I have written a number of dances over the last few years, in a number of different styles.
These dances are in Scottish style.
| 1-2 | In groups of four at each end, right hands-across half-way |
| 3-4 | Centre four, left hands-across half-way; while ends right turn half-way |
| 5-8 | In groups of four at each end, right hands-across once around |
| 9-10 | Centre four, left hands-across half-way; while ends right turn half-way |
| 11-14 | In groups of four at each end, right hands-across once around |
| 15-16 | Centre four left hands-across half-way; while ends right turn half-way; finish ordered 2, 4, 1, 3, with ends facing in and middles facing their nearest end |
| 17-20 | Men and women half hey for four on their own side, middles starting right shoulder with ends |
| 21-23 | Ends and their middles dance once around each other with right shoulders inwards |
| 24 | Ends cross with partner passing left shoulder and face towards new middles; middles pass left shoulder along their line to face new ends |
| 25-28 | Half hey for four on each side starting right shoulder |
| 29-31 | Ends and their middles dance once around each other with right shoulders inwards |
| 32 | Ends cross with partner passing left shoulder; middles pass left shoulder along their line, finishing in progressed positions: 2, 4, 1, 3 |
| Repeat three more times |
Having written several 3-in-4 Scottish dances I envisaged one where the "active" couple weren't so active – where the other dancers moved around and past them as they stayed in place. After playing with this idea it seemed to work better in a full four-couple set and the Strathspey timing suited the flowing movements.
| 1-2 | 1st couple turn half-way with the right hand and face down the middle |
| 3-4 | 1st couple lead down the middle and then face up at the end of bar 4, taking inner hands |
| 5-8 | 1st couple dance up for one step and 2nd couple faces the top; 1st couple takes nearer hand with 2nd couple (1st man with 2nd woman and 1st woman with 2nd man) and dance around to finish with 1st couple on partner's side in 2nd place and 2nd couple at the top |
| 9-12 | 2s, 1s, and 3s set and cross over passing right shoulders with partner |
| 13-16 | 2s, 1s, and 3s repeat set and cross; finish with the corners facing diagonally in |
| 17-20 | 1st couple dance a figure of eight on their current side – 1st man around 2nd woman and 1st woman around 3rd man, passing right shoulder to start; while 2nd man and 3rd woman set to each other and change places passing right shoulder |
| 21-24 | 1st couple complete their figure of eight to finish in 2nd place facing diagonally up or down; while 3rd man and 2nd woman set and cross |
| 25-28 | 1st couple dance a figure of eight on their own side – 1st man crosses up to pass 2nd man left shoulder while 1st woman crosses down to pass 3rd woman left shoulder; while 3rd man and 2nd woman set and cross |
| 29-32 | 1st couple complete their figure of eight; while 2nd man and 3rd woman set and cross |
| 33-64 | 1st couple repeat having passed a couple |
| 65-96 | Repeat with 2nd couple starting from the top |
| 97-128 | 2nd couple repeat having passed a couple |
| 129-160 | Repeat with 3rd couple starting from the top |
| 161-192 | 3rd couple repeat having passed a couple |
| 193-224 | Repeat with 4th couple starting from the top |
| 225-256 | 4th couple repeat having passed a couple |
I was doodling again and found a figure-eight move that worked for three couples. The figure ended up with the active couple on the wrong side, however, so I was trying to find a way to get them back to the right side. Then I realised that if they were put onto the wrong side by the previous moves, then this figure would right them again. I incorporated it into a Scottish-style three couple active in four couple set.
