).

|
MUSIC. | MOVEMENT. |
| | N.B.—The tune is in triple time, i.e.,
three steps to the bar. (Duple minor-set.) |
A1Bar 1 |
Second man and first woman move into line and stand on either side of first
man. All three take hands and face second woman. |
| 2–3 | They move forward three steps to second woman
and fall back three steps. |
Bar 4 | Second man and first woman return to
places. |
| 5–6 | First man casts down into second place; while
the two women turn single and the second man moves up into first place, turning single,
counter‑clockwise, as he does so. |
A2Bar 1 |
Second man and second woman move into line and stand on either side of first
woman. All three take hands and face first man. |
| 2–3 | They move forward three steps to first man
and fall back three steps. |
Bar 4 | Second man and second woman return
to places. |
| 5–6 | First woman casts down into second place;
while the two men turn single and the second woman moves up into first place, turning
single, clockwise, as she does so. |
B | 1–2 | First man goes back-to-back with his
partner. |
| 3–4 | First couple casts up into first place; while
second man and second woman lead down into second place, turning single on the last
three steps, the man clockwise and the woman counter‑clockwise. |
| 5–7 | First and second couples hands-four. |
Bar 8 | First couple casts down into second
place; while second man and second woman move up into first place, turning single as
they do so (progressive). |
NOWILL HILLS; OR, LOVE NEGLECTED.
Longways for as many as will; in one part (14th Ed., 1709).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.) |
A1 | 1–8 | First man goes the hey with second
couple (first man passing second woman by the left). |
A2 | 1–8 | First woman goes the hey with second
couple (first woman passing second man by the right). |
B1 | 1–4 | First man moves counter-clockwise
round his partner, she standing still; while the second woman moves clockwise round
her partner in like manner. |
| 5–8 | First woman moves clockwise round her
partner; while second man moves counter‑clockwise round his partner. |
B2 | 1–4 | The two men take hands, fall back a
double and move forward a double to places; while the two women do the same. |
| 5–8 | First and second couples circular‑hey, three
changes, partners facing (progressive). |
HUNT THE SQUIRREL.
Longways for as many as will; in one part (14th Ed., 1709).

|
MUSIC. | MOVEMENT. |
| | (Triple minor-set.) |
A1 | 1–8 | The first man, followed by his partner,
heys through the second and third men (they standing still), passing outside second man,
and returns to his place, his partner moving across to her place after passing round
third man. |
A2 | 1–8 | The first woman, followed by her partner,
heys through the second and third women, passing outside the second woman, and returns
to her place, her partner, after passing round third woman, moving across to his place. |
B1 | 1–2 | First man changes places with second woman. |
| 3–4 | First woman changes places with second man. |
| 5–6 | Hands-four half-way round. |
| 7–8 | First couple casts down into second place, the second
couple moving up into first place (progressive). |
B2 | 1–4 | First and second couples circular-hey, four changes,
partners facing. |
| 5–8 | Partners turn (sk.s.). |
THE GEUD MAN OF BALLANGIGH.[*]
Longways for as many as will; in one part (10th Ed., 1698).

|
MUSIC. | MOVEMENT. |
| | (Triple minor-set.) |
A1 | 1–4 | First man and first woman lead down
between second couple and cast up to places. |
| 5–8 | First and second men, joining inside hands,
lead between the two women (w.s.) and cast off back to places (sk.s.). |
A2 | 1–4 | Second man and second woman lead up
between first couple and cast down to places. |
| 5–8 | First and second women, joining inside hands,
lead between the two men (w.s.) and cast off back to places. |
B1 | 1–4 | First man sets to second woman, moving
forward, and falls back to his place, turning single. |
| 5–8 | First woman sets to second man, moving
forward, and falls back to her place, turning single. |
B2 | 1–4 | First and second couples hands-four half-way
round. |
| 5–6 | Partners set. |
| 7–8 | Partners change places (progressive). |
* To be danced to the tune of “Hunt the Squirrel”
(Set 11).
ROUND O.
Longways for as many as will; in one part (14th Ed., 1709).

