I have written a number of dances over the last few years, in a number of different styles.
These dances are in the style of English and Welsh Country dances.
"Christmas carols" series
| Bars | Figures |
|---|
| 1-4 | Part I: Lead up a double and fall back a double |
| 5-8 | Hands-six circle left half-way |
| 9-12 | Lead up a double and fall back a double |
| 13-16 | Hands-six circle left half-way |
| 17-20 | 1st man and 3rd woman cast anti-clockwise two places, others move up/down on last two bars |
| 21-26 | 1st man star left with 1st and 2nd women 1 1/3 around at the bottom, 3rd woman the same with 2nd and 3rd men at the top (finishing with the set inverted, 1st and 3rd couples improper) |
| 27-30 | 1st man and 3rd woman cast anti-clockwise two places, others move up/down on last two bars |
| 31-36 | 1st man star left with 1st woman and 2nd man 1 1/3 around at the top, 3rd woman the same with 2nd woman and 3rd man at the bottom; all finish in original positions |
| 37-40 | Part II: Side with partner |
| 41-44 | Hands-six circle left half-way |
| 45-48 | Side with partner |
| 49-52 | Hands-six circle left half-way |
| 53-56 | 3rd man and 1st woman cast clockwise two places, others move up/down on last two bars |
| 57-62 | 3rd man star right with 2nd and 3rd women 1 1/3 around at the top, 1st woman the same with 1st and 2nd men at the bottom (finishing with the set inverted, 1st and 3rd couples improper) |
| 63-66 | 3rd man and 1st woman cast clockwise two places, others move up/down on last two bars |
| 67-72 | 3rd man star right with 2nd man and 3rd woman 1 1/3 around at the bottom, 1st woman the same with 1st man and 2nd woman at the top; all finish in original positions |
| 73-76 | Part III: Arm right with partner |
| 77-80 | Hands-six circle left half-way |
| 81-84 | Arm left with partner |
| 85-88 | Hands-six circle left half-way |
| 89-92 | 2nd couple cast anti-clockwise two places, others move clockwise one place on last two bars |
| 93-98 | 2nd man star left with 1st couple 1 1/3 around on the women's side – 1st woman stepping back and joining after 1st man, 2nd woman the same with 3rd couple on the men's side – 3rd man stepping back and joining after 3rd woman (finishing 1st man and 3rd woman swapped, 2nd couple improper in the middle) |
| 99-102 | 2nd couple cast anti-clockwise two places, others move clockwise one place on last two bars |
| 103-108 | 2nd man star left with 1st and 3rd men 1 1/3 around on the men's side – 3rd man stepping back and joining after 1st man, 2nd woman the same with 1st and 3rd women on the women's side – 1st woman stepping back and joining after 3rd woman; all finish in original positions |
More Tudor music, All in a Garden Green, with interesting phrasing – two lots of eight bars then two repeats of four plus six bars. So I had to find a movement longer than normal that still kept the dance flowing. The name follows on from the previous dance and matches the name of the music.
| Bars | Figures |
|---|
| 1-4 | 1st couple cross and cast to 2nd place, 2nd couple lead up |
| 5-8 | 1st couple half figure of eight up through the 2nd couple |
| 9-16 | Hey for three on the men's side and on the women's side, 1st man starting down right shoulder, 1st woman starting up right shoulder |
| 17-20 | 1st man dance anti-clockwise around 3rd woman, while 1st woman dance anti-clockwise around 2nd man, each finishing in partner's position;
while others acknowledge your corner and your neighbour, then slide across the set past your partner (men behind women) |
| 21-24 | 1st man dance anti-clockwise around 2nd woman, while 1st woman dance anti-clockwise around 3rd man, each finishing back home;
while others acknowledge your corner and your partner, then slide up/down the set past your neighbour (top couple behind the bottom couple) |
| 25-28 | 1st man dance clockwise around 3rd man, while 1st woman dance clockwise around 2nd woman, each finishing in partner's position;
while others acknowledge your corner and your neighbour, then slide across the set past your partner (men behind women) |
| 29-32 | 1st man dance clockwise around 2nd man, while 1st woman dance clockwise around 3rd woman, each finishing back home;
while others acknowledge your corner and your partner, then slide up/down the set past your neighbour (top couple behind the bottom couple) |
For Alison MacPhail's 70th birthday. Alison is a fan of English Country dancing.
| Bars | Figures |
|---|
| 1-4 | Right hands across once around |
| 5-6 | 1st man and 2nd woman continue right hand turn half-way; while others turn out to the left |
| 7-8 | 1st woman and 2nd man turn left hand half-way; while others turn out to the left |
| 9-12 | All left hand across once around |
| 13-14 | All turn out to the right |
| 15-16 | Right hand turn partner half-way |
Slow set and honour your partner during the first four bars of introduction, and the same to your corner during the last four bars.
I had received a new CD – Tromper Le Temps by Le Vent Du Nord – and loved the final track – Souffle d'Ange. Upon closer examination it turned out to be a 16 bar repeat, which, with its slower tempo, seemed to suit a Playford style dance. The progression move I had seen in Contra dances and kept the dance flowing. The name is a translation of the tune's name.
| Bars | Figures |
|---|
| 1-4 | 1st man and 2nd woman turn left-hand once around; while 1st woman and 2nd man move clockwise around the outside to the opposite's place |
| 5-8 | 1st woman and 2nd man turn right-hand once around; while 1st man and 2nd woman move anti-clockwise around the outside to the opposite's place |
| 9-10 | All turn partner left-hand half-way |
| 11-12 | All turn out towards neighbour and back into progressed place |
Part of the "Christmas Carols" series.
The Boar's Head Carol is an old tune that only has a 12 bar repeat. This makes it challenging to fit in some interesting moves and a progression.
| Bars | Figures |
|---|
| 1-2 | 1st couple half figure-of-eight down through the 2nd couple, finishing behind them in a line of four |
| 3-4 | Half hey for four, starting with 2nd couple passing right shoulder and finishing in 1st place improper, 1st couple finishing in 2nd place proper |
| 5-6 | Circle left three places |
| 7-8 | Back-to-back with opposite |
| 9-10 | Circle left three places |
| 11-12 | Gypsy partner once around |
| 13-16 | 1st couple cast down, cross coming up, and cast down again; while 2nd couple cross coming up, cast down, and cross coming up again |
This music from KGB sounded like an Old English piece and inspired the dance.