The name comes from a line in the song Johnny Jump Up (a warning on the perils of strong drink):
Said the guard, testing him, "Say these words if you can,
'Around the rugged rock the ragged rascal ran'"
| 1-4 | End couples (actives) cross with partner passing right shoulder, cast around middles who move to the ends, to cross coming in between the middles with opposite end person (woman in front) |
| 5-8 | Actives dance out between the end posts originally furthest from them and 3/4 around, men turning to the left, women to the right, to face partner across the set (on the sides) |
| 9-16 | Actives cross with partner, passing right shoulder, and dance 3/4 figure of eight around the end posts, men turning left to start, women to the right, finishing with partner facing up/down the set (between the end couples) |
| 17-24 | Actives cross with opposite, passing right shoulder, and dance 3/4 figure of eight around the side posts, men turning right to start, women to the left, finishing facing opposite up/down the set in side lines |
| 25-32 | Hey for four along the sides, starting with middles passing right shoulder, finishing 2, 1, 4, 3 with the bottom two couples improper |
| Repeat three more times |
Written while on the way to the Woodford Folk Festival. This dance is similar to Postie's Jig.
| 1-4 | 1st and 2nd couples hands-four circle left once around, slip step |
| 5-8 | 1st and 2nd man with 2nd and 3rd woman dance single file clockwise half-way |
| 9-12 | All 3 men and 2nd woman hands-four circle left once around, slip step |
| 13-16 | 2nd and 3rd man with 1st and 2nd woman dance single file clockwise half-way |
| 17-24 | Reels of three on each side, 2nd man starting up, 2nd woman starting down, passing left shoulder |
| 25-28 | 2nd and 3rd couples set and link |
| 29-32 | 1st and 3rd couples half rights-and-lefts |
| 33-64 | Repeat from 2nd position |
| 65-96 | 2nd couple lead from 1st position |
| 97-128 | Repeat from 2nd position |
| 129-160 | 3rd couple lead from 1st position |
| 161-192 | Repeat from 2nd position |
| 193-224 | 4th couple lead from 1st position |
| 225-256 | Repeat from 2nd position |
Rings of friendship in dancing.
| 1-4 | 2nd couple dance up outside the 1st couple and cross down between them to finish in their partner’s place, nine-spot follows the 2nd man and finishes back in the middle, 3rd and 4th couples circle left once around |
| 5-8 | 3rd couple dance down outside the 4th couple and cross up between them to finish in their partner’s place, nine-spot follows the 3rd man and finishes back in the middle, 1st and 2nd couples circle left once around |
| 9-16 | Double figure of eight at each end, 2nd and 3rd couples cast up/down respectively to start, 1st and 4th couples cross down/up |
| 17-20 | 1st and 2nd couples, and 3rd and 4th couples, half rights-and-lefts at each end |
| 21-24 | 1st and 4th couples half rights-and-lefts in the middle (around nine-spot), 2nd and 3rd couples two-hand turn partner once around |
| 25-28 | 1st and 3rd couples with nine-spot star right once around at the bottom (nine-spot in front of 1st man), 2nd and 4th couples star right at the top |
| 29-32 | 1st and 4th couples with nine-spot star left once around in the middle (nine-spot in front of 1st man), finishing with 1st man in the centre of the set as the new nine-spot, and the nine-spot opposite 1st woman, 2nd and 3rd couples two-hand turn partner once around |
| Repeat three or four more times |
For Anthony Simon's 60th birthday.
The 9 of Diamonds playing card is nicknamed the Curse of Scotland, supposedly because every 9th Scottish king (diamonds in their crowns) was a tyrant. This dance is in the formation of the nine spots on the card.
The extra person is the nine-spot. If the nine-spot is a woman, then the stars are done left hand at the ends and right hand in the centre, with the nine-spot leading the 1st woman and finishing in her place.
