THE RODNEY ROOMS DANCES

BY

Douglas J Dean

 

THE BACKGROUND TO THE DEVISING OF THESE DANCES

I started dancing in 1947 when there were 13 (R)SCDS Books plus the Border Book making 180 readily available dances. The average age of Scottish Dancers in the Liverpool Area was about 25. We enjoyed Scottish Dancing because it offered more disciplined, precise dancing than other country

dances and also contrasted fast and slow time. One could also let ones hair down by swinging. Swinging as then danced was an advanced technique, as you must not interfere with other dancers, you must finish precisely at the end of the allotted number of bars, in the correct position and facing the right direction. It was the opportunity to let your hair down, in a disciplined manner that kept the interest and support of the younger dancers, including me. That interest has to a considerable extent now been lost. Ceilidh dancing allows the exhilaration but not the same mental reward that comes from doing something that requires more concentration and expertise.

In Liverpool you had the choice of at least two places to dance each night and at weekends there was always dancing at Youth Hostels. One of the reasons for the popularity of Scottish Dancing was that you could not ballroom dance on the rough floors at the Hostels and dancing round a handbag had not been invented. In Liverpool the area club of the YHA ran Scottish Dancing every Friday Night at Harold House, most Mondays and a big monthly dance at the Rodney Rooms.

At that time there was one down side to Scottish Dancing which was that many of the early dances were boring, also 18 were only 24 bars long and 9 were only 16. To add interest we started to add variations such as having the 2nd couple in Petronella start setting on the wrong foot and then cutting the diamond clockwise round the outside of the 1st couple. We also devised ‘The Square Petronella’ as a joint effort.

The so called traditional Scottish Dancing (i.e. post 1923) had not become rigid and dances were being modified to improve the flow. An example of this is bars 25 to 32 in ‘The New Rigged Ship’ were in the 1st edition of ‘Won’t You Join the Dance’ Auntie Jean gives the modified instructions of ‘cross and cast for 3 twice and use the next two bars to come up the centre’ as opposed to the official instructions of ‘cross and cast for 4 twice’. Some Groups were still dancing the 1930 4 quarter turn Poussette most were doing the new 1932 version and a few were still waltzing round. Auntie Jean was still fishing for the best Strathspey travelling step and each year at the summer school a different version was taught. Mary Gudger (one of ‘Miss Milligan’s Young Ladies’, a teacher at the summer school from the end of the war including the certificate class and finally a society Vice President) used to say “Do what she says while you are here, go home and do what you have always done and if she is still doing the new version when you come back then change.”

It is against this background of continuous improvement to Scottish Dancing both in figures and as Auntie Jean also said in the changes to ‘The New Rigged Ship’ attempting to make the flow of dances more smooth and pleasant that I started teaching in 1951 at the Post Office next to the ‘Liverpool Speaking Clock’ were Derek Haynes started dancing. In spite of having a copy of Audrey (Audrey’s Barbed Wire Dress) Beeston’s ‘Guide for the Teaching of Scottish Country Dancing’ (Which I know Derek had a copy) I felt the need for additional dances to give sequence to my teaching and started to devise dances with that purpose.

When doing my National Service in the Gordons in Malaya I polished up my dances and tried to make the movements flow from figure to figure. On my return I found that McNab had given the world ‘the thinking dancers dances’ and felt there was no need for mine. I soon came down to Reading and started teaching there as well as in Newbury and Aldermaston still using some of my teaching dances. In 1957 I married Marion who was a far better teacher than 1, and that was practically the end of my teaching for 38 years.

When, prior to retirement, I started to sort out my academic papers I found a few of my notes and began to resurrect some of the dances for my own teaching. A recent casual remark by another dance devisor that it was difficult to compose dances which flow from figure to figure made me decide to produce this little booklet as in these dances I have tried to ensure that the end of most figures leaves the dancer facing the correct way for the next.