| Bars | Figures |
|---|
| 1-4 | Part I: Up a double and fall back a double |
| 5-8 | Facing partner, set moving forward, turn single back to place |
| 9-16 | All that again |
| 17-20 | Chorus: 2nd man dance up between 1st couple, then cast right and dance down to 3rd woman's position; 1st man follow 2nd man into 2nd woman's position; 2nd and 3rd women the same into 1st and 2nd men's positions |
| 21-24 | Hey for three half-way along each line, two men or two women passing left shoulder to start |
| 25-28 | Three men star right once-and-a-third, three women the same |
| 29-32 | All circle left four places back to proper positions; finish opposite new partner (men finish 2,3,1, women 3,1,2) |
| 33-36 | Part II: Side with partner |
| 37-40 | Facing partner, set moving forward, turn single back to place |
| 41-48 | All that again |
| 49-64 | Chorus |
| 65-68 | Part III: Arm right with partner |
| 69-72 | Facing partner, set moving forward, turn single back to place |
| 73-80 | All that again, but arm left |
| 81-96 | Chorus |
| Bars | Figures |
|---|
| 1-4 | Part I: In lines of three on each side forward a double towards the centre and fall back a double |
| 5-8 | Half hey for three on each side, 1st couple face down, others face up, 1st couple starting right shoulder with 2nd couple |
| 9-12 | In lines of three on each side forward a double and fall back a double |
| 13-16 | Half hey for three on each side back to place, 1st couple face up, others face down, 1st couple starting left shoulder with 2nd couple |
| 17-20 | 1st and 2nd couples (top two) circle left half-way; 3rd couple two-hand turn once around |
| 21-24 | 1st and 3rd couples (bottom two) circle right half-way; 2nd couple two-hand turn once around |
| 25-28 | 2nd and 3rd couples (top two) circle left half-way; 1st couple two-hand turn once around |
| 29-32 | All two-hand turn partner once around |
| 33-36 | 1st man (bottom) and 3rd woman (top) cross by the right then turn out to the right and stop in opposite's place |
| 37-40 | 1st woman (bottom) and 3rd man (top) cross by the left then turn out to the left and stop in opposite's place |
| 41-44 | 2nd couple (middles) cross by the right then turn out to the right and stop in partner's place |
| 45-48 | All two-hand turn partner once and a half around |
| 49-52 | Part II: Side with your partner (Pat Shaw siding – right shoulder) |
| 53-56 | Half hey for three on each side, 1st couple starting right shoulder with 2nd couple |
| 57-60 | Side with your partner (Pat Shaw – left shoulder) |
| 61-64 | Half hey for three on each side back to place, 1st couple starting left shoulder with 2nd couple |
| 65-68 | 1st and 2nd couples (top two) right hand star half-way; 3rd couple right hand turn once around |
| 69-72 | 1st and 3rd couples (bottom two) left hand star half-way; 2nd couple left hand turn once around |
| 73-76 | 2nd and 3rd couples (top two) right hand star half-way; 1st couple right hand turn once around |
| 77-80 | All two-hand turn partner once around |
| 81-84 | 1st man (bottom) and 3rd woman (top) cast out and go around the outside of the set to the opposite position (clockwise) |
| 85-88 | 1st woman (bottom) and 3rd man (top) cast out and go around the outside of the set to the opposite position (anti-clockwise) |
| 89-92 | 2nd couple (middles) cast out and go around the outside of the set to the opposite position (clockwise) – this needs to be fairly quick |
| 93-96 | All two-hand turn partner once and a half around |
| 97-100 | Part III: Arm right with your partner |
| 101-104 | Half hey for three on each side, 1st couple starting right shoulder with 2nd couple |
| 105-108 | Arm left with your partner |
| 109-112 | Half hey for three on each side back to place, 1st couple starting left shoulder with 2nd couple |
| 113-116 | 1st and 2nd couples (top two) half right-and-left, starting with neighbour (up/down); 3rd couple right hand across and left hand back |
| 117-120 | 1st and 3rd couples (bottom two) half right-and-left, starting with neighbour (up/down); 2nd couple right hand across and left hand back |
| 121-124 | 2nd and 3rd couples (top two) half right-and-left, starting with neighbour (up/down); 1st couple right hand across and left hand back |
| 125-128 | All two-hand turn partner once around |
| 129-132 | 1st man (bottom) and 3rd woman (top) pass between opposite people (1st and 2nd woman and 2nd and 3rd man respectively) and turn left into opposite's place |
| 133-136 | 1st woman (bottom) and 3rd man (top) pass between opposite people and turn right into opposite's place |
| 137-140 | 2nd couple (middles) pass between end couples (man down, woman up) and turn left into opposite's place |
| 141-144 | All two-hand turn partner once and a half around |
Terry Roberts' 65th birthday was coming up and Sheree Greenhill asked for a Welsh dance for him, to reflect his heritage. Following along the lines of Ty Coch Caerdydd, this dance was written in a Welsh style. The name suggests Terry's connections to Wales, with the translation coming from the (Welsh) brother of one of our dancers. Now to find some different music for it.
The second figure in each part inverts the set, while the third figure restores it again.
Runner-up in the Traditional Social Dance Association of Victoria
(TSDAV) Dance Composer's Competition 2013.
| Bars | Figures |
|---|
| 1-4 | 1st corners set in place and cross passing right shoulders |
| 5-8 | 2nd corners the same |
| 9-12 | With neighbour, lines set moving backwards, then turn single coming forwards |
| 13-16 | Lines set in place and cross with partner passing right shoulder |
| 17-20 | 1st couple half figure of eight up, outside 2nd couple to start and crossing down between them |
| 21-24 | 2nd couple half figure of eight down through 1st couple |
| 25-28 | Circle left once around |
| 29-30 | Circle left half-way |
| 31-32 | 1st couple casts down while 2nd couple leads up |
I was inspired by some early morning bird calls to write a tune, and then a dance to go with it.
| Bars | Figures |
|---|
| 1-2 | Part I: Lead up a double and fall back a double |
| 3-4 | Back-to-back partner |
| 5-8 | Repeat doubles and back-to-back |
| 9 | 1st couple cast to bottom, 2nd and 3rd couples cross up to next places |
| 10 | 2nd couple cast to bottom, 3rd couple cross up to 1st place, 1st couple complete cast |
| 11 | 3rd couple cast to bottom, 1st couple cross up to 2nd place, 2nd couple complete cast |
| 12 | 1st and 2nd couples cross up to place, 3rd couple complete cast; all have returned to starting positions |
| 13 | 1st couple cast to bottom, 2nd and 3rd couples lead up |
| 14 | 2nd and 3rd couples little cast, 1st couple complete cast |
| 15-20 | Repeat casting and crossing to finish 3, 1, 2 |
| 21-22 | Part II: Side with partner |
| 23-24 | Back-to-back partner |
| 25-28 | Repeat siding and back-to-back |
| 29-40 | Repeat casting and crossing with 3rd couple leading, finishing 2, 3, 1 |
| 41-42 | Part III: Arm right with partner |
| 43-44 | Back-to-back partner |
| 45-46 | Arm left with partner |
| 47-48 | Back-to-back partner |
| 49-60 | Repeat casting and crossing with 2nd couple leading |
Part of the "Christmas Carols" series.
After celebrating Christmas and singing carols I thought that some of the tunes could make good dances. So started a new series of dances based on these carols. The first was to the tune of Angels We Have Heard On High, which has a 16 and 24 bar repeat.
| Bars | Figures |
|---|
| 1-2 | Double figure of eight: 1s cast to second place, 2s cross up to first place |
| 3-4 | 2s cast to second place, 1s cross up to first place |
| 5-6 | 1s cast to second place, 2s cross up to first place |
| 7-8 | 2s cast to second place, 1s cross up to first place |
| 9-10 | 1s cast to second place, 2s move up |
| 11-14 | 1s half figure of eight up around 2s |
| 15-16 | 1s cross by right shoulder |
I had identified possible dance tunes while listening to more Väsen music. Hagsätra Brudmarsch is such a stirring piece that I felt it had to have a dance for it. The music suggested sweeping turns, and so developed a longways set dance reminiscent of Hole in the Wall (one of my favourites). Brudmarsch translates as "bridal march".
| Bars | Figures |
|---|
| 1-4 | All set forward and turn single back to place |
| 5-6 | Circle left half-way |
| 7-8 | Turn partner two-hands half-way |
| 9-14 | Heart: 1st woman and 2nd man dance (skipping) around their partner passing right shoulder, pass each other in the centre left shoulder, and dance around their neighbour passing right shoulder to finish back in place |
| 15-20 | Heart: 1st man and 2nd woman dance (skipping) around their partner passing left shoulder, pass each other in the centre right shoulder, and dance around their neighbour passing left shoulder to finish back in place |
I was listening to some Renaissance music and found one lively tune suitable for a dance in the English style. The name comes from the music ("Hungarian Dances") and the heart-shaped figure in the second part of the dance.
| Bars | Figures |
|---|
| 1-4 | Circle left once around, turning left at the end to form a circle facing out |
| 5-6 | All balance out and back, sweeping hands forward |
| 7-8 | Men balance out and back, sweeping hands forward; while women turn to their right and cross passing right shoulder |
| 9-10 | All balance out and back, sweeping hands forward |
| 11-12 | Women balance out and back, sweeping hands forward; while men turn to their right and cross right shoulder |
| 13-14 | Balance out and back, sweeping hands forward |
| 15-16 | With partner wheel half-way, men move backwards, women forwards to swap places |
For this dance I tried to achieve a holly shape in the form of an outward facing circle (hands sweeping forward for the spikes).
