;-NRLF
SB
LIBRARY
OF THE
UNIVERSITY OF CALIFORNIA.
Class
^'S FUKfl
MORRIS DANCERS AS DEPICTED IN AN OLD STAINED GLASS WINDOW
IN A HOUSE AT BETLEY, STAFFORDSHIRE, ENGLAND
THE MORRIS DANCE
DESCRIPTIONS OF
ELEVEN DANCES
AS PERFORMED BY
THE MORRIS-MEN
OF
ENGLAND
EDITED BY
JOSEPHINE BROWER
PRICE ONE DOLLAR
NEW YORK: THE H. W. GRAY COMPANY
SOLE AGENTS FOR
NOVELLO & CO., Ltd., London
LIBRARIAN'S FUND
Copyright, 1910, by JOSEPHINE BROWER
Reproduced by permission of Mr. Wni. Heinemann. from "A History of Dancing" by G. Vuillier.
CONTENTS
THE DANCE
PAGE
The tJXCorris Step — 'Positions — DoWn-and-Back and Up-and-Back~r The Chain
The Cross-Over — fBack-to-{F$ack — Qo-and-Come — The Ring — Steps— The
Jump — The Hands Sticks The Call— Length of Dances 5
SPECIAL INSTRUCTIONS
^eon-Setting — Rigs o' ^Carlow — Shepherd's Hey — Constant {Billy — Country
Qardens— Bluff King Hal— How T)'ye T)o 1 7
NOTATION
ic^ Dances: Bean-Setting — Rigs o' Marloro — Shepherd's Hey — Constant Billy.
Handkerchief 'Dances: Country 'Dances — {Bluff King Hal — ^Blue-Eyed
Stranger. Corner 'Dances : How D'ye Do — Laudnum punches — Trundles.
Morris Off.... 22
NOTE — These descriptions are taken by permission from the work of
Messrs. Cecil Sharp and Herbert C. Macilwaine
The original music used for these Dances can be obtained from the Publishers
Price One Dollar
217135
X
THE MORRIS DANCE
THE MORRIS STEP
The Morris step is sturdy. It is alike throughout all the dances.
The jump in many cases begins and ends a figure.
The letters L and R signify Left and Right foot.
Steps used in 4-time music :
THE 4/1 STEP
Beats 1234
Beats
Steps
Steps L R L R
THE 4/2 STEP
341 2
L L R R L
THE 4/3 STEP
Beats 12341 2
R R
3'4
Beats
Steps
"/L ft 3F .
^ * i
* • « j j «
VM1 2 J
=p — f —
—
Up_J=
p « m • 9
«7
Steps L
! 1
R L L
R L
R R
THE
4/4 STEP
I 2
3
4 i
2 34
f - !• *
• • f
.
*—
k=
m
-^=E-=C r * r-8-
R
R
R R
Steps used in 6-time music :
THE 6/1 STEP
Beats 12345 6123456
Steps L R L R
Beats
456
S:eps L
L R
R L
L R
R
THE 6/3 STEP
Beats
123456123456
Steps
The 4/3 and 6/3 steps are the same.
In the steps most used the raised foot is thrust forward so far that the
forward heel is the length of the dancer's foot in advance of the supporting
foot.
In the high step, used chiefly in the figures called "Capers," the forward
foot is raised as high as the knee. The Caper step is called in the Notation :
High.
POSITIONS
The Morris set, or side of six, when in position for dancing, stands in the
positions as shown hereunder.
The only exception to these is the Ring.
V
V
V V
'>
COLUMN
FRONT
In Column, the dancers stand in two files and all face the same way.
This is called in the Notation : Column or Col.
In Front, the dancers face each other in pairs.
This is called in the Notation: Front or Fr.
The dancers in each file stand so far apart that when arms are extended,
the hands of each will overlap his neighbours hands.
The distance between the files varies according to the dance.
In Stick and Handkerchief dances, pairs stand near enough to clap hands
or tap sticks with each other.
In Corner dances, the files stand far enough apart to give plenty of room
for the necessary movements.
In the Notation the term "Partners" is used to denote the pairs as they
stand fronting or abreast :
Numbers One and Two
Three " Four
Five " Six
The term "Opposites" is used, in referring to couples when they must
change places, or re-change, as in Corners and Capers :
Numbers One and Six
Two " Five
Three " Four
Number One is the leader of the side and it is his duty to call loudly and
clearly the figures : "Chain," "Cross-Over," "Back-to-Back," and so forth, and
to announce the end of the dance by the call "All in."