A couple of the dances do not belong to the early 50s, one I devised overnight for the wedding of my Niece in Canada in 1996 when she asked if I would run some Scottish Dancing in the evening of the wedding. ‘Marjorie’s Strathspey’ was devised when I was asked to run a dance for her birthday. I am not really happy with either and if anyone has any ideas I will be glad of them, especially as Marjorie’s partner has written a rather good tune to go with the dance. Some of the remainder have been modified in the light of more recent figures and ‘The Gravy Train’ has been both a Strathspey and now a Jig with two endings. I also reserve the right to change any of the dances to improve them.

There should be no need to state that hands are given where ever possible as this was how all the early dances where danced and as Jean Milligan always taught, for instance as stated in the Scottish Dance Manual ‘Won’t You Join The Dance? 1st Edition’ Page 67 in a comment at end of the Chapter on Formations, “In all formations it is advisable to give hands freely and wherever possible, as not only is it very helpful, but it adds greatly to the social feeling of the dance. It also helps to maintain the shape of the set and to keep the lines straight.” My emphasis on ‘wherever possible’ but Jean Milligan’s own words.


CONTENTS

The Background to the Devising of these Dances Page 2
Contents Page 4
1. An Irish Maid 3 x 32 StrathspeyPage 5
2. Betty from Chester 8 x 32 StrathspeyPage 6
3. Audrey’s Barbed Wire Dress 8 x 32 StrathspeyPage 8
4. A French Delight 8 x 40 ReelPage 9
5. The Gravy Train 8 x 40 JigPage 10
6. Harold House Jig 6 x 32 JigPage 11
7. The Lady from Wimbledon 8 x 32 ReelPage 12
8. Marjory’s Strathspey 4 x 40 StrathspeyPage 13
9. Paula’s Wedding to Lyndon - Dance 8 x 40 ReelPage 14
Paula’s Wedding to Lyndon - Story Page 15
10. Rodney Rooms Rant 8 x 32 JigPage 16
11. The Sunningdale Strathspey 3 x 32 StrathspeyPage 17
12. The Square Petronella 8 x 32 ReelPage 18
13. A Three Couple Reel (Demonstration) 1 x 96 ReelPage 20
14. A Touch of Wales 8 x 32 JigPage 22


AN IRISH MAID

Progressive 3 Cpl. Dance in 3 Cpl. Sets 32 Bar Strathspey
Bars
1 - 8 1st Cpl., crossing down, between own corners, dance a figure of eight on the sides to finish flowing through Partners Place ready to dance ½ Rt.s & Lt.s with 2nd Cpl.
9 - 12 1st & 2nd Cpl.s dance half Rt.s & Lt.s 1st Cpl. finish ready to repeat with 3rd Cpl. The 1st Lady takes the shortest path into the next half Rts & Lts and therefore does not make a polite turn at the end of bar 12.
13 - 16 1st Cpl. repeat bars 9 - 12 with 3rd Cpl. 3rd Cpl. finish facing up without having made a polite turn so they are ready to give Rt. shoulders to 2nd Cpl. After the Lt. hand the 1st Cpl. naturally finish ready to dance up and to their Rt.
17 - 20 All dance half reels of three on the sides, 2nd and 3rd Cpl.s giving Rt. shoulders to begin. 1st couple flowing naturally to their Rt.
21 - 24 All set and turn partner half way ready for a 3 couple Allemande.
25 - 32 All three couples Allemande.

Repeat with new top couple.


BETTY FROM CHESTER

Progressive 3 Cpl. Dance in 4 Cpl. Sets 32 Bar Strathspey
Bars
1 - 4 lst Cpl. cross and cast into 2nd place on the wrong side of the dance.
2nd Cpl. stepping up on bars 3 to 4.
5 - 8 1st Cpl. advance across the dance towards each other and turn half way to finish facing each other, they then pull their Rt. shoulders back and dance to their own sides of the dance in 2nd place facing out.