Part of the "Christmas Carols" series.
| Bars | Figures |
|---|
| 1-2 | Back-to-back right shoulder with neighbour |
| 3-4 | Neighbours left hand turn half-way; women swap passing right shoulder as men turn half-way in place |
| 5-8 | Partners right hand turn half-way; all right hand star half-way; partners right hand turn half-way |
| 9-10 | Repeat from new positions: Back-to-back right shoulder with partner |
| 11-12 | Partners left hand turn half-way; men swap passing right shoulder as women turn half-way in place |
| 13-16 | Neighbours right hand turn half-way; all right hand star half-way; neighbours right hand turn half-way |
| 17-20 | 1st couple two-hand turn half-way, lead up between the 2nd couple and cast back to progressed positions |
| 21-24 | 2nd couple two-hand turn half-way, lead down between the 1st couple and cast back to progressed positions |
For Iain MacPhail's 80th birthday.
| Bars | Figures |
|---|
| 1-4 | Part I: Join hands in the circle, all forward a double and fall back a double |
| 5-8 | With partner, set and turn single |
| 9-12 | All forward a double and fall back a double |
| 13-16 | With corner, set and turn single |
| 17-20 | Twisted grand square: Head couples advance, circle right 1/4 and retire to the side with partner, side couples face partner, back away, then advance towards opposite in the head positions |
| 21-24 | Repeat with new heads and sides |
| 25-32 | Repeat twice more, finishing opposite original positions |
| 33-36 | Head couples advance, circle left half-way and retire, while sides two-hand turn once around |
| 37-40 | Side couples advance, circle left half-way and retire, while heads two-hand turn once around |
| 41-44 | All circle left |
| 45-48 | All circle right |
| 49-56 | Part II: With partner, side, set and turn single |
| 57-64 | With corner, side, set and turn single |
| 65-96 | Twisted grand square, crossings and circles |
| 97-104 | Part III: With partner, arm right, set and turn single |
| 105-112 | With corner, arm left, set and turn single |
| 113-144 | Twisted grand square, crossings and circles |
For Isobel Blake's 70th birthday. Written the morning of her party. Subsequently Colin Hume wrote a tune for this dance.
Note that during the grand square you separate from your partner at some point, but are re-united at the end.
| Bars | Figures |
|---|
| 1-2 | Heads advance and retire |
| 3-4 | Sides advance and retire |
| 5-6 | Heads cross passing right shoulder and loop around to the left to face in again on the opposite side |
| 7-8 | Sides cross and loop |
| 9-10 | Heads advance and retire |
| 11-12 | Sides advance and retire |
| 13-14 | Heads cross passing right shoulder and loop around to the left to face in again in original positions |
| 15-16 | Sides cross and loop |
| 17-18 | Heads right turn half way |
| 19-20 | All star right half way, sides joining with your partner on the outside of the heads |
| 21-22 | Heads set and turn single |
| 23-24 | Sides set and turn single |
| 25-26 | Heads left turn half way |
| 27-28 | All star left half way, sides joining with your partner on the outside of the heads |
| 29-30 | Heads face partner and back directly away, then turn 1/8 (men left, women right) to advance to next side position; finishing with opposite woman on man's right |
| 31-32 | Sides face partner and back directly away, then turn 1/8 and advance to next head position |
| Coda: Sides advance to original positions as heads restart |
Pat Shaw's John Tallis' Canon re-engineered in a square set.
Side couples repeat what the head couples do after a two bar delay. The men progress clockwise around the set, while the women progress anti-clockwise.
| Bars | Figures |
|---|
| 1-6 | 3/4 double figure of eight, starting with 1s crossing down, 2s casting up |
| 7-8 | 1st man and 2nd woman right hand turn, 1st woman and 2nd man left hand turn, both going 3/4; finish 2nd woman facing in, others facing her |
| 9-16 | Dolphin hey, 1s acting as one unit, 1s passing 2nd woman right shoulder to start |
| 17-20 | 1st man and 2nd woman right hand turn, 1st woman and 2nd man left hand turn, both 1 1/4; finish facing out |
| 21-24 | Neighbours lead out a double, turn and come back a double |
| 25-30 | 3/4 double figure of eight, starting with 1s crossing up, 2s casting down |
| 31-32 | 1st and 2nd men left hand turn, 1st and 2nd women right hand turn, both half-way |
The dance name is French for "the dolphin" and is also the title of the heir to the French crown through to 1830.
| Bars | Figures |
|---|
| 1-4 | Part I: All forward a double into the centre, and fall back |
| 5-8 | With partner, set and turn single |
| 9-16 | All that again |
| 17-20 | Women right-hand star 3/4 |
| 21-24 | Men left-hand star 3/4 |
| 25-28 | Grand chain four places, starting right hand to partner |
| 29-30 | Right-hand turn the next once around and face back the way you came |
| 31-32 | Grand chain two places to home, starting left hand; finish facing partner |
| 33-36 | Part II: Side right with partner |
| 37-40 | Set and turn single |
| 41-44 | Side left with partner |
| 45-48 | Set and turn single |
| 49-51 | Women right-hand star 3/4, while men move one place anti-clockwise |
| 52 | Turn partner left-hand half-way to send the men into the centre |
| 53-55 | Men right-hand star 3/4, while women move one place anti-clockwise |
| 56 | Turn partner left-hand out to place (opposite home); finish facing partner |
| 57-60 | Back-to-back partner, left shoulder |
| 61-64 | Grand chain four places (to home), starting right hand to partner |
| 65-68 | Part III: Arm right with partner |
| 69-72 | Set and turn single |
| 73-76 | Arm left with partner |
| 77-80 | Set and turn single; finish with heads facing couple to their right, sides to their left |
| 81-84 | Pass through (right shoulder) and two-hand turn to face the next diagonal - 3/4 for heads, 1/4 for sides |
| 85-88 | Pass through (right shoulder) and two-hand turn to face the centre - 5/8 for heads, 3/8 for sides |
| 89-90 | Forward a double to the centre |
| 91-92 | Fall back a double on the diagonal with corner |
| 93-94 | Head men and corners pass through on the diagonal; side men and corners turn two-hand half-way |
| 95-96 | Head men and corners turn two-hand half-way; side men and corners pass through on the diagonal |
For Lynne Cargill's 70th birthday.
A locus is " a point, line, or surface moving according to mathematically defined conditions."
| Bars | Figures |
|---|
| 1-4 | Circle left once around |
| 5-6 | Change places with partner passing right shoulder |
| 7-10 | Circle right once around |
| 11-12 | Change places with neighbour passing left shoulder |
| 13-16 | Right hand star once around |
| 17-18 | Right turn partner half-way |
Inspired by the music by Magico Incontro by Rondò Veneziano.
| Bars | Figures |
|---|
| 1-4 | Part I: Lead up a double and fall back a double |
| 5-8 | Back-to-back right shoulder |
| 9-12 | Lead up a double and fall back a double |
| 13-16 | Back-to-back left shoulder |
| 17-20 | Hey for three half-way along each line, 1st and 2nd passing right shoulder to start |
| 21-24 | As couples (2nd and 3rd couples improper), hey for three half-way, 1st and 2nd starting left shoulder; finishing in partner's original place |
| 25-28 | Having swapped sides with your partner, hey for three half-way along the opposite line, 1st and 2nd passing right shoulder to start |
| 29-30 | 2nd and 3rd couples circle left half-way; 1st couple right hand turn half-way |
| 31-32 | All turn out to the left |
| 33-36 | Part II: Side with partner, right shoulder |
| 37-40 | Back-to-back right shoulder |
| 41-44 | Side with partner, left shoulder |
| 45-48 | Back-to-back left shoulder |
| 49-64 | Repeat heys and circle/turn |
| 65-68 | Part III: Arm right with partner |
| 69-72 | Back-to-back right shoulder |
| 73-76 | Arm left with partner |
| 77-80 | Back-to-back left shoulder |
| 81-96 | Repeat heys and circle/turn |
Or "Mays of Heys". Conceived as an entry for the May Heydays dance writing competition.
| Bars | Figures |
|---|
| 1-4 | 1st couple lead through the centre for stars on each side, 2nd couple with 1st man left hand, 3rd couple with 1st woman right hand |
| 5-6 | 2nd couple make an arch and go over 1st couple into 1st position as 1st couple move into 2nd; while 3rd couple turn out over their left shoulder to face 2nd position |
| 7-8 | 2nd couple face partner and set; while 1st couple make an arch and go over 3rd couple into 3rd position as 3rd couple move into 2nd |
A reworking of Pat Shaw's "Mr Shaw's Canon" in a circle.