| 1-2 | Top couple cross over giving right hands, while other couples in their groups of four right hands-across half-way; finish with bottom couple facing each other, first and third (position) couples facing down, others facing up |
| 3-4 | Bottom couple set in place, while others pass through on the sides giving left hands |
| 5-8 | Repeat: tops cross, others right hands-across half-way; then bottoms set, others pass through on the sides giving left hands |
| 9-12 | Repeat: tops cross, others right hands-across half-way; then bottoms set, others pass through on the sides giving left hands |
| 13-16 | Repeat: tops cross, others right hands-across half-way; then bottoms set, others pass through on the sides giving left hands |
| 17-20 | Top couple face down, others face up (note that couples don't finish where they started); top two couples set to each other, then tops cross down to next position while the other couple moves up |
| 21-24 | Active couple repeat with next couple, moving into third position |
| 25-28 | Active couple repeat with next couple, moving into fourth position |
| 29-32 | Active couple repeat with last couple; while top three couples join hands and advance and retire |
| Repeat four more times |
At the Bundanoon DanceFest Arthur Kingsland presented Bavarian Double, a version of Trip to Bavaria for six couples. He said that his dance came about because five couples got up to do the dance and it was claimed that they couldn't. He tried to write such a dance and agreed it couldn't be done. I took up the challenge and this is the result. It keeps to the original dance as much as possible.
You'll need to dance it five times through to return to your original places.
| 1-4 | Ends cross by the right and cast two places passing left shoulders with the other ends, middles slide to the ends as the others cast |
| 5-8 | In groups of four at the ends, circle left once around |
| 9-12 | Pinwheels: In lines of four facing across the set, pass through by the right shoulder and gatepost turn 3/4 on the corners (centres move forwards and out, ends move backwards and in), to form lines of four facing up or down |
| 13-16 | In lines of four facing up/down, pass through and gatepost turn 3/4 on the corners, to form lines facing across |
| 17-20 | In lines of four facing across, pass through and gatepost turn 3/4 on the corners, to form lines facing up/down |
| 21-24 | In lines of four facing up/down, pass through and gatepost turn 3/4 on the corners, to form lines facing across (back in original positions, after casting) |
| 25-28 | In groups of four at the ends, circle left once around |
| 29-32 | End couples two-hand turn once around, middle couples two-hand turn 1 1/2 around |
| Repeat three more times |
I reused the crossing and gateposts of Kaleidoscope Quadrille in a simpler dance. The dance is named for Margaret Bolliger who celebrated her 50th birthday.
| 1-4 | 1st and 2nd couples half rights-and-lefts, starting with partner |
| 5-12 | 1st and 3rd couples full rights-and-lefts, starting with partner |
| 13-14 | 1st and 2nd couples cross passing right shoulder |
| 15-16 | Lines of three on the sides set |
| 17-18 | First diagonals: 2nd man and 1st woman (original positions), 1st man and 3rd woman cross by the right shoulder |
| 19-20 | All cross the set by the right shoulder |
| 21-22 | Second diagonals: 1st woman and 2nd man, 3rd woman and 1st man cross by the left shoulder |
| 23-24 | All cross the set by the left shoulder |
| 25-26 | Second diagonals: 2nd woman and 1st man, 1st woman and 3rd man cross by the left shoulder |
| 27-28 | All cross the set by the left shoulder |
| 29-30 | First diagonals: 1st man and 2nd woman, 3rd man and 1st woman cross by the right shoulder |
| 31-32 | All cross the set by the right shoulder |
| 33-64 | Repeat, having passed a couple |
| 65-96 | Repeat with 2nd couple starting from the top |
| 97-128 | 2nd couple repeat, having passed a couple |
| 129-160 | Repeat with 3rd couple starting from the top |
| 161-192 | 3rd couple repeat, having passed a couple |
| 193-224 | Repeat with 4th couple starting from the top |
| 225-256 | 4th couple repeat, having passed a couple |
I was doodling patterns for three couples and came up with the cross-over sequence for this dance. I then put it in the context of a Scottish triple minor dance. The name comes from the music selected – The Isle of Skye Reels.