Meanwhile 2nd and 3rd Cpl.s dance half Rt.s and Lt.s dancing on the sides to begin. The 1st corners finish in their diagonally opposite corner position and the 2nd corners finish in their opposite corner position.
9 - 14 1st Cpl. going out between their own corners, who are on the wrong side of the set having also changed ends, dance a 6 bar reel of 3 with their corners going to their Rt. and giving Rt. shoulder to own 1st corner to begin. 1st Cpl. finish dancing through the ends, Man up through the bottom Cpl. and Lady down through the top.
15 - 18 1st Cpl. advance towards each other up and down the dance, turn half way to finish facing each other, they then pull their Rt. shoulders back and dance to the ends, Man to the top and Lady to the bottom ready to dance Rt. shoulder reels to their right.
19 - 24 1st Cpl. giving Rt. shoulder to own 2nd corner position dance a 6 bar reel of 3 across the dance. 1st Cpl. finish passing partner with Lt. shoulders ready to go into Rt. hands across, Man down and Lady up.
25 - 28 1st Man with 2nd Cpl. who are on the wrong side in bottom place and 1st Lady with 3rd Cpl., on the wrong side in top place, dance Rt. hands across all opening up at the end with 1st Cpl. in 2nd place also on the wrong side and all ready to circle 6 hands round.
29 - 32 1st three Cpl.s circle 6 hands half way round to own side of the dance finishing 2, 1, and 3.

Repeat from second place.

Note: 

In about 1950 both reels were danced on the sides, also bars 5 to 8 and 15 to 18 were danced by the 1st Cpl. turning with both hands 1½ times round, clockwise, breaking early to pass partner Rt. shoulder in the centre to finish as above. I find the movement, taken from Roy Goldring’s Argyll Strathspey and used above, far smoother.

Circumstances were different in 1950 as strathspeys were played very fast and hoppity to get four times through on to one side of a 78 record.


AUDREY’S BARBED WIRE DRESS

3Cpl. dance in 4 Cpl. sets 32 Bar Strathspey
(Protected the property without obscuring the view)

Bars

1 - 4 1st Cpl. with the 2nd Man flow into a Rt. hands across, starting with the 2nd Man dancing towards 1st Mans place, the 1st Man dancing towards his partners place, while the 1st Lady dances towards the 2nd man’s place to pick up hands after about one bar of dance. 2nd Man finishes in 1st Man’s place, while the 1st Lady, travelling in front, leads her partner across towards 3rd Lady. 2nd Lady steps up on bars 3 & 4.
5 - 8 1st Cpl., with Lady in front of her partner, dances Lt. hands across right round with 3rd Lady, finishing with the 1st Lady leading her partner across towards the 3rd Man.
9 - 12 1st Cpl., with Lady in front of her partner, dances Rt. hands across right round with 3rd Man, finishing with the Lady leading her partner across towards the 2nd Lady.
13 - 16 1st Cpl., with Lady in front of her partner, dances Lt. hands across right round with 2nd Lady, finishing with the 1st Cpl. dancing to their own sides in 2nd place, Lady ready to give Rt. hands Lady to 3rd Lady, Man to 3rd Man.
17 - 24 Grand Chain, 2nd Cpl. crossing at the top to begin. 1st Lady, 2nd and 3rd Men end with a polite turn. Finish ready to flow into 3 hand circles,
Man down Lady up.

NOTE: The grand chain is danced without sudden jerks. Dancers should only aim to get haft way in 4 bars and not try to regiment the movement into two quick hands followed by a very slow one.

25 - 32 1st Lady with 2nd Cpl. and 1st Man with 3rd Cpl. circle 3 hands once round to the left to flow into 6 hands once round to the left, 1st Man leading 3rd Cpl. and 1st Lady leading 2nd Cpl. 1st Cpl. finish on own side of the dance, in 2nd place, ready to flow into Rt. hands across.

Repeat having passed a couple.