| Bars | Figures |
|---|
| 1-4 | Part I: In the circle, double into the centre and fall back |
| 5-8 | Back to back, 1st couple with partner, others with neighbour |
| 9-12 | In the circle, double into the centre and fall back |
| 13-16 | Back to back left shoulder, 1st couple with partner, others with neighbour |
| 17-20 | 1st couple dance out between the pair to their left into the opposite place |
| 21-24 | 1st couple two-hand turn once around |
| 25-32 | 1st couple repeat that to place |
| 33-64 | Repeat with 2nd couple leading |
| 65-96 | Repeat with 3rd couple leading |
| 97-100 | Part II: Side right shoulder, 1st couple with partner, others with neighbour |
| 101-104 | Back to back, 1st couple with partner, others with neighbour |
| 105-108 | Side left shoulder, 1st couple with partner, others with neighbour |
| 109-112 | Back to back left shoulder, 1st couple with partner, others with neighbour |
| 113-116 | 1st couple star left once around with the pair to their left |
| 117-120 | 1st couple cross the set passing partner right shoulder and cast left to dance around the side pair back to place |
| 121-124 | 1st couple star right once around with the pair to their right |
| 125-128 | 1st couple cross the set passing partner left shoulder and cast right to dance around the side pair back to place |
| 129-160 | Repeat with 2nd couple leading |
| 161-192 | Repeat with 3rd couple leading |
| 193-196 | Part III: Arm right, 1st couple with partner, others with neighbour |
| 197-200 | Back to back, 1st couple with partner, others with neighbour |
| 201-204 | Arm left, 1st couple with partner, others with neighbour |
| 205-208 | Back to back left shoulder, 1st couple with partner, others with neighbour |
| 209-216 | 1st couple individually hey for three with the pair to their left, passing left shoulder to start |
| 217-224 | 1st couple individually hey for three with the pair to their right, passing right shoulder to start |
| 225-256 | Repeat with 2nd couple leading |
| 257-288 | Repeat with 3rd couple leading |
I encountered the formation in Chris Sackett's dance Pony Express, and wanted to try it myself.
The name derives from the nine Muses, matching the nine sections of the dance.
| Bars | Figures |
|---|
| 1-4 | 1st couple gatepost turn 2nd couple in and up and around back to place, 3rd couple advance right shoulder-to-shoulder, then turn half-way left and fall back to partner's place |
| 5-8 | 3rd couple gatepost turn 2nd couple in and down and around back to place, 1st couple advance right shoulder-to-shoulder, then turn half-way left and fall back to partner's place |
| 9-12 | Hands-six circle left half-way; finishing 3,2,1, with 2s improper |
| 13-16 | Turn partner two-hands once around |
| 17-20 | 3rd couple face partner, others face up; progressive hey: 3rd couple pull past right shoulder, then left should with 2s, then right shoulder with 1s, as 2s cross right shoulder; finishing 2,1,3, with 3s improper |
| 21-24 | 3rd couple half figure of eight down through the next couple |
A new year and a new hope for resuming normal dancing after COVID-19.
I hadn't written a triple-minor dance for some time.
| Bars | Figures |
|---|
| 1-2 | Balance the ring |
| 3-4 | Men cross passing right shoulder, women turn single |
| 5-6 | Balance the ring |
| 7-8 | Women cross passing right shoulder, men turn single |
| 9-16 | Couples waltz anti-clockwise once around each other, ending in current place but in partner's position (back in improper formation) |
| 17-24 | Circular hey, four changes (two bars per change), starting right hand with partner |
The First Noel has a 24 bar repeat and it's a waltz, for something a little different.
Part of the "Christmas Carols" series.
| Bars | Figures |
|---|
| 1-4 | Part I: With partner, lead up a double and fall back a double |
| 5-8 | Gypsy partner by the left shoulder |
| 9-12 | With neighbour, face out, forward a double away from the centre of the set and fall back a double |
| 13-16 | Gypsy neighbour by the right shoulder |
| 17-18 | In groups of four at each end, right hand star half-way |
| 19-22 | Middle four left hand star once around; while ends chase to the opposite end, men leading |
| 23-24 | End fours right hand star half-way |
| 25-28 | Middle four left hand star once around; while ends chase to the opposite end, men leading |
| 29-30 | End fours right hand star half-way |
| 31-34 | Middle four left hand star once around; while ends chase to the opposite end, men leading |
| 35-36 | End fours right hand star half-way |
| 37-40 | Middle four left hand star once around; while ends chase to the opposite end, men leading |
| 41-44 | Part II: Side with partner |
| 45-48 | Gypsy partner by the left shoulder |
| 49-52 | Side with neighbour |
| 53-56 | Gypsy neighbour by the right shoulder |
| 57-60 | Hey for four along the lines half-way, starting with neighbour by the right shoulder |
| 61-62 | Circle in fours half-way, swapping lines and facing the opposite direction |
| 63-66 | Hey for four along the lines half-way, starting with neighbour by the right shoulder |
| 67-68 | Two-hand turn partner half-way, back to own line |
| 69-72 | Hey for four along the lines half-way, starting with neighbour by the right shoulder |
| 73-74 | Circle in fours half-way, swapping lines and facing the opposite direction |
| 75-78 | Hey for four along the lines half-way, starting with neighbour by the right shoulder |
| 79-80 | Two-hand turn partner half-way, back to original position |
| 81-84 | Part III: Arm right with partner |
| 85-88 | Gypsy partner by the left shoulder |
| 89-92 | Arm left with neighbour |
| 93-96 | Gypsy neighbour by the right shoulder; finish 1st and 3rd couples facing down, 2nd and 4th facing up |
| 97-98 | Dip and dive half-way, 1st and 3rd couples arch over 2nd and 4th couples |
| 99-100 | 4th couple arch over 1st couple; 2nd and 3rd couples two-hand turn partner half-way and face in |
| 101-102 | 2nd and 1st couples arch over 4th and 3rd couples |
| 103-104 | 3rd couple arch over 2nd couple; 1st and 4th couples two-hand turn partner half-way and face in |
| 105-108 | In groups of four at each end, half rights-and-lefts, starting with neighbour |
| 109-116 | Dip and dive half-way, 3rd and 1st couples start facing down with an arch; two-hand turn partner half-way when reaching an end |
| 117-120 | In groups of four at each end, half rights-and-lefts, starting with neighbour |
| 121-124 | Coda: Gypsy partner by the left shoulder |
| 125-128 | Gypsy partner by the right shoulder |
I had a CD by Väsen, a Swedish group, and thought that one track, 30-Års Jiggen (Thirty Year Jig) would be a great dance piece. The music consists of three repeats of 16 bars and 24 bars, which suggested a Playford style dance. I then used moves similar to The Queen of Sheba to produce the dance.
The name comes from the cover of the Väsen album, Whirled, on which the music appears.
| Bars | Figures |
|---|
| 1-2 | 1st corners right turn half-way |
| 3-6 | 2nd corners join for a right hand star once around |
| 7-8 | 1st corners drop out, 2nd corners right turn half-way |
| 9-12 | Two changes of a circular hey, starting left shoulder with neighbour |
| 13-14 | With neighbour, left hand turn half-way, finishing with 1st corners facing across the set, 2nd corners facing out of the set |
| 15-16 | 1st corners cross the set, 2nd corners cast left, take hands in long lines |
| 17-18 | Balance in the lines |
| 19-20 | 1st corners cast left, 2nd corners cross the set, take hands in long lines |
| 21-22 | Balance in the lines |
| 23-24 | 1st corners cross the set, 2nd corners cast left, take hands in long lines |
| 25-26 | Balance in the lines |
| 27-28 | 1st corners cast left, 2nd corners cross the set |
Written for the Florin Dance music, by Mark Knopfler, from The Princess Bride.