In some dances, as "Bean-Setting," the side forms a Ring and many
dances end in this formation.
This is marked in the Notation : Ring.
DOWN-AND-B ACK AND UP-AND-B ACK
This movement is danced as follows :
The side stands in Column, and starts by advancing for the first two bars,
and retiring for the second two bars. Each file advances and retires its own
length.
The two bars advancing are made according to the time of the music,
either at 4/3 or 6/3 step.
The two bars retiring are made at 4/2 or 6/2 step.
The whole movement is made in eight bars.
In one dance, "Rigs o' Marlow/' the second four bars are danced the same
way as the first four : but in all the others the Column is reversed at the end
of the first four bars.
The two ways of executing the movement are marked in the Notation as
follows :
7
1. AYhen the side is to advance and retire twice, without reversing at the
end of bar 4, and is to form Front at the end of bar 8, it is marked in the
Notation :
MUSIC MOVEMENTS FORMATION
A. Down-and-Back twice, then j. Column
forming Fr. Col. to Fr.
2. When the side is to advance and retire, reversing the positions at the
beginning of bar 5, and in bars 5 to 8 facing the opposite way, then at the end
of bar 8, forming Front, it is marked in the Notation :
MUSIC MOVEMENTS FORMATION
Down-and-Back Ju. Column
Cp-and-Back j. forming Fr. Col. to Fr.
THE CHAIN
This movement is completed in eight bars.
To begin the Chain, the side stands in Column.
Numbers One and Two turn outward and go forward in S-shaped double
curves, passing the places of Numbers Three and Four and finishing in the
places of Numbers Five and Six.
Thus :
Number Three follows the figure of a circle, in the second half of which
he is following the first half of Number One's track.
Number Four follows the figure of a circle, in the second half of which
he is following the first half of Number Two's track.
8
Thus:
V V
Numbers Five and Six turn outward and go forward in double curves as
Numbers One and Two — passing the places of Numbers Three and Four.
Thus:
5
5
5
5
5 6
Movements in first half of the Chain :
At end of bar 2,
Number Five should be at Number Threes place.
{ One should have passed Number Three's place.
Three should be coming to Number Three's place, so that
Five passes between Numbers One and Three.
Six should be at Number Four's place.
Two should have passed Number Four's place.
Four should be coming to Number Four's place, so that
Six passes between Numbers Two and Four.
10
Positions at end of first half of Chain :
<4
5>
In the second half of the Chain, the same positions are observed. The
movements are simply reversed.
Numbers One and Two turn outward and are followed by Numbers Three
and Four on the lines of the figure eight.
Numbers One and Two return to original places along the double curves
travelled in the first four bars by Numbers Five and Six.
Number Three follows the figure of a circle passing Number Five's place.
Number Four follows the figure of a circle, passing Number Six's place.
Numbers Five and Six turn outward and return to original places along
the double curves travelled in the first four bars by Numbers One and Two.
11
<;66V22
5. SjM/*
^ S 6 4. .4 2 \
)V 5 6 |f )4 2 ]
4 2 *
4A*~ 2
4tf
At the end of bar 2,
Number Five should be at Number Three's place.
One should have passed Number Three's place.
Three should be coming to Number Three's place, so that
Five passes between Numbers One and Three.
Six should be at Number Four's place.
Two should have passed Number Four's place.
Four should be coming to Number Four's place, so that
Six passes between Numbers Two and Four.
At the end of the second half of the Chain, the dancers have returned to
to original places.
At the middle and completion of the Chain, all turn inward and face
partners as they jump.
This is called in the Notation : Chain.
THE CROSS-OVER
This is danced in Front formation to eight bars of music as follows :
In the first two bars each dancer crosses over and takes the place of his
partner, passing right shoulder to right shoulder.
In bars 3 and 4 all come to the right-about : that is, face inward again.
In bars 5, 6, 7, and 8 all cross over again, bringing the side back to original
places, partners facing.
As there are two bars to turn in after crossing over, the dancers should turn
slowly and evenly so that the turn is completed just in time for the jump in
bars 4 and 8.
This is called in the Notation : Cross-Over.
BACK-TO-BACK
This movement is completed in eight bars.
In the first four bars partners advance, right shoulder to right shoulder,
but not touching, pass one another, move to right, re-pass partners, left shoulder
to left shoulder, and come back to original positions moving backward.
Thus :
In the second four bars, partners advance, left shoulder to left shoulder,
pass, move to left, re-pass partners, right shoulder to right shoulder, and come
back to original positions, moving backward.