NOTE: Bars 1 to 16 represents the twists of spiked wire constituting the barbs on the wire. Bars 17 to 24 represent the rope form. Bars 25 to 32 represent small and large loops of the barbed wire.


A FRENCH DELIGHT

A 3 Cpl. Dance in 4 Cpl. Sets 40 Bar Reel

Bars

1 - 4 First three Cpl.s set and cross giving Rt. hands to partner to change places.
5 - 8 First three Cpl.s set and cross back with Rt. hands, retaining hands to finish in the centre facing up in promenade position.
9 - 16 1st three Cpl.s dance a progressive promenade. Finish with 1st Cpl. casting to 2nd place and 2nd Cpl. dancing up to 1st place while 3rd Cpl. return to place.
17 - 20 Flow into Rt. hands across once round 1st Man down with the 3rd Cpl. and 1st Lady up with the 2nd Cpl. 1st Cpl. finish on own side facing clockwise
21 - 24 First three Cpl.s flow into a clockwise chase to the other side of the dance, 1st Man leading 3rd Cpl. 1st Lady leading 2nd Cpl. Finish with the 2nd and 3rd Cpl.s rotating anti clockwise to face the way they have just come.
25 - 28 Flow into Lt. hands across once round 1st Man down with the 2nd Cpl. who are now at the bottom and 1st Lady with the 3rd Cpl. now at the top.
29 - 32 First three Cpl.s flow into an anti clockwise chase back to own side of the dance, 1st Man leading 2nd Cpl. 1st Lady leading 3rd Cpl. Finish 1st Man facing diagonally down, Lady up, and the 2nd Lady & 3rd Man rotating anti clockwise to face up and down the dance on the sides.
33 - 38 1st Cpl. flow into tight 6 bar reels of three on their opposite sides with their corners. 1st Cpl. start by crossing diagonally to their right, out through the ends to cast inwards to the Lt., 2nd and 3rd Cpl.s pass Rt. shoulders on their own sides to begin.
39 - 40 1st Cpl. giving Rt. hands, cross to own sides in 2nd place.

Repeat having passed a couple.

On the repeat 1st Cpl. finish crossing down with Lt. hands to the bottom.

NOTE:  The 1st Man always goes down and the 1st Lady up in both the 3 hands across and the start of the reels. Also, the 1st Cpl. go to their right for the first Rt. hands across, to the left for the Lt. hands across and to their right to enter the reels (right, left, right).


THE GRAVY TRAIN

3 Cpl. Progressive dance in 4 Cpl. sets 40 Bar Jig

Bars

1 - 8 1st and 2nd Cpl.s dance a double figure of 8, 1st Cpl. crossing down to begin. Both Cpl.s finish ready to flow into reels of 3 on own sides.
9 - 16 Giving hands wherever possible the 1st Three Cpl.s dance a reel of 3 on own sides of the dance, 1st Cpl. dancing in and down to begin.
1st Cpl. finish flowing round 2nd place ready to cross at the top.
17 - 20 1st Cpl. cross at the top giving Rt. Hands and cast into 2nd place on the wrong side of the dance.
21 - 22 1st Cpl. turn the 3rd Cpl. opposites once round with the Rt. Hands.
23 - 24 1st Cpl. turn the 2nd Cpl. opposites once round with the Lt. Hands.
25 - 26 1st and 3rd Cpl.s dance Rt. Hands Across Half Way
27 - 28 2nd and 3rd Cpl.s dance Lt. Hands Across Half Way
29 - 30 1st and 2nd Cpl.s dance Rt. Hands Across Half Way
31 - 32 All three Cpl.s, taking hands on the sides, Set to partners, 1st Cpl. on the wrong side of the dance.
33 - 40 3rd Cpl. dance snowball grand chain, 2nd Man and 1st Lady finishing with a polite turn at the end. First time through each 3rd Cpl. Remain facing out ready to dance the double figure of eight.