| Bars | Figures |
|---|
| 1-4 | Circle left |
| 5-8 | Circle right |
| 9-12 | Pousette anti-clockwise half-way, 1st woman and 2nd man pushing |
| 13-16 | Pousette clockwise half-way with the next couple, 1st man and 2nd woman pushing |
| 17-24 | Hey for four, 1st woman and 2nd man starting passing left shoulders |
| 25-26 | 1st woman and 2nd man cross passing right shoulders |
| 27-28 | 1st man and 2nd woman cross passing left shoulders |
| 29-30 | Partners cross passing left shoulders |
| 31-32 | Everyone turn single, 1st couple turning up, 2nd couple turning down |
Shortly I'll be going to Portarlington in Victoria for a day of dance.
| Bars | Figures |
|---|
| 1-5 | 1st corners cross passing right shoulder, cast to the left around partner to home |
| 6-10 | 2nd corners cross passing left shoulder, cast to the right around partner to home |
| 11-15 | 1st couple lead down between 2nd couple, cast back up to home and cross |
| 16-20 | 2nd couple lead up between 1st couple, cast back down to home and cross |
| 21-25 | Circle left half-way, turn partner two-hands once around |
I don't know where the idea came from but I started thinking of a dance in sequences of five bars. The obvious extension was a 25 bar repeat for the dance, leading to the name. And for maximum effect, it should be danced five times through! Now I need to get someone to write the music for it!
| Bars | Figures |
|---|
| 1-4 | 1s mirror turn neighbour (men right, women left) and cross over |
| 5-8 | 2s mirror turn neighbour (2nd man left, 2nd woman right) and cross over |
| 9-12 | Half a double figure of eight, 1s crossing down, 2s casting up to start |
| 13-14 | Taking hands along the lines (1s facing in, 2s facing out), balance forward and back |
| 15-16 | 1s lead down the middle, 2s move up the outside |
Music suggested by Matt Palmer. It deserved its own dance and adds to my series of dances to Christmas carols.
| Bars | Figures |
|---|
| 1-4 | Mirror turns with neighbours, 1st couple going between 2nd couple to start |
| 5-8 | 1st couple cross, cast into 2nd place, mirror turn single down to face out; while 2nd couple lead up |
| 9-12 | Mirror turns with neighbours, 2nd couple going between 1st couple to start |
| 13-16 | 2nd couple cross, cast into 2nd place, and meet; while 1st couple lead up |
| 17-20 | Draw pousette half-way clockwise; 1st man and 2nd woman pulling |
| 21-24 | Gypsy partner once around; 1st couple finish facing partner, 2nd couple facing out |
| Bars | Figures |
|---|
| 1-4 | Part I: Take hands in the circle, forward a double to the centre and fall back a double |
| 5-8 | Two-hand turn partner once around |
| 9-12 | Take hands in the circle, forward a double and fall back a double |
| 13-16 | Two-hand turn corner once around |
| 17-24 | Pass partner by the left shoulder (2 bars), gypsy next person by the right (4 bars), pass partner by the left back to place (2 bars) |
| 25-32 | Pass corner by the right shoulder (2 bars), gypsy next person by the left (4 bars), pass corner by the right back to place (2 bars) |
| 33-36 | Part II: Side with partner |
| 37-40 | Two-hand turn partner once around |
| 41-44 | Side with corner |
| 45-48 | Two-hand turn corner once aro |
| 49-52 | Men left hand star half-way around |
| 53-56 | Men pick up opposite woman in a half-ballroom hold and continue star; when the men reach their home turn as a couple to bring the women into the middle – men moving backwards and the women forwards |
| 57-60 | Women right hand star half-way around |
| 61-64 | Women pick up partner and continue star; finishing on the opposite side of the set facing partner |
| 65-68 | Part III: Arm right with partner |
| 69-72 | Two-hand turn partner once around |
| 73-76 | Arm left with corner |
| 77-80 | Two-hand turn corner once around |
| 81-82 | Take lower promenade hold with partner, man turns in place, woman moves inside the set to next woman's position (clockwise) |
| 83-84 | Take lower promenade hold with new partner (on the "wrong" side), man turns in place, woman moves outside the set to next woman's position (clockwise) |
| 85-88 | Repeat turns around the men to return women to their partner |
| 89-90 | Take lower promenade hold with partner, woman turns in place, man moves inside the set to next man's position (anti-clockwise) |
| 91-92 | Take lower promenade hold with new partner (on the "wrong" side), woman turns in place, man moves outside the set to next man's position (anti-clockwise) |
| 93-96 | Repeat turns around the women to return men to their partner |
Having attended Kathy's birthday, Lynne Cargill, of Dance Kaleidoscope, informed me of her upcoming 60th birthday and mentioned that she didn't like waltzes but did like Roulette and Rose of Rochester. To keep her happy I wrote a dance along the lines of the latter – the name reflects the link to that dance.
| Bars | Figures |
|---|
| 1-4 | Part I: All circle left, slip step |
| 5-8 | Back-to-back with partner, right shoulder |
| 9-12 | All circle right, slip step |
| 13-16 | Back-to-back with partner, right shoulder |
| 17-22 | Men briefly touch right hands (pass right shoulders) through the centre of the set to go clockwise around the directly opposite woman and return to place (again touching right hands/passing right shoulders) |
| 23-28 | Women briefly touch left hands (pass left shoulders) through the centre of the set to go anti-clockwise around the directly opposite man and return to place (again touching left hands/passing left shoulders) |
| 29-34 | Men briefly touch left hands (pass left shoulders) through the centre of the set to go anti-clockwise around the directly opposite woman and return to place (again touching left hands/passing left shoulders) |
| 35-40 | Women briefly touch right hands (pass right shoulders) through the centre of the set to go clockwise around the directly opposite man and return to place (again touching right hands/passing right shoulders) |
| 41-44 | Part II: Side with partner |
| 45-48 | Back-to-back with partner, right shoulder |
| 49-56 | Repeat siding and back-to-back |
| 57-62 | Clover leaf: Men go clockwise all the way (close in) around their partner then through the set (briefly touching right hands/passing by the right shoulder) to go clockwise around the original opposite woman (half-way) |
| 63-68 | Then continue back through the set (briefly touching right hands/passing by the right shoulder) to go clockwise all the way (close in) around the third woman (original neighbour) to finish at home |
| 69-74 | Clover leaf: Women go anti-clockwise all the way around their partner then through the set (briefly touching left hands/passing by the left shoulder) to go anti-clockwise around the original opposite man (half-way) |
| 75-80 | Then continue back through the set (briefly touching left hands/passing by the left shoulder) to go anti-clockwise all the way around the third man (original neighbour) to finish at home |
| 81-84 | Part III: Arm right with partner |
| 85-88 | Back-to-back with partner |
| 89-96 | Arm left with partner and back-to-back |
| 97-100 | Men cast around partner to next man's position (anti-clockwise, pulling left shoulder back), balance forward and back (into the centre) |
| 101-108 | Repeat cast and balance around the next two women, finishing at home |
| 109-112 | Women cast around partner to next woman's position (clockwise, pulling right shoulder back), balance forward and back (into the centre) |
| 113-120 | Repeat cast and balance around the next two men, finishing at home |
| 121-124 | All circle left, slip step |
| 125-128 | Back-to-back with partner |
| 129-132 | All circle right, slip step |
| 133-136 | Back-to-back with partner |
A roulette is "the curve described by a point (called the generator or pole) attached to a given curve as it rolls without slipping along a second given curve that is fixed." (Wikipedia) Remember Spirograph?
Note that the B parts in the music are broken into 6 bar phrases and not the normal 4 bar ones.