13
This is called in the Notation : Back-to-Back.
GO-AND-COME
This is a form of the Cross-Over, but made without turning.
It is danced in Front formation, to eight bars of music.
In the first two bars partners cross exactly as in the Cross-Over, right
shoulder to right shoulder.
In bars 3 and 4, instead of turning, dance backward to places in the same
line on which the Cross-Over was made, right shoulder to right shoulder.
In bars 5 and 6 cross again, but left shoulder to left shoulder, and in bars
7 and 8, dance backward to places in the same Kne. left shoulder to left shoulder.
This is called in the Notation : Go-and-Come.
THE RING
In this, partners simply alter positions so that the whole side forms a
circle.
It is sometimes used at the finish of a dance.
In Bean-Setting, it occurs at the beginning.
It is called in the Notation : Ring.
14
STEPS
Unless instructions are given to the contrary, the step used in bars 1 and
2 of
Chain
Cross-Over
Back-to-Back
Go-and-Come «
is always 4/3 or 6/3 according to time, and 4/2 or 6/2 in bars 3 and 4 : likewise,
4/3 or 6/3 in bars 5 and 6 and 4/2 or 6/2 in bars 7 and 8.
THE JUMP
The jump is used in two ways.
1. In position. That is, the dancer jumps where he stands without chang-
ing front.
This is called in the Notation : Ju.
2. To make a half-turn, half-right or half-left.
This is called in the Notation : j .
Every dancer whose turn it is to execute any movement jumps on the last
half-bar before the movement begins.
This applies to the whole side, or to any pair of opposites about to dance a
figure. For instance, when the whole side dances Down-and-Back and Up-and-
Back, on the last half-bar of "Once to Yourself" all jump together — then start
the figure.
Also in all figures danced by the whole side, in common as in Chain, Cross-
Over, Back-to-Back, Go-and-Come, all jump together on last half-bar before
the figure begins.
In Down-and-Back, Ju., Up-and-Back, j. forming Front, the side goes
forward and back for four bars : jumps together on half-bar of bar 4 still facing
in the same direction.
That completes Down-and-Back, Ju.
Then all make a complete turn to the right, dance as before in bars 5 to 8,
and on last half-bar of 8 all jump, facing partners.
That completes Up-and-Back, j. forming Front.
The Chain, though it is executed in Column formation, follows upon a
figure danced in Front formation. The jump before beginning the Chain, is
made Front.
The Cross-Over, Back-to-Back, Go-and-Come, are all danced in Front
formation. The whole side jumps in position, Ju., at half-bar, in bars 4 and 8.
In Bluff King Hal, and Morris Off, there is no Jump at all.
15
THE HANDS
In all Handkerchief and Corner dances, a scarf or handkerchief is carried
in each hand.
The movements of the hands in these dances are as follows :
In making the Jump, the hands are thrown above the head.
In Down-and-Back and Up-and-Back, Chain,, Cross-Over, Back-to-Back,
Go-and-Come, movements of the hands are always the same.
That is : Commencing with the preliminary Jump when the hands are
above the head, on the beginning of the first bar, with the first step (4/3 or 6/3)
the hands are swung backward : forward on half-bar : back again on the begin-
ning of bar 2 and forward on half-bar of 2. In bar 3 (4/2 or 6/2 step) the
hands being already upward and forward — are swung twice in a circle, so that
the handkerchiefs are waved in a double circle over the head. At the beginning
of bar 4, the hands are lowered straight in line with the body, and at the half-
bar of 4, with the Jump, they are thrown above the head.
These movements of the hands are always the same in every Handkerchief
and Corner dance.
In Capers, wherever the 4/1 or 6/1 high step is used, the hands are swung
backward on the beginning of the bar — forward and upward on half-bar : and
this movement is continued all the time the high step 4/1 or 6/1 is used.
STICKS
The stick or staff used in Stick dances is about eighteen inches in length.
It is sometimes adorned with a bunch of ribbons.
THE CALL
At the end of some dances the side is instructed to "Call." This means
that on the last half-bar all shout "Hey !"
LENGTH OF DANCES
The Morris-men vary the length of their dances. It is a very simple
matter to lengthen or abbreviate them.
SPECIAL INSTRUCTIONS
BEAN-SETTING
The dance begins with the Ring.
The side starts in Column.
To form Ring, Numbers One, Three and Five face out and back.
All dance around in a circle.
Numbers One, Three and Five follow Numbers Six, Four and Two,
while Numbers Two, Four and Six follow them.