Repeat having passed a couple.


THE HAROLD HOUSE JIG

Progressive 2 Cpl. dance in 3 Cpl. Set 32 Bar Jig
Bars
1 - 2 1st and 2nd Cpl.s set to partner across the dance.
3 - 4 1st and 2nd Cpl.s Petronella to the centre, Men facing up Ladies down.
5 - 6 1st and 2nd Cpl.s set to own partner up and down the dance.
7 - 8 1st and 2nd Cpl.s half turn Rt. hands to change places with their own partner. Finish facing partner ready for a Rt. shoulder reel of 4 up and down the set.
9 - 16 1st and 2nd Cpl.s Reel of 4 up and down the dance. Finish facing partner as at the start of the reel, Men facing down and Ladies up.
17 - 18 1st and 2nd Cpl.s set to partner up and down the dance.
19 - 20 1st and 2nd Cpl.s Petronella to their original place, 1st Cpl. facing down, 2nd Cpl. facing up.
21 - 22 1st and 2nd Cpl.s facing each other on side lines, set.
23 - 24 1st and 2nd Cpl.s change places, Men with Lt. hands, Ladies with Rt.
25 - 32 1st and 2nd Cpl.s dance double figures of 8, 2nd Cpl. casting down and 1st Cpl. dancing up and across to begin.

Repeat having passed a couple.

The dance was devised for the initial teaching of reels of 4 as all except a single odd couple can dance the dance in two couple sets during teaching.

The dance can be danced as a 2 couple dance in sets of 4 but inexperienced dancers can have difficulties separating the adjacent reels of 4 when all dancers are dancing in the 2nd repeat.


THE LADY FROM WIMBLEDON

3 Cpl. Dance in 4 Cpl. Sets 32 Bar Reel

Bars

1 - 2 1st Cpl. set to partner across the dance.
3 - 8 1st Cpl. dance a 6 bar ¾ figure of eight across, dancing down and across to begin. Finish in 2nd place, own side, facing diagonally down and out. 2nd Cpl. step up on bars 3 to 4.
9 - 16 Giving hands wherever possible, 1st three couples dance mirror image reels of 3 on own sides, 1st Cpl. dancing out and down to begin. 1st Cpl. finish in 2nd place, own side, back to back facing out.
17 - 22 1st Cpl. dancing out and casting to the left, dance a 6 bar ¾ figure of eight across, Lady round 2nd Cpl. and Man round 3rd Cpl places.

At the same time the 2nd and 3rd Cpl. dance ¾ Rights and Lefts.
23 - 24 1st Cpl. dance a tight Rt. hand ¾ turn finishing ready to dance 3 hands across, Lt. hands, with their own corners.

At the same time the 2nd and 3rd Cpl. dance the remaining left hand of the Rights and Lefts retaining Left hands at the end.
25 - 28 With Lt. hands, the 1st Cpl. dance 3 hands across on the sides with their own corners 1st Cpl. finishing as they started, Lady facing up Man down.
29 - 32 1st Lady dances through the 2nd Cpl., at the top and casts to the right round the 2nd Lady into 2nd place. Meanwhile the 1st Man dances through the 3rd Cpl., at the bottom and casts to the right round the 3rd Man into 2nd place.

Repeat having past a couple.

It is important that the dancing couple only use the 6 bars of bars 17 to 22 dancing the ¾ figure of eight and do not fill the whole of the 8 bars in bars 17 to 24 as they require bars 23 to 24 to do the tight right hand turn with their partner.