| 1-4 | In groups of four at each end, half hey, starting men passing right shoulders |
| 5-8 | End couples (2 and 3) chase anti-clockwise to the other end, middle couples (1 and 4) hands four left once around |
| 9-12 | In groups of four at each end, half hey, starting men passing right shoulders |
| 13-16 | End couples (1 and 4) chase anti-clockwise to the other end, middle couples (2 and 3) hands four left once around |
| 17-20 | Left hand turn neighbour once around (1s with 2s, 3s with 4s); finish facing partner across the set |
| 21-22 | Cross with partner giving right hand and turn to form lines across the hall (1s and 4s on the outside) |
| 23-24 | Cross with opposite giving left hand and turn to return to original positions |
| 25-28 | End couples cross down/up between neighbours, cross with opposite going out between the middle two couples to the other end of the set on the opposite side |
| 29-32 | In groups of four, half rights-and-lefts; finishing ordered 2,4,1,3 |
| Repeat three more times |
For Joy Vohralik's 60th birthday (belatedly).
| 1-4 | 1st couple left hand turn once around and face out |
| 5-8 | 1st couple individually mirror turn 2nd couple 1 1/2, men left hand, women right hand |
| 9-12 | 1st couple left hand turn once around and face out |
| 13-16 | 1st couple individually mirror turn 3rd couple once around (men left hand, women right hand), but finish in the centre of the set facing up, 1st woman leading |
| 17-20 | 1st couple dance half a tandem reel for three with 2nd woman and 3rd man, starting right shoulder to 2nd woman |
| 21-24 | 1st couple separate to dance half a reel for four, starting left shoulders, 1st woman with 2nd man, 1st man with 3rd woman |
| 25-28 | 1st couple dance half a tandem reel for three with 2nd woman and 3rd man, starting right shoulder to 2nd woman |
| 29-32 | 1st couple separate to dance half a reel for four, starting left shoulders, 1st woman with 2nd man, 1st man with 3rd woman |
| 33-64 | Repeat from second place |
| 65-96 | Repeat with new couple leading from the top |
| 97-128 | Repeat from second place |
| 129-160 | Repeat with new couple leading from the top |
| 161-192 | Repeat from second place |
| 193-224 | Repeat with new couple leading from the top |
| 225-256 | Repeat from second place |
For Bill Unger's 60th birthday.
You keep meeting your partner for sections of the dance.
For the last half of the dance the active couple always start the reels heading up or down, the pattern being up-down-down-up for the man and up-up-down-down for the woman.
| 1-2 | 1st and 2nd couples set |
| 3-4 | 1st couple cross down to 2nd position; while 2nd couple step up one place |
| 5-6 | 1st and 3rd couples set |
| 7-8 | 3rd couple cross up to 2nd position; while 1st couple step down one place |
| 9-12 | Repeat with 2nd and 3rd couples setting and 2nd couple crossing down |
| 13-16 | Repeat with 2nd and 1st couples setting and 1st couple crossing up; 1st couple finish in 2nd place facing out and up, the others are on their partner's side |
| 17-20 | 1st couple individually dance out and up around 3rd couple (at the top), then cross down between them; while 2nd couple set and cross giving right shoulder |
| 21-24 | 1st couple individually dance out and down around 2nd couple, then cross up between them; while 3rd couple set and cross giving right shoulder |
| 25-28 | Men and women dance a reel of three on their own sides, 1st couple starting by dancing up and outside 3rd couple |
| 29-32 | All three couples turn partner once round with the right hand |
| 33-64 | Repeat, having passed a couple |
| 65-96 | Repeat with 2nd couple starting from the top |
| 97-128 | 2nd couple repeat, having passed a couple |
| 129-160 | Repeat with 3rd couple starting from the top |
| 161-192 | 3rd couple repeat, having passed a couple |
| 193-224 | Repeat with 4th couple starting from the top |
| 225-256 | 4th couple repeat, having passed a couple |
I was reviewing Greensleeves and Yellow Lace for a performance and thought that the opening moves could be adapted to form the progression part of a Scottish dance. I added the cross overs for the leading couple and ended with the 1st couple in the correct positions, but the 2nd and 3rd couples in opposite places. Then I had to figure out how to get them home again.
The name derives from the crossing figures in the second half of the sequence.