|
MUSIC. | MOVEMENT. |
| | (Triple minor-set.) |
A1 | 1–4 | First man and first woman set to
each other and cast down into second place, second couple moving up into first
place. |
| 5–8 | The first woman crosses over and passes
clockwise round second man into the second place on the men’s side; while the first
man crosses over and passes clockwise round the third woman into the second place
on the women’s side. |
A2 | 1–4 | First man casts up above second woman
(sk.s.), and moves down the middle into the second place on his own side (r.s.);
while the first woman casts down below third man (sk.s.) and moves up the middle into
the second place on her own side (r.s.) (progressive). |
| 5–8 | First man and first woman set to each other and
then fall back four small steps. |
B | 1–2 | Second couple faces third couple. Second
and third men set to one another moving towards each other; while second and third women
do the same. |
| 3–4 | All four fall back, turning single as they do
so. |
| 5–8 | First man and first woman the whole-gip, clockwise,
facing and waving their hands (hopping step; four hops on right foot, four on
left). |
C | 1–4 | First woman goes back-to-back with second
man; while first man does the same with third woman. |
| 5–8 | First woman goes back-to-back with third man;
while first man does the same with second woman. |
D | 1–8 | The three men go the straight hey (second man
facing first man and passing by the right): while the three women do the same (second
woman facing first woman and passing by the right) (sk.s.). |
Mr. BEVERIDGE’S MAGGOT.
Longways for as many as will; in one part (11th Ed., 1701).