MARJORY’S STRATHSPEY

4 Cpl. Dance in a Square 32 Bar Strathspey

Bars

1 - 4 1st Man with 3rd Lady and 1st Lady with 3rd Man advance to meet and change places with Rt. hands facing each other, then pull their Rt. shoulder back cast to the other person’s place.
5 - 8 2nd and 4th Cpl.s repeat bars 1 to 4.
9 - 12 All the Ladies set and Petronella to the right into the position the next Lady has just left.
13 - 16 All the Men repeat bars 9 to 12 finishing with their own Lady again on their Left.
17 - 20 All Set and Link with own partners, Men dancing as Ladies and Ladies as Men
20 - 24 1st & 3rd Ladies dance ½ Ladies’ Chain.
25 - 28 1st & 3rd Men dance ½ Men’s Chain retaining partners Rt. hand and both Cpl.s facing in.
29 - 32 2nd & 4th Cpl.s Set and Turn partners Rt. hand into Promenade hold facing up and down the set.

Meanwhile 1st & 3rd Cpl.s dance Rt. hands a cross half way, then turn partner into Promenade hold, 1st Cpl. facing the bottom of the set and the 3rd Cpl. the top.
33 - 40 With Cpl.s dancing in tandem, dance a Rt. shoulder reel of 4 up and down the dance. 1st & 3rd Cpl.s finish missing the final Lt. shoulder by dancing to their left and curving into side lines all having progressed one place to their original left.

Repeat having all progressed one place clockwise


PAULA’S WEDDING, To LYNDON

3 Cpl. Dance in 4 Cpl. Sets 40 Bar Reel

The Dance

Bars

1 - 8 1st Cp. dance down the set with nearer hands joined, fold inwards to take Rt. hands and dance back up to the top. They remain in the centre facing up, while the 2nd and 3rd Cpl. move into the centre on bars 7 to 8, also facing up.
9 - 16 1st three couples promenade. 1st and 2nd Cpl.s remaining in the centre facing up while the 3rd Cpl. return to place.
17 - 18 1st Cpl. cast to 2nd place on own side while the 2nd Cpl. dance up and out to 1st Cpl.’s place.
19 - 22 1st Cp. dance half figure of eight round the 2nd Cpl. to finish between their corners.
23 - 24 1st Cpl. set to each other across the dance.
25 - 28 1st three couples advance and retire.
29 - 32 1st Cpl. turn with left hand to face 1st corners. The more staid turn with a long hand and the more energetic swing.
33 - 40 1st Cpl. turn corner, partner, corner, partner, to finish in 2nd place on their own side of the dance.

Repeat having passed a couple.


PAULA’S WEDDING, To LYNDON

3 Cpl. Dance in 4 Cpl. Sets 40 Bar Reel

The Story

Bars

1 - 8 The couple meet and get to know each other walking hand in hand in the park. They return more formally having become engaged.
9 - 12 They pick up some friends and take them to the church.
13 - 16 The bride and groom, followed by their friends walk up the isle.
17 - 18 The couple with the bridesmaid and best man enter the vestry,
19 - 22 The couple tie the knot.
23 - 24 The couple sign the register.
25 - 28 There is electricity in the air and an attraction builds up between more than just the happy couple. If a gentle contact occurs then the couples guiltily look up and down while retiring to see if anyone noticed.
29 - 32 The happy couple start the dancing on their own, either sedately or more enthusiastically depending on how fit they feel.
33 - 40 The bride and groom dance alternatively with their guests and each other.


RODNEY ROOMS RANT

Progressive 3 Cpl. Dance in 4 Cpl. Sets 32 Bar Jig
Bars
1 - 2 First three Cpl.s set.
3 - 4 First Three Cpl.s Petronella into a line in the centre of the dance facing partners, Men facing up Ladies down.
5 - 6 First three Cpl.s set.
7 - 8 1st Man, 2nd Cpl. and 3rd Lady, with setting rotate to face the person behind them. Men finish facing down and Ladies up.
9 - 16 1st  Man, 2nd Cpl. and 3rd Lady dance a Reel of 4 in the centre of the dance, 1st Lady and 3rd Men remain at the ends in the centre standing still. The dancers finish the reel in the centre facing own partner, Men below their partner facing up and Ladies above facing down. The finish is facilitated by the 2nd Cpl. taking Lt. hands while passing Lt. shoulder at the end and turning to face each other.
17 - 18 First three Cpl.s set.
19 - 20 First three Cpl.s Petronella to the wrong side of the dance.
21 - 22 First three Cpl.s set.
23 - 24 1st and 2nd Cpl.s Rt. hands across half way, breaking to own sides with the 1st and 2nd Men facing each other and retaining Rt. Hands and 1st and 2nd Ladies doing likewise. Meanwhile 3rd Cpl. cross with Rt. hands and retaining Rt. hands finish facing each other all ready to flow into a grand chain.
25 - 32 Grand Chain, 3rd Cpl. crossing to begin.