At the end of the first half of the Ring,
Number Two should be at Number Five's place.
Four Three's "
" . Six " " " One's
One " " " Six's
Three " Four's "
Five " Two's "
In bar 4, files close in slightly and tap sticks across on half-bar of bar 4.
In the remaining four bars of A music, all return to former positions, fol-
lowing the Ring.
In half-bar of 8, tap sticks again.
DIBBING
This is the term used in the dance, as it is used in field and garden work,
for making a hole with a dib or dibber in the soil.
In dibbing (see Q in music) all stoop forward, holding the right hands
outward with sticks pointing to the ground. Thump the stick firmly and at
once lift it again.
B.
Bar 1 Dib all together at beginning and half-bar as shown in music ( y )
Bar 2 Remain stooped : at beginning of bar, pairs tap sticks across.
Bar 3 Dibbing as in bar 1.
Bar 4 Beginning, partners tap across : half-bar Number Two taps Number
Four.
Bar 5 Beginning, Number Four taps Number Six : half-bar, Number Six
taps Number Five.
Bar 6 (9/8 time) Beginning, Number Five taps Number Three: second
beat, Number Three taps Number One: third beat, partners
tap across as in bar 2.
In the remaining six bars of B, repeat dibbing and tapping as in the first
six bars.
17
RIGS O' MARLOW
The following diagram shows how partners tap sticks in this dance: .
Beats 123412341^234 1234
'±2fr^-f^£rf:.
Steps LLLLRRRRLLLL LRLR
Sticks tap tap tap tap tap tap tap tap tap tap
SHEPHERD'S HEY
In this dance, the sticks are loudly clashed together on the first three
beats of bars 1 and 2, and 5 and 6 of B music (see mark X)-
Partners strike each other's sticks, right, left, right, in the manner of
sham fencing.
While the tapping is being done, all stand fast, not dancing.
In bars 3 and 4 and 7 and 8, all dance.
Hand-clapping is sometimes used in place of stick-tapping, according to ex-
planation :
Bar 1 Each dancer claps both hands before him, slaps right knee with right
hand, claps both before him.
Bar 2 Each dancer claps both hands before him, slaps left knee with left
hand, claps both before him.
Bar 3 Each dancer claps both hands before him, claps both under right knee,
both before him, both under left knee.
Bar 4 Each dancer claps both hands front, 4)oth hands back, both hands
front.
CONSTANT BILLY
Stick-tapping in this dance is done according to the following diagram
(see mark X m music) : „
Beats 12345612 3456 123456 12 3456
COUNTRY GARDENS
In the hand-striking figure in this dance (for hand-strokes, see mark Q
in B music) there are four movements as follows:
Bar 1 Each dancer strikes both hands together twice. Each with right
hand strikes right hand of partner.
Bar 2 Each dancer strikes both hands together twice. Each with left
hand strikes left hand of partner.
Bar 3 Each dancer strikes both hands together twice. Each dancer with
right hand strikes right hand of partner.
18
Bar 4 Each dancer throws arms down. Each dancer throws arms over
head.
The letters b, r, and 1 in this diagram signify both, right, and left hands.
Beats i 2341 2341
::z-^p— — rz_-gj=— rz=._fr._ — pE=
iii-S^ ^P~-M' ~B — *>s|~~|~.— : —
Hands b b r b b 1
Steps LLLLRRRR
b b r down
L L L L Both
over
head
Jump.
BLUFF KING HAL
In this dance the step is 4/3 throughout. It should be danced something
after the fashion of "Morris Off" — evenly and quietly.
HOW D'YE DO
This dance illustrates the method of settling quarrels — by a bout of
fisticuffs.
The phrase "How d'ye do, Sir?" is always sung by all the dancers as
marked in music B. There is plenty of room for a different sounding of
the phrase as expressive of challenge, strife, victory, or defeat.
Opposite pairs advance as shown, shake hands, or square up for the fight
according to instructions.
Having joined hands, or squared and paused in the center, the first two
pairs return to their places immediately after the pause, making room for the
next pair. The last pair (Numbers Three and Four) remain in position,
holding hands or squaring up, during the pause in the music, while bars
4 and 5 of B are played.
During these bars all the other dancers stand still.
19
NOTATION
STICK DANCES
BEAN-SETTING
MUSIC
MOVEMENTS
FORMATION
Once to your-
self
A.
1st time
B.
1st time
A.
2nd time
B.
2nd time
A.
3rd time
B.