Experienced dancers should not touch hands when passing each other in the centre of the set. Beginners may want to touch hands to assist in orientation when learning the dance.
| Bars | Figures |
|---|
| 1-4 | Circle left half-way |
| 5-8 | Back-to-back with opposite |
| 9-12 | Circle left half-way |
| 13-16 | Back-to-back with opposite |
| 17-20 | Gypsy opposite by the right shoulder |
| 21-24 | Gypsy partner by the left shoulder |
| 25-28 | With opposite balance forward and back, two-hand turn half-way |
| 29-32 | Two-hand turn partner once around |
This dance was inspired by the tune La Serenissima from Loreena McKennitt's album. The music is slow and flowing so I needed a dance to match. The tune is unusual in that it has a one bar pause after each repeat, which would be omitted if using other music.
| Bars | Figures |
|---|
| 1-4 | Part I: Lead up a double and fall back a double |
| 5-8 | Partners set and turn single |
| 9-16 | All that again; finish men facing up, women facing down |
| 17-18 | Serpentine: 1st man moves up and turns right to come down the middle, followed by the other men; while 3rd woman moves down and turns right to come up the middle, followed by the other women |
| 19-21 | 1st man and 3rd woman start a progressive hey, with hands, right hand start, passing all other women/men, others follow and hey in turn |
| 22-24 | 1st man and 3rd woman complete their hey and turn left to lead up/down the opposite line; others following, all ending improper in partner's place |
| 25-28 | 1st couple and 2nd man left hand star once around; 2nd woman and 3rd couple the same; 2nd couple don't do a full star and end proper facing the other end |
| 29-32 | 1st couple and 2nd woman left hand star once around; 2nd man and 3rd couple the same; 2nd couple don't do a full star and end improper again |
| 33-40 | Repeat Serpentine back again: men moving up and women moving down to start, lines turn left into the middle, 1st man/3rd woman start left hand for the progressive hey, then turn right to come up/down their original lines |
| 41-48 | Right hand stars top and bottom with 2nd couple joining in (man up, woman down to start), then 2nd couple swaps stars on the improper side, all finishing back in original positions |
| 49-56 | Part II: Partners side right shoulder (Pat Shaw style) and set and turn single |
| 57-64 | Partners side left shoulder (Pat Shaw style) and set and turn single |
| 65-80 | Serpentine: Men up, women down, turn right, start hey right hand, left hand stars |
| 81-96 | Serpentine back: Men up, women down, turn left, start hey left hand, right hand stars |
| 97-104 | Part III: Partners arm right and set and turn single |
| 105-112 | Partners arm left and set and turn single |
| 113-128 | Serpentine: Men up, women down, turn right, start hey right hand, left hand stars |
| 129-144 | Serpentine back: Men up, women down, turn left, start hey left hand, right hand stars |
The progressive hey derives from Dargason which I had been looking at, whereas I wanted to fit it into a three couple longways formation. The stars allow the hey to flow forwards and backwards. The name comes from the 'S' shape of the hey.
| Bars | Figures |
|---|
| 1-4 | Part I: Lead up a double and fall back a double |
| 5-8 | Set and turn single |
| 9-16 | All that again |
| 17-32 | Women face down and dance 2/3 of a sheepskin hey to finish in the order 3,1,2 |
| 33-48 | Men face up and dance 2/3 of a sheepskin hey to finish in the order 2,3,1 |
| 49-52 | Part II: Side with partner, right shoulder |
| 53-56 | Set and turn single |
| 57-60 | Side with partner, left shoulder |
| 61-64 | Set and turn single |
| 65-80 | Women face down and dance 2/3 of a sheepskin hey to finish in the order 2,3,1 |
| 81-96 | Men face up and dance 2/3 of a sheepskin hey to finish in the order 3,1,2 |
| 97-100 | Part III: Arm right with partner |
| 101-104 | Set and turn single |
| 105-108 | Arm left with partner |
| 109-112 | Set and turn single |
| 113-128 | Women face down and dance 2/3 of a sheepskin hey to finish in the order 1,2,3 |
| 129-144 | Men face up and dance 2/3 of a sheepskin hey to finish in the order 1,2,3 |
After reviewing The Viking's Sheepskin, I thought I could use the partial sheepskin hey in my own dance. By reversing the orientation of one of the heys, the dancers meet a new partner for each part of the dance.
To dance the 2/3 Sheepskin Hey: the third woman leads the other two women across and below the third man and weaves between the men and round the top man as if dancing an extended 'figure-of-eight' around the three men. When the first woman reaches the middle man she goes all the way round him and takes the lead, continuing the weaving down round the bottom man and back up the line of men again, and so on. When the second woman takes the lead she dances behind the top man and back down her own line to finish in the order 3,1,2.
| Bars | Figures |
|---|
| 1-4 | Part I: Lines of three go forward a double and fall back a double |
| 5-8 | Partners two-hand turn once around |
| 9-12 | Lines of three fall back a double and come forward a double |
| 13-16 | Partners two-hand turn once around |
| 17-20 | Chorus: First couple lead down the centre, while the others dance up the outside of the set and follow them |
| 21-24 | First couple separate and dance up the outside of the set, others follow, all back to place |
| 25-32 | First and third couples dance a figure eight (skipping) around second couple (who stand still), starting with first couple crossing down |
| 33-34 | First and second couples right hands-across half-way |
| 35-36 | First and third couples left hands-across half-way (ending with 1s proper at the bottom, 2s and 3s improper above) |
| 37-40 | First couple dance up the outside of the set to first place to face each other, the others step down and finish facing neighbour |
| 41-44 | Four changes of a circular hey, with hands (one bar per change); finishing proper ordered 2, 3, 1 |
| 45-48 | All face partner, set moving forward and turn single back to place |
| 49-52 | Part II: Partners side inline, right shoulder |
| 53-56 | Partners gypsy right once around |
| 57-60 | Partners side inline, left shoulder |
| 61-64 | Partners gypsy left once around |
| 65-96 | Repeat chorus |
| 97-100 | Part III: Partners arm right |
| 101-104 | Partners back-to-back right shoulder |
| 105-108 | Partners arm left |
| 109-112 | Partners back-to-back left shoulder |
| 113-144 | Repeat chorus |
For Sheree Greenhill's 60th birthday. Sheree guides Dance Kaleidoscope in its dancing endeavours.
I like the "four winds" movement from Pat Shaw's dance of the same name and wanted to use that in one of my dances.
If the circular hey feels too rushed, drop the last four bars and use two bars for each change.
| Bars | Figures |
|---|
| 1-4 | Part I: All circle left |
| 5-8 | Back-to-back partner |
| 9-12 | All circle right |
| 13-16 | Back-to-back partner |
| 17-18 | Grand square: Heads advance, sides separate |
| 19-20 | Heads retire to the side with opposite, sides meet opposite in head positions |
| 21-22 | New heads advance, new sides separate |
| 23-24 | Heads meet partner at home, sides retire to home |
| 25-32 | Reverse the square: Sides advance, heads separate |
| 33-36 | Part II: Side with partner |
| 37-40 | Back-to-back partner |
| 41-44 | Side with partner |
| 45-48 | Back-to-back partner |
| 49-50 | Grand square with turns: Heads advance to take two hands with opposite, sides separate |
| 51-52 | Heads two-hand turn opposite half-way as they move out to the side, sides meet opposite and take two hands |
| 53-54 | Sides (in head positions) two-hand turn opposite half-way as they move into the centre, heads (in opposite side positions) separate |
| 55-56 | Heads meet partner on opposite from home, sides retire with partner to opposite home |
| 57-64 | Reverse the square: Sides advance, heads separate |
| 65-68 | Part III: Arm right with partner |
| 69-72 | Back-to-back partner |
| 73-76 | Arm left with partner |
| 77-80 | Back-to-back partner |
| 81-82 | Offset grand square: Women advance, men back away |
| 83-84 | Men advance along the side, women retire to the side |
| 85-86 | Men advance from the side, women retire along the side |
| 87-88 | Men retire to home, women advance to home along the side |
| 89-96 | Reverse the square: Men advance, women back away |
A building is square when all angles are right angles, and it is true when surfaces are perfectly horizontal or vertical.