Repeat from having passed a couple.


THE SUNNINGDALE STRATHSPEY

3 Cpl. dance in a 3 Cpl. Set 32 Bar Strathspey

Bars

1 - 8 Mirror image reels of 3 on sides, 1st Cpl. dancing in and down to begin.
9 - 16 1st Cpl. cross giving Rt. hand to partner and cast off one place to dance a half figure of 8 round 2nd Cpl. 2nd Cpl. step up on bars 11 to 12.
17 - 24 1st Cpl. repeat bars 9 to 16 crossing Lt. hand and dancing round 3rd Cpl., finishing in bottom place.
25 - 32 All three Cpl.s circle 6 hands round and back. 1st and 2nd Cpl.s retaining hands ready to dance the reels.

Repeat having passed a couple.

Note:  This dance was devised as a teaching vehicle for mirror image reels in 3 Cpl. sets. The dance can be danced as 3 Cpl. in a 4 Cpl. set dance when in the first time through, bars 17 to 24 are danced as a simple figure of 8 to leave the dancing Cpl. in 2nd place ready to repeat. The repeat is danced as above except hands are not retained at the end of the circle.


SQUARE PETRONELLA

4 Cpl Square Set A Reel in 32 Bar Sections
NOTE:  This dance was devised originally without bars 161 to 224 to fit the normal 6 x 32, 78s records of the time. It was extended with the advent of EPs. The ‘New Petronella’ was an attempt to regenerate this dance but, according to Roy Clowes, nobody involved at the time could remember it.

Bars

1 - 8 Circle 8 hands round and back.
9 - 16 Set twice to partners and turn with both hands or swing with the Rt. hand.
17 - 32 Pass and turn grand chain. (Pass partners with the right hand and turn the next person right round with the left hand, repeat right round the set. 4 bars for each pair of a Lt. & Rt. hand.)
33 - 48 1st Lady and 3rd Man cut the diamond of Petronella finishing in original places.
49 - 52 All the Ladies Rt. hands across right round.
53 - 56 Turn or swing partners 1½ times with the Rt. hand.
57 - 60 Men Lt. hand across right round.
61 - 64 Turn or swing partners 2 times with the Rt. hand. Finishing in original place.
65 - 96 1st Man and 3rd Lady repeat bars 33 to 64
97 - 128 2nd Lady and 4th Man repeat bars 33 to 64
129 - 160 2nd Man and 4th Lady repeat bars 33 to 64
161 - 176 All the Ladies cut the diamond of Petronella.
177 - 192 All repeat bars 49 to 64
193 - 208 All the Men cut the diamond of Petronella.
209 - 224 All repeat bars 49 to 64
225 - 256 All repeat bars 1 to 32


A THREE COUPLE REEL

3 Cpl. Longwise Demonstration Dance 96 Bar Reel

Bars

1 - 4 All set to partner and Petronella turn into a line up and down the centre of the set, Men facing up to partners and Ladies facing down.
5 - 16 All dance a right shoulder reel of 6 finishing in starting position.
17 - 20 All set and turn partners with the right hand to finish facing up in promenade hold.
21 - 24 Half circular promenade, 1st Cpl. casting down and round to finish with the 1st Lady in 3rd Ladies position, 2nd Cpl. moving slightly out to right before following 1st Cpl. finishing 2nd Lady in partners position and the 3rd Cp] dance the remaining part of the circle to finish with the 3rd Lady in 1st Lady’s position.