3rd time
Once to your-
self
A.
1st time
In this dance, the step throughout is 4/2.
Partners tap across on last half-bar. Column
Ring.
Partners tap across at half-bar in bars 4 1 Col. to Ring
and 8.
Dibbing (see page 17).
Cross-Over.
Partners tap across at half-bar in bars 4
and 8, that is, at middle and end of Cross-
Over.
Dibbing.
Back-to-Back.
Tap as in A 2nd time. ,
Dibbing.
All, as they tap for the last time, j . outward,
forming Column, and stand for a moment
with sticks crossed.
All in.
RIGS O' MARLOW
Tap sticks on last two beats of bar 4.
Step 4/2 throughout A music in all repeti-
tions.
Down-and-Back twice.
Partners tap sticks across on last two beats
of bars 4 and 8.
On making last tap but one, j. forming Fr. , Col. to Front
so that final tap is given in Front forma-
tion.
22
Front
Front to Col.
Column
MUSIC
MOVEMENTS
B.
1st time
A.
2nd time
B.
2nd time
A.
3rd time
B.
3rd time
A.
4th time
B.
4th time
FORMATION
Double-tapping (see page 18).
Chain.
Tap sticks as in A 1st time.
Double-tapping, as in B 1st time.
Cross-Over.
Tap sticks as in A 1st time.
Double-tapping, as in B 1st time.
Back-to-Back.
Tap sticks as in A 1st and 2nd time.
Double-tapping as in B 1st and 2nd time.
In bar 7 all j. giving Col. formation in
which final tap is made.
All in.
SHEPHERD'S HEY
Once to your- Ju. last half-bar,
self
Al.
Bl.
A2.
B2.
Al.
Bl.
A2.
B2.
A3.
A3.
Repeat
(Presto)
Front
Column
Column
Col. to Fr
Front
Column
Front
Down-and-Back, Ju.
Up-and-Back, j. forming Fr.
Tapping or' Hand-clapping (see page 18).
Chain.
Tapping or Hand-clapping.
Go-and-Come.
Tapping or Hand-clapping.
Back-to-Back.
Tapping or Hand-clapping.
Go-and-Come. j. on last half-bar to Col.
Dance at 4/3, quick-step, in position: all Column
Ju. on last half-bar and throw up both
hands.
All in.
23
CONSTANT BILLY
MUSIC
Once to your-
self.
Al.
Bl.
Bars 1 to 4
Bars 5 to 8
Bars 9 to 12
Bars 13 to 16
A2.
B2.
Bars 1 to 4
Bars 5 to 8
Bars 9 to 16
A3.
Bars 1 to 4
Bars 5 to 8
B3.
Bars 1 to 8
Bars 9 to 12
Bars 13 to 16
MOVEMENTS
Partners tap across, last half-bar.
Down-and-Back, Ju.
Up-and-Back, j. forming Front.
Partners tap at half-bar in bars 4 and 8.
Tapping (see page 18).
Half-Chain. Tap on half-bar in bar 8.
Tapping, as in first 4 bars.
Complete Chain. Tap on last half-bar.
Chain. Tap at half-bar in bars 4 and 8.
Tapping as before.
Tapping as before.
Cross-Over. Tap at half-bar in bars 12
and 16.
Tapping as before.
Tapping as before.
Back-to-Back. Tap as in Chain.
Tapping as before.
Tapping as before: in bar 16 all j. to Col.,
and tap across on last half-bar, holding
sticks as at the beginning.
All in.
24
FORMATION
Column
Col. to Front
Column
Front
Column
Front
Front
Column
HANDKERCHIEF DANCES
COUNTRY GARDENS
MUSIC
MOVEMENTS
Once to your-
self
Al*.
Bl.
Bars 1 to 4
Bars 5 to 8
Bars 9 to 12
Bars 13 to 16
Cl.
B2.
Bars 1 to 4
Bars 5 to 8
A2.
B3.
Bars 1 to 4
Bars 5 to 8
C2.
B4.
Bars 1 to 4
Bars 5 to 7
Bar 8
FORMATION
Column
Col. to Front
Front
Column
Front
Column
Front
Ju. last half-bar.
Down-and-Back, Ju.
Up-and-Back, j. forming Fr.
Hand-striking (see page 18).
Half-Chain.
Hand-striking.
Half-Chain. This completes the Chain.
Chain.
Hand-striking.
Hand-striking repeated.
Cross-Over.
Hand-striking.
Hand-striking repeated.
Back-to-Back.
Hand-striking.