| Bars | Figures |
|---|
| 1-4 | Part I: Lead up a double and fall back a double |
| 5-8 | Back-to-back with partner |
| 9-16 | Repeat doubles and back-to-back |
| 17-18 | Body: Top two women cross diagonally with bottom two men, passing left shoulder |
| 19-20 | Top two men's positions cross diagonally with bottom two women's positions, passing right shoulder |
| 21-26 | All circle left half-way, then in side lines cast (men's side at the top led by 1st woman, women's side at the bottom led by 3rd man) and follow to invert that line |
| 27-28 | Top two women's positions cross diagonally with bottom two men's positions, passing left shoulder |
| 29-30 | Top two men's positions cross diagonally with bottom two women's positions, passing right shoulder |
| 31-36 | All circle left half-way, then in side lines cast (men's side at the top led by 3rd man, women's side at the bottom led by 1st woman) and follow to invert that line; all finishing in original places |
| 37-40 | Part II: Side with partner |
| 41-44 | Two-hand turn partner once around |
| 45-52 | Repeat siding and two-hand turn |
| 53-72 | Repeat body |
| 73-76 | Part III: Arm right with partner |
| 77-80 | Gypsy partner right shoulder |
| 81-84 | Arm left with partner |
| 85-88 | Gypsy partner left shoulder |
| 89-108 | Repeat body |
An alternative dance for the All in a Garden Green music. I was still thinking about this music and experimenting with other movements that use six bar phrases. A half circle and cast to invert fitted nicely. When matched with a crossing movement it provided a combination of simple moves that apparently mixed the set up, but then undid it all again.
| Bars | Figures |
|---|
| 1-4 | Part I: Lead up a double and fall back a double |
| 5-8 | Two-hand turn partner once around |
| 9-12 | Lead down a double and fall back a double |
| 13-16 | Two-hand turn partner once around |
| 17-20 | 2nd man gatepost turn (always using left arm) around 1st man (anti-clockwise, going up between the 1st couple to start), 2nd woman the same around 3rd woman (going down between the 3rd couple to start) |
| 21-24 | 2nd couple cross passing right shoulder; 2nd man gatepost turn around 1st woman (anti-clockwise, going out between the 1st and 3rd women to start, passing partner right shoulder), 2nd woman the same around 3rd man |
| 25-28 | 2nd couple cross passing right shoulder; 2nd man gatepost turn around 3rd woman (anti-clockwise, going out between the 3rd couple to start), 2nd woman the same around 1st man |
| 29-32 | 2nd couple cross passing right shoulder; 2nd man gatepost turn around 3rd man (anti-clockwise, going out between the 1st and 3rd men to start), 2nd woman the same around 1st woman |
| 33-40 | Mirror sideways heys, 1st couple move in front of 2nd couple to start; 2nd couple cross at the top with man behind and complete the hey on the opposite side |
| 41-48 | Repeat mirror heys, with 2nd couple crossing back at the top with man on the outside |
| 49-52 | Part II: Side with partner (Pat Shaw style meeting right shoulder) |
| 53-56 | Gypsy partner by the right shoulder |
| 57-64 | Repeat siding and gypsy but with left shoulders |
| 65-66 | Lines of three advance |
| 67-68 | 1st and 3rd couples retire to place, turning to face up/down when home; while 2nd couple 1/4 two-hand turn to the left and retire between other couples to form top/bottom lines |
| 69-72 | Repeat advance and retire to form side lines (2nd couple improper) |
| 73-76 | Repeat advance and retire to form top/bottom lines |
| 77-80 | Repeat advance and retire to get home |
| 81-84 | 1st couple cross down between opposite 2s and 3s to start mirror heys for three |
| 85-88 | 3rd couple cross at the top to continue hey |
| 89-96 | Repeat mirror heys with 1s and 3s crossing back at the top |
| 97-100 | Part III: Arm right with partner |
| 101-104 | Back-to-back with partner (right shoulder) |
| 105-108 | Arm left with partner |
| 109-112 | Back-to-back with partner (left shoulder) |
| 113-116 | 2nd man circle left once around with 1st couple, 2nd woman circle left once around with 3rd couple; 2nd man and woman only circle 3/4 and finish in partner's place facing in but slightly back from the centre |
| 117-120 | 2nd man circle left once around with 1st and 3rd women; while 2nd woman circle left once around with 1st and 3rd men |
| 121-128 | Repeat circles with 2nd couple progressing around the set to home |
| 129-144 | Dip and dive, 2nd couple face up to start, middles forming the arch, change sides at the top only with woman twirling under the man's arm (1st couple change sides to start), turn individually at the bottom |
The husband of one of the Dance Kaleidoscope group, Mansell (Taffy) Thomas, was celebrating his 85th birthday. As his heritage was Welsh, it seemed fitting to write another Welsh style dance. The name comes from the second figure in each part of the dance wherein the second couple travel around the set dancing with each of the others in turn. Unfortunately Taffy doesn't dance any more.
Each of the three parts consists of three sections. The first is the Playford doubling, siding, and arming. The second is the "tour". And the last is a hey with a crossing.
| Bars | Figures |
|---|
| 1-4 | Part I: Lead up a double and fall back a double |
| 5-8 | Hands-four circle left half-way, turn single to the left |
| 9-12 | Lead down a double and fall back a double |
| 13-16 | Hands-four circle left half-way, turn single to the left |
| 17-18 | Body: 1st and 4th couples turn two-hands half-way and face in, 2nd and 3rd couples cross passing partner right shoulder |
| 19-20 | 1st and 4th couples advance towards each other, 2nd and 3rd couples continue out with opposite to form a longways set across the hall |
| 21-22 | 1st and 4th couples cross passing opposite right shoulder, 2nd and 3rd couples turn two-hands half-way with opposite and face in |
| 23-24 | 1st and 4th couples continue out with partner to form a square set, 2nd and 3rd couples turn single |
| 25-28 | 1st and 4th couples cast away from partner and bring opposite through side arches |
| 29-32 | 1st and 4th couples circle hands-four once around and retire to place in the square |
| 33-36 | 2nd and 3rd couples cast away from opposite and bring partner through top/bottom arches |
| 37-40 | 2nd and 3rd couples circle hands-four once around and stay in the centre, forming a longways set again |
| 41-42 | 1st and 4th couples turn two-hands half-way and face in, 2nd and 3rd couples cross passing partner right shoulder |
| 43-44 | 1st and 4th couples advance towards each other, 2nd and 3rd couples continue out with opposite to form a longways set across the hall |
| 45-46 | 1st and 4th couples cross passing opposite right shoulder, 2nd and 3rd couples turn two-hands half-way with opposite and face in |
| 47-48 | 1st and 4th couples continue out with partner to form a longways set up and down the hall, 2nd and 3rd couples advance towards their partner |
| 49-52 | Part II: Side with partner |
| 53-56 | Hands-four circle left half-way, turn single to the left |
| 57-60 | Side with partner |
| 61-64 | Hands-four circle left half-way, turn single to the left |
| 65-96 | Repeat body |
| 97-100 | Part III: Arm right with partner |
| 101-104 | Hands-four circle left half-way, turn single to the left |
| 105-108 | Arm left with partner |
| 109-112 | Hands-four circle left half-way, turn single to the left |
| 113-144 | Repeat body |
A new CD of Tudor music provided inspiration for this dance, with a 48 bar repeat providing scope for more interesting movements. The name of the dance comes from the translation of the original tune La Volta – The Turn in Italian.
| Bars | Figures |
|---|
| 1-4 | Left hand star once around |
| 5-8 | Left hand turn partner once around |
| 9-12 | Half hey for four, starting with 1st corners passing left shoulder, 2nd corners cast out |
| 13-16 | Single file clockwise half-way |
| 17-18 | 1st corners cross passing right shoulder |
| 19-20 | Left hand turn partner half-way |
| 21-24 | Half hey for four starting 1st man/2nd woman passing right shoulders |
| 25-28 | 2nd corners (1st woman and 2nd man) orbit anti-clockwise half-way, all finishing in progressed positions |
| 29-32 | Left hand turn neighbour (along the line) once around, finish facing away from them |
For Fran Thomas' 80th birthday.