|
MUSIC. | MOVEMENT. |
| | (Duple minor-set.)
N.B.—The tune is in triple time. |
A1 | 1–2 | First man and first woman cross over and change
places. |
| 3–4 | First man goes back-to-back with second woman;
while first woman goes back-to-back with second man. |
| 5–6 | First man, facing down, turns single and then turns
second woman with the right hand once round; while the first woman turns single and then
turns second man with the right hand once round. |
| 7–8 | First man and first woman turn left with left hands, half-way round to places. |
B1 | 1–2 | First man and first woman cross over and cast
down into second place (improper), second couple moving up into first place. |
| 3–4 | First and second men go back-to-back with their
partners. |
| 5–8 | First couple standing between second couple, all
four take hands and move up six steps and fall back six steps, first couple falling into
first place (improper), second couple into second place (proper). |
B2 | 1–6 | First couple goes the Figure-8 through the second
couple, first man crossing over, passing clockwise round second man and
counter‑clockwise round second woman, first woman crossing over, passing
counter-clockwise round second woman and clockwise round
second man. |
| 7–8 | First man and second woman cross over and cast down
into second place, second couple moving up into first place. |
GENERAL INDEX.
PARTS I-VI.
The figures in parentheses refer to Country Dance Tunes, Sets 1-10.
Adson’s Saraband (5).
Althea (5).
Amarillis (4).
Apley House (11).
Argeers (5).
Aye Me (7).
Beggar Boy (3).
Black Jack (4).
Black Nag (4).
Boatman (7).
Bobbing Joe (6).
Bonnets so Blue (2).
Brighton Camp (1).
Britains, The (10).
Broom, Bonny, Bonny Broom (6).
Bury Fair (11).
Butterfly (1).
Catching of Fleas (6).
Catching of Quails (5).
Cheerily and Merrily (4).
Chelsea Reach (5).
Chestnut (4).
Childgrove (11).
Christchurch Bells (8).
Collier’s Daughter, The (7).
Confess (5).
Coronation Day, The (8).
Country Farmer, The (11).
Crosbey-Square (11).
Dargason (4).
Dick’s Maggot (11).
Dissembling Love (10).
Drive the Cold Winter Away (10).
Dull Sir John (3).
Epping Forest (10).
Epsom New Wells (7).
Every Lad his Lass (7).
Fain I Would (5).
Fine Companion, The (3).
Fit’s come on me now, The (8).
Flowers of Edinburgh, The (1).
Fourpence Half-penny Farthing (10).
Friar and the Nun, The (6).
From Aberdeen (11).
Fy, Nay, Prithee John (11).
Galopede (1).
Gathering Peascods (3).
Gelding of the Devil, The (7).
Geud Man of Ballangigh, The (11).
Glory of the West, The (3).
Goddesses (4).
Greenwich Park (11).
Greenwood (7).
Grimstock (3).
Halfe Hannikin (7).
Haste to the Wedding (2).
Health, The (7).
Heartsease (7).
Hey Boys, up go we (3).
Hit and Miss (7).
Hunsdon House (5).
Hunt the Squirrel (2).
Hunt the Squirrel (11).
Hyde Park (5).
If all the World were paper (5).
Indian Queen (11).
Irish Lady, The (6).
Irish Trot (6).
Jack a Lent (10).
Jack’s Farewell, The (11).
Jack’s Maggot (11).
Jacob Hall’s Jig (8).
Jamaica (4).
Jenny, Come Tie my Cravat (8).
Jenny Pluck Pears (3).
Jog On (8).
Juice of Barley (8).
King of Poland (8).
Lady Banbury’s Hornpipe (8).
Lady in the Dark (5).
Lady Spellor (6).
Lilli Burlero (8).
London is a Fine Town (4).
Lord of Carnarvon’s Jig (6).
Love Lies a-Bleeding (8).
Lull me Beyond Thee (6).
Mad Robin (10).
Mage on a Cree (3).
Maid in the Moon (10).
Maid Peeped out at the Window (10).
Maiden Lane (5).
Maiden’s Blush (8).
Maids’ Morris (8).
Mall Peatly (10).
Mary and Dorothy, The (8).
Merry Conceit, The (5).
Merry, Merry Milkmaids, The (6).
Mill-Field (10).
Mock Hobby Horse, The (8).
Mr. Beveridge’s Maggot (11).
Mr. Englefield’s New Hornpipe (10).
Mr. Isaac’s Maggot (8).
Mulberry Garden, The (10).
Mundesse (10).
My Lady Cullen (4).
My Lady Foster’s Delight (11).
My Lady Winwood’s Maggot (8).
My Lady’s Courant (7).
My Lord Byron’s Maggot (11).
Nancy’s Fancy (2).
New Bo-Peep, The (4).
New Figary, The (6).
Newcastle (3).
Never Love Thee More (10).
Night Piece, The (10).
Nonesuch (4).
Nowill Hills (11).
Oaken Leaves (7).
Old Mole (5).
Old Noll’s Jig (11).
Oranges and Lemons (3).
Orleans Baffled (7).
Parson’s Farewell (3).
Peppers Black (10).
Phœnix, The (6).
Picking Up Sticks (7).
Pool’s Hole (8).
Pop Goes the Weasel (1).
Portsmouth (11).
Prince Rupert’s March (7).
Princess, The (11).
Put on thy Smock on a Monday (7).
Putney Ferry (3).
Queen’s Birthday, The (11).
Queen’s Jig, The (11).
Ribbon Dance (1).
Rose is White and Rose is Red (10).
Round O (11).
Round, The (11).
Row Well, Ye Mariners (6).
Rufty Tufty (3).
Running Set, The (9).
Sage Leaf (10).
Saint Martin’s (3).
Saturday Night and Sunday Morn (10).
Scotch Cap (7).
Sellenger’s Round (7).
Shepherd’s Daughter, The (10).
Shepherd’s Holiday (5).
Siege of Limerick (10).
Sion-House (11).
Slaughter House (10).
Slip, The (10).
Speed the Plough (1).
Spring Garden (6).
Staines Morris (4).
Step and Fetch her (2).
Step Stately (7).
Sweet Kate (6).
Temple Change (8).
Ten Pound Lass (4).
Three Meet (2).
Tink-a-Tink (2).
Touch and Take (6).
Trip to Kilburn, A (8).
Triumph, The (2).
Twenty-Ninth of May, The (4).
Up Goes Ely (7).
Up Tails All (5).
Up with Aily (11).
Upon a Summer’s Day (5).
We won’t go Home till Morning (1).
Whim, The (8).
Whirligig, The (7).
Whish, The (10).
Winifred’s Knot (5).