Hand-striking repeated.
Beat 1, all j. giving Col. formation. Half- Column
bar, all throw up hands and Call.
All in.
26
BLUFF KING HAL
MUSIC
A.
Bars 1 to 4
MOVEMENTS
FORMATION
Advance slowly, until files are face to face. Front
On half-bar of bar 4, partners nod to one
another.
Bars 5 to 8
B.
Bars 1 to 4
Bars 5 to 8
C.
Bars 1 to 4
Bars 5 to 8
A.
Bars 1 to 4
Bars 5 to 8
B.
Bars 1 to 4
Bars 5 to 8
C.
Bars 1 to 4
Bars 5 to 8
A.
Bars 1 to 4
Bars 5 to 8
B.
Bars 1 to 4
Bars 5 to 8
C.
Bars 1 to 4
Bars 5 to 8
Retire to original position.
Mark time.
Advance and nod as before.
Retire.
Mark time. Files link arms in last bar,
and remain linked until told to loose arms.
Advance as before, nod.
Retire.
Mark time.
Advance as before, nod.
Retire.
Loose arms. Files turn very slowly about
until they are reversed.
Retire until partners' backs are all but Front
touching-.
Advance to original positions.
Mark time.
Retire as before.
Advance as before.
Mark time. Link arms in last bar, and
remain linked until told to loose arms.
A. B. Same movements, arms linked as in preced-
ing A and B. Loose arms at end of B.
27
MUSIC
MOVEMENTS
FORMATION
c.
Files extend into single line. To do this,
Numbers One and Two advance, Num-
bers Four and Six follow Number Two,
Numbers Three and Five follow Number
One.
All are in line, with Numbers One and Two
Line
at wings, Numbers Five and
Distance between
dancers tc
same as when in
file.
A.
Bars 1 to 4 Mark time.
Bars 5 to 8
Advance.
B.
Bars 1 to 4
Retire.
Bars 5 to 8
Mark time.
C.
Bars 1 to 4
Advance.
Bars 5 to 8
Retire. Link arms
in last bar
A. B.
C.
Mark time, advance and retire linked, and
mark time, as in preceding A and B.
In last bar, loose arms and join hands.
Move to
circle.
right, dancers making complete
to 8
Move to left, dancers nearly travelling round
circle again. '
Numbers Five and Six loose hands. Num-
ber Five joins hands with Number One
and Number Six with Number Two,
forming two Rings, one to each file. Each
Ring will form round about the line of
position of its numbers when in file.
28
Line.
Form into Ring: Numbers One and Two Ring
joining hands in last bar.
Two Rings
MUSIC
A.
(8 bars) and B.
Bars 1 to 4
B.
Bars 5 to 8 1
and C.
Bars 1 to 4 J
C.
Bars 5 to 8
A. B. C.
A. B. C.
A. B. C.
A. B. C.
A. B. C.
A. B. C.
MOVEMENTS
FORMATION
Rings move to right, as single Ring previ- Two Rings
ously,. but making double circuit.
Rings move to left, as single Ring previ- 1
ously, nearly double circuit.
Rings break up and reform line of 6 as
before.
Line mark time, advance, retire, etc., as be-
fore, link arms in last bar C.
Line as before, linked. Last 4 bars of C
break into files, in original position in
Front, but reversed as before.
Files, reversed, mark time, retire, advance,
etc., as before. Link arms in last bar
of C.
Files, reversed, mark time, retire, advance,
etc., as before, arms linked. Loose arms,
and turn slowly about in last 4 bars of C
forming Front.
Mark time, advance, nod, etc., as before.
Link arms in last bar of C.
Mark time, advance, etc., with linked arms,
as before. The dance ends quietly on the
last 4 bars, mark time, of C.
All in.
29
Two Rings
to Line
Line
Line
Front
BLUE-EYED STRANGER
MUSIC
Once to your-
self.
Al.
Bl.
Bars 1 to 16
A2.
Bars 1 to 8
B2.
Bars 1 to 16
Al.
Bars 1 to 8
Bl.
Bars 1 to 16
A2.
B2.
Bars 1 to 16
MOVEMENTS
FORMATION
|Ju. last half-bar.
Down-and-Back, Ju.
Up-and-Back, j. forming Fr.
Column
Col. to Fr.
All dance at 4/3 step in place, swinging Front
hands back and forth together in time.
Bars 7 and 8 and 15 and 16 to be danced
in 4/2 step.
Chain. Column
As previously in Bl. Front
Cross-Over.
As previously in Bl.