Dancing couples finish in a three pointed star position facing anticlockwise Men on the inside joining Lt. hands in the centre and Ladies on the outside all having their nearer arm around their partners waist to keep the star tight.
25 - 28 Lt. hands across half way round. Finish with the men rotating their partners into the centre with the Ladies taking Rt. hands in the centre as in the eightsome reel.
29 - 32 Rt. hands across back to the position at the start of the Lt. hands across, Ladies still facing anti clockwise and retaining Rt. hands in the centre.

LADIES CHAINS – Bars 33 – 44 Note Men dance as per normal ladies chain.

33 - 34 Ladies drop their partners and continue the right hand across to the next but one man.
35 - 36 Ladies turn that man with the Lt. hand.
37 - 44 Ladies repeat bars 33 to 36 twice with new Men but finish retaining partners Lt. hand.
45 - 46 Continue turning partners with the Lt. hand to finish in a longwise set, (3, 2, 1) with 1st and 3rd Cpl.s on own sides and 2nd Cpl. in partner’s place.
47 - 48 Set to partners, on the last bar the 2nd and 1st Cpl.s turn to face ready for grand chain. 3rd Cpl. remain facing across the dance.
49 - 60 Pass and turn grand chain. (Pass first person right hand and turn the next person with left hand, repeat right round the set, each combination of right and left hand movement takes 4 bars.)
61 - 64 All Set and cross passing partner with the left shoulder.
65 - 72 Irish Rover rights and lefts, 2nd Lady going up each time and Man down. All finish in original place.
73 - 80 All set and Petronella twice to opposite side of the dance.
81 - 84 Men set and high cuts, Ladies set and point.
85 - 88 All set and turn partners into Allemande position.
89 - 96 Three Cpl. Allemande finishing 3, 2, 1.


A TOUCH OF WALES

Progressive 3 Cpl. Dance in 4 Cpl. Sets 32 Bar Jig

Bars

1 - 4 1st Cpl. set and cast off one place. 2nd Cpl. steps up on bars 3 and 4.
5 - 8 1st Cpl. set and Petronella to finish Man in the centre between 3rd Cpl. facing up and Lady finishing between 2nd Cpl. facing down.
9 - 10 1st Man with 3rd Cpl. facing up and 1st Lady with 2nd Cpl. facing down,
set in lines across the dance.
11 - 12 1st Cpl. turn ¾ round with the Rt. hands to finish in 2nd place on the wrong side of the dance.
13 - 14 1st Cpl. with their respective corners set facing across the dance.
15 - 16 1st Cpl. turn ¾ times with the Rt. hand with the Man doing a further half rotation to finish in the centre facing the Men’s side with the 1st Man above his partner.
17 - 20 1st Cpl. lead out between the 2nd and 3rd Men to cast round them to meet in the centre with Lt. hands joined facing the Ladies’ side of the dance. 1st Man having cast round 2nd Man and 1st Lady round 3rd Man.
21 - 24 1st Man, passing his partner in front of him lead out between the 2nd and 3rd Ladies to cast round them to finish, Lady between the 2nd Cpl. facing down and the Man between the 3rd Cpl. facing up.
25 - 26 All set.
27 - 28 1st Cpl. turn ¾ times with the Rt. hands to finish on the wrong side between their corners.
29 - 30 All set.
31 - 32 1st Cpl. cross with the Rt. hands to finish on own side of the dance in 2nd place.

Repeat having passed a couple. Finish second repeat crossing with Lt hands to bottom place.

The dance is based on a traditional Welsh dance but uses half the number of bars for each movement. The first 8 bars are totally different as it was not reasonable to dance in 8 bars what was danced in 16 bars in the Welsh version, nor was it easy to start the 2nd repeat.