The right hand is never needed, allowing it to be used to carry your cup of tea.
| Bars | Figures |
|---|
| 1-4 | Part I: Hands six, circle left, slip step |
| 5-8 | Back-to-back with partner |
| 9-12 | Circle right, slip step |
| 13-16 | Back-to-back with partner |
| 17-24 | 1st couple with opposites (2nd man and 3rd woman) double figure of eight, women crossing (1st couple have priority) and men casting to start |
| 25-32 | 2nd couple with opposites (3rd man and 1st woman) double figure of eight, women crossing (2nd couple have priority) and men casting to start |
| 33-40 | 3rd couple with opposites (1st man and 2nd woman) double figure of eight, women crossing (3rd couple have priority) and men casting to start |
| 41-44 | Left turn partner once around |
| 45-48 | Right turn corner once around |
| 49-52 | Part II: Side with partner |
| 53-56 | Back-to-back with partner |
| 57-64 | Repeat siding and back-to-back |
| 65-72 | 2nd couple and opposites double figure of eight |
| 73-80 | 3rd couple and opposites double figure of eight |
| 81-88 | 1st couple and opposites double figure of eight |
| 89-92 | Left turn partner once around |
| 93-96 | Part III: Right turn corner once around |
| 97-100 | Arm right with partner |
| 101-104 | Back-to-back with partner |
| 105-108 | Arm left with partner |
| 109-112 | Back-to-back with partner |
| 113-120 | 3rd couple and opposites double figure of eight |
| 121-128 | 1st couple and opposites double figure of eight |
| 129-136 | 2nd couple and opposites double figure of eight |
| 137-140 | Left turn partner once around |
| 141-144 | Right turn corner once around |
For Terry Robert's 70th birthday.
| Bars | Figures |
|---|
| 1-4 | Part I: Hands-six circle left, slip step |
| 5-8 | Back-to-back partner, right shoulder |
| 9-12 | Hands-six circle right, side slip |
| 13-16 | Back-to-back partner, left shoulder |
| 17-18 | Body: Women cross the set through the middle, passing in front of neighbour, and anti-clockwise around opposite man (who moves in) to finish outside him, both facing anti-clockwise |
| 19-20 | Taking inside hands, promenade and turn to face into the circle |
| 21-24 | Women right hand star once around to come out on the left of their current partner |
| 25-28 | Left hand turn current partner once around |
| 29-30 | Men cross the set through the middle, passing in front of neighbour, and anti-clockwise around opposite woman (original partner, who moves in) to finish outside her, both facing anti-clockwise |
| 31-32 | Taking inside hands (men on the outside), promenade and turn to face into the circle |
| 33-36 | Men right hand star once around to come out on the left of their partner |
| 37-40 | Left hand turn original partner once around |
| 41-44 | Part II: Side with partner (Pat Shaw style, right shoulder) |
| 45-48 | Back-to-back partner, right shoulder |
| 49-52 | Side with partner (Pat Shaw style, left shoulder) |
| 53-56 | Back-to-back partner, left shoulder |
| 57-80 | Repeat body |
| 81-84 | Part III: Arm right with partner |
| 85-88 | Back-to-back partner, right shoulder |
| 89-92 | Arm left with partner |
| 93-96 | Back-to-back partner, left shoulder |
| 97-120 | Repeat body |
| 121-124 | Coda: Hands-six circle left, slip step |
| 125-128 | Back-to-back partner, right shoulder |
| 129-132 | Hands-six circle right, side slip |
| 133-136 | Back-to-back partner, left shoulder |
I wanted to write another circle dance and was looking for a different move to incorporate into it. I came up with the cross and promenade. Given the three-fold nature of the dance, "Trefoil" seemed an appropriate name.
| Bars | Figures |
|---|
| 1-4 | Part I: Lead up a double and back |
| 5-8 | Cross with partner moving up, then follow 1st couple to cast down and invert the lines on the opposite side |
| 9-12 | Lead down a double and back |
| 13-16 | Cross with partner moving down, then follow 1st couple to cast up and invert the lines, returning to place |
| 17-20 | Top two men and top woman circle left once around, while bottom man and bottom two women star right once around |
| 21-24 | All circle left half-way |
| 25-28 | New top two women and new top man circle left once around, while others star right once around |
| 29-32 | All circle left half-way |
| 33-36 | Part II: Side right (into line) with partner |
| 37-40 | Cross up and cast down as in Part I |
| 41-44 | Side left (into line) with partner |
| 45-48 | Cross down and cast up as in Part I |
| 49-52 | Men form arches and lead forward a double and back, while women back-to-back partner (under the arches as necessary) |
| 53-56 | All circle left half-way |
| 57-60 | Women form arches and lead forward a double and back, while men back-to-back partner (under the arches as necessary) |
| 61-64 | All circle left half-way |
| 65-68 | Part III: Arm right with partner |
| 69-72 | Cross up and cast down as in Part I |
| 73-76 | Arm left with partner |
| 77-80 | Cross down and cast up as in Part I |
| 81-84 | Men join hands and cast from the top to invert the line, while women hey for three half-way, starting left shoulder at the top |
| 85-88 | All circle left half-way |
| 89-92 | Women join hands and cast from the top to invert the line, while men hey for three half-way, starting left shoulder at the top |
| 93-96 | All circle left half-way |
For Vic Blake, a long time dancer with Dance Kaleidoscope and a generous host.
The first section of each part makes a "V" when crossing to cast. The second section of each part reflects the Morse code for V (···—), i.e. three individuals vs a line of three.
| Bars | Figures |
|---|
| 1-4 | 1st couple lead down between the 2nd couple and cast back to place |
| 5-8 | 2nd couple lead up between the 1st couple and cast back to place |
| 9-12 | Follow single file clockwise once around |
| 13 | 2nd corners cross, passing right shoulder |
| 14 | 1st corners cross, passing right shoulder |
| 15-16 | Partners gypsy half-way by the right shoulder |
Good King Wenceslas has a 16 bar repeat, indicating a longways set with a progression. The line "In his master's steps he trod" suggested a single file follow-the-leader move so this features in the dance.
Because of the drawn-out last bar of each repeat, the dancers should pause before the next sequence. They may honour their partner during this time.
Part of the "Christmas Carols" series.
| Bars | Figures |
|---|
| 1-8 | Part I: In lines along the sides, in a double and fall back a double twice |
| 9-12 | 1st and 2nd couples, half rights-and-lefts (starting with partner, no hands), while 3rd couple set and turn single |
| 13-20 | 1st and 3rd couples, full rights-and-lefts, while 2nd couple set and turn single twice |
| 21-24 | 1st and 2nd couples, half rights-and-lefts, while 3rd couple set and turn single |
| 25-26 | Top two couples circle left half-way |
| 27-28 | The same couples two-hand turn partner half-way |
| 29-30 | Bottom two couples circle left half-way |
| 31-32 | The same couples two-hand turn partner half-way |
| 33-56 | Repeat rights-and-lefts and turns with 2nd couple leading |
| 57-80 | Repeat rights-and-lefts and turns with 3rd couple leading, ending in original positions |
| 81-88 | Part II: Partners side twice; finish with 1st couple facing partner, 2nd couple facing down, and 3rd couple facing up |
| 89-94 | Circular hey for six (i.e. grand chain) all the way around, skipping (no hands, one bar per change) |
| 95-96 | Turn the facing person by the right hand half-way |
| 97-102 | Circular hey back the other way to position |
| 103-104 | Turn the facing person by the right hand half-way |
| 105-106 | Top two couples circle left half-way |
| 107-108 | The same couples two-hand turn partner half-way |
| 109-110 | Bottom two couples circle left half-way |
| 111-112 | The same couples two-hand turn partner half-way |
| 113-136 | Repeat heys and turns with 2nd couple leading |
| 137-160 | Repeat heys and turns with 3rd couple leading, ending in original positions |
| 161-164 | Part III: Partners arm right |
| 165-168 | Partners arm left |
| 169-172 | Mirror staggered hey for three on the sides: 1st couple only start, moving outside 2nd couple |
| 173-176 | 2nd couple start, following 1st couple's path |
| 177-180 | 3rd couple start, following 2nd couple's path; 1st couple have finished |
| 181-184 | 3rd couple complete; 2nd couple have finished |
| 185-186 | Top two couples circle left half-way |
| 187-188 | The same couples two-hand turn partner half-way |
| 189-190 | Bottom two couples circle left half-way |
| 191-192 | The same couples two-hand turn partner half-way |
| 193-216 | Repeat hey and turns with 2nd couple leading |
| 217-240 | Repeat hey and turns with 3rd couple leading |
I enjoy dancing Whirligig and wondered whether I could use the same pattern but with different figures. This is the result. It is danced to the same music.
The name comes from the fact that the main figures are all heys ("make hay ..."). The staggered hey had been in the back of my mind for some time, just waiting for the right dance to add it to.