Back-to-Back.
As previously in Bl. until bar 15. Fr. to Ring
All then draw into Ring, throw up hands on
half-bar of bar 16 and Call.
All in.
This dance may be shortened by dancing
in place eight bars each tiuiejinstead.of si.r-
teen.
30
CORNER DANCES
HOW D'YE DO?
MUSIC
Once to your-
self.
A.
1st time
B.
1st time
Corners
Bar 1
Bar 2
Bar 3
Bars 4 and 5
A.
2nd time
B.
2nd time
Corners
Bar 1
Bar 2
Bar 3
Bars 4 and 5
A.
3rd time
B.
3rd time
Corners
A.
4th time
B.
4th time
Corners
A2.
MOVEMENTS
Ju. last half-bar.
Down-an-Back, Ju.
Up-an-Back, j. forming Fr.
This is the Challenge.
Numbers One and Six advance and shake
hands. (See page 19.)
Numbers Two and Five the same.
Numbers Three and Four the same.
Numbers Three and Four pause.
Chain.
This is the Fight.
Numbers One and Six advance and square
up.
Numbers Two and Five the same.
Numbers Three and Four the same.
Numbers Three and Four pause, as before.
Cross-Over.
This is the Reconciliation, and goes pre-
cisely as in B 1st time.
Back to Back.
This is Good Fellowship, and* goes precisely
as in B 1st and 3rd time.
Cross-Over. As usual up to bar 7, when all
close into Ring : throw up hands, raise
right feet on last half-bar and Call.
All in.
FORMATION
Column
Col. to Front
Front
Ring
32
LAUDXUM BUNCHES
MUSIC
MOVEMENTS
FORMATION
Once to your-
self.
A.
B.
Corners
Bars 1, 2 & 3
Bar 4
Ju. last half-bar.
Ju. last half-bar.
Down-and-Back, Ju.
Up-and-Back, j. forming Fr.
Column
Col. to Front
Numbers One and Six advance, at 6/3 step, Front
and cross to each others' places.
Numbers One and Six having now changed
corners, turn about, inward at 6/3 step :
till they face each other.
Bars 5 and 6 Numbers One and Six advance, at 6/3 step,
to center, until they are face to face : they
do not touch or pass.
Bars 7 and 8 Numbers One and Six retire, at 6/2 step,
back to corners : and Ju. on half-bar of
bar 8.
They have now changed corners.
B.
Corners
2nd time
B.
Centers
3rd time
A.
Repeat
B.
Corners
Repeat
1st time
Numbers Two and Five change corners pre-
cise!}' as Numbers One and Six in B.
Numbers Three and Four change places pre-
cisely as the others.
Opposites have now all changed places.
^ A
Chain.
Column
Numbers One and Six change corners as | Front
before.
33
MUSIC
B.
Corners
Repeat
2nd time
B.
Centers
Repeat
3rd time
A2.
C.
Capers
1st time
Bar 1
Bar 2
9/8 time:
3 beats
Bar 3
Bar 4
Bar 5
9/8 time:
3 beats
Bars 6 and 7
Bars 8 and 9
MOVEMENTS
FORMATION
Numbers Two and Five change corners as Front
before.
Numbers Three and Four change places as
before.
Opposites have now all re-changed places.
Cross-Over.
Numbers One and Six advance at 6/3 step
to the center, facing each other's corners.
On beat 2, Numbers One and Six, their
right shoulders now level, and almost
touching, jump heavily on both feet and
advance at 6/1 step, High, on beat 3.
Numbers One and Six continue advancing
6/1 High.
Numbers One and Six reach opposite cor-
ners and turn about to right and inward,
same step.
Numbers One and Six advance, 6/1, High,
and come face to face on third beat.
I
Numbers One and Six remain facing, and
step at 6/3 step.
Numbers One and Six retire to corners at
6/2 step. Ju. on half-bar of bar 9.
Numbers One and Six have now changed
corners.
34
MUSIC
C.
Capers
2nd time
C.
Capers
3rd time
A2.
Repeat
C.
Capers
Repeat
Once to your-
self.
Al.
Bl.
Corners
1st time
Bars 1 to 3
Bar 4
Bl.
Corners
2nd time
MOVEMENTS
FORMATION
Numbers Two and Five change corners pre- Front
cisely as Numbers One and Six in C 1st
time.
Numbers Two and Four change places pre-
cisely as the others.
Back-to-Back. "
Movements as in first Capers. Opposites
re-change places. But at the beginning
of bar 6 of 3rd repeat, all turn inward, at
6/3 step, form Ring in the center, raise
the right feet : and on last beat all throw
up hands and Call.
All in.
TRUNKLES
Ju. last half-bar.
Down-and-Back, Ju.
Up-and-Back, j. forming Fr.
Numbers One and Six advance at 4/3 step,
beginning with left foot, so that they are
face to face at the end of bar 3.
At beginning, Numbers One and Six stamp
right feet. Numbers One and Six raise
and swing right feet and on half-bar,
strike them together, sidelong, then step
quickly backward to places.
Numbers Two and Five do precisely as
Numbers One and Six in Bl 1st time.
Ring
Column
Col. to Fr.
Front
35
MUSIC
Bl.
Centers
3rd time
Cl.
Capers
1st time
Bars 1 and 2
Bar 3
Bar 4
Bar 5
Bar 6
Cl.
Capers
2nd time
Cl.
Capers
3rd time
Al.
Repeat
Bl.
Repeat
3 times
Cl.
Repeat
3 times
A2.
B2.
3 times
MOVEMENTS
X umbers Three and Four do precisely as
Numbers One and Six in Bl 1st time.
Numbers One and Six advance at 4/3 step,
pass in center, right shoulders touching,
and get to each other's places.
Numbers One and Six turn about, inward
and to the right, at 4/3 step.
Numbers One and Six advance at 4/3 step
until they come face to face, but do not
touch or pass.
Numbers One and Six retire, at 4/2 step,
to opposite corners.
Beginning, Numbers One and Six reach
opposite corners. Half-bar, Numbers One
and Six Ju.
Numbers One and Six have now changed
corners.
Numbers Two and Five change corners, as
Numbers One and Six in C 1st time.
Numbers Three and Four change places as
Numbers One and Six in C 1st time.
Chain.
As before, but start with right foot so that,
in bar 4, they stamp and strike together
the left feet. /
As before, all change places again, return-
ing to original places.
Cross-Over.
As in Bl. Pairs start with left feet, and
stamp and strike right feet in bar 4.
FORMATION
Front
Column
Front
36
MUSIC
MOVEMENTS
FORMATION
C2.
Capers
3 times
Slower except
in last two
bars, played
in original
time.
A2.
Repeat
B2.
Repeat
3 times
C2.
Repeat
3 times
Capers
Slower
A3.
B3.
3 times
C3.
Capers
3 times
Bars 1, 2, 3,
4, in each
repetition
(very slow)
Bars 5 and
6 in each
repetition
(presto)
A3.
Repeat
As in Cl, except that pairs, in changing
places, step higher to the slower music,
also in the last 2 bars of normal time. The
High Step is to be reserved for the Slow
Capers in C3, and repeat.
Back-to-Back.
As in Bl, repeat, pairs start with right feet
so that, in bar 4, they stamp and strike
the left feet.
As in C2, pairs re-change.
Cross-Over.
As in Bl and B2. Pairs start with left feet,
and stamp and strike right feet.
As in Cl, pairs change places.
In these the step is 4/1 and High.
In these the pairs retire, after meeting in
center, at 4/2 step, lifting the feet high.
The greater the contrast between these
two quick bars and the preceding slow
ones, the better the effect.
Back-to-Back.
Front
37
MUSIC
MOVEMENTS
FORMATION
B3.
Repeat
3 times
As in Bl and B2, repeat, pairs start with
right feet, and stamp and strike left feet
in bar 4.
Front
C3.
Capers
Very slow
Repeat
3 times
As in C3, pairs re-change to original places.
At the beginning of bar 5, in final repe-
tition of the music, all draw together into
Ring, throw hands above heads and Call.
te
Fr. to Ring
Ring
All in.
MORRIS OFF
This, as the name denotes, is the tune to which the dancers step as they
leave the scene.
Its execution is very simple, and there is no limit to the number of times
the music may be played. The leader may dance back and forth in a serpentine
track, round and round, till finally they wind from the scene.
The step is 4/3 throughout, but with a difference. It is more of a plod,
with less stamping and much less lifting of the feet.
After "Once to Yourself," the side marks time for 5 bars, and makes a
complete right turn in bars 7 and 8.
Then the leader, with Numbers Three and Five behind him, starts forward,
Numbers Two, Four and Six marking time.
As Number Five draws level with Number Two, he falls in behind, and
Numbers Four and Six in order after him.
In every repetition of bars 7 and 8, all make a complete right turn, waving
scarfs in circles above the heads four times.
38
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