English Country Dances (Untested)

Tried and True ECD
Beta ECD
Master List of All Dances

Duple minor longways

Three-couple set




Ambidexterity ***
April 2020
Duple minor longways
Tune: Thirtieth Anniversary Slip (Irish traditional)

A1 1-4 Four quick changes of a circular hey (partners pass right to begin)
A2 1-2 Ones right shoulder once around
3-4 Neighbors gate clockwise (first corners going forward)
B1 1-4 Hey-for-4 across (first corners pass left shoulder while second corners cast back over right shoulder to begin)
B2 1-2 …complete the hey, ending at home
3 First corners cross by right shoulder
4 Second corners the same
C1 1-3 Circle left all the way round
4 Partners 2-hand turn halfway
C2 1 Balance back
2-4 And partners back-to-back

Three steps per change on the circular hey.

The hey across fits comfortably into 18 steps, all of B1 and the first half of B2. Ending halfway through B2 leaves just enough time for the corners to cross at the end of B2. However, since 8 changes do not divide evenly into 18 steps, trying to count is counterproductive.

Originally composed July 2018. Revised in April 2020 during the COVID-19 pandemic. Changes have not yet been road-tested.

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Animal, Vegetable, Mineral ****
February 2021
Duple minor longways
Tune: The Animal, by John Krumm

A1 1-4 First corners set and turn single
5-6 Same two right-hand turn halfway, changing places
7-8 Opposites all cross the set passing right shoulders
A2 1-4 New first corners set and turn single
5-6 Same two right-hand turn halfway
7-8 Partners all cross the set passing right shoulders
B1 1-4 “Follow the leader into a line-of-4” as follows: All begin to single file clockwise, dancers stopping one at a time from left to right to form a line-of-4 facing up. The bottom dancer on the left file is the leader, and dances up and to the left, stopping after 1 bar to become leftmost dancer in the line. The next follows, stopping after 2 bars just to the leader’s right, etc.
5-8 Line-of-4 go up a double and back, bending into a ring as you fall back
B2 1-2 Balance the ring in and out, simultaneously moving one place to the left
(all are home)
3-4 Ones cast down one place while
Twos lead up and turn to face each other
5-8 Partners left shoulder once around

Before beginning the walkthrough, identify #1 dancer on R-file as the leader for the B1 figure.

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Bait and Switch *****
September 2021
Duple minor longways
Tune: Old Hag, You Have Killed Me

A1 1-4 Ones lead up between former neighbors and cast back
5-8 Twos lead up between current neighbors and cast back; curling in toward neighbor, all face out
A2 1-4 Neighbors lead out; set while facing out
5-8 Turning in toward each other, lead back; cloverleaf turn single
B1 Cross-Stitch Hey (two half heys-for-4, one on each diagonal; both begin with 1st corners passing each other, and 2nd corners going up or down the outside)
1-4 First half hey on right diagonal:
– First corners pass left, pass partner right at opposite corner, and cross the set to own side, while…
– Second corners go up or down to neighbor’s place, pass partner right at corner, pass each other left on the diagonal, and end facing out
(1s now on L-file; 2s on R-file)
5-8 Repeat to home, same roles but on other diagonal with other shoulders:
Original first corners pass right on the second diagonal, pass neighbor left at opposite corner, and cross the set to home, while…
– Second corners go up or down one place, pass neighbor left at corner, and pass each other right on the diagonal
(all home facing neighbor)
B2 1-4 Neighbors 2-hand turn 1-1/2, changing places
5-8 Circle left all four

The movements in B1 interlock like clockwork, and the challenge is for every dancer to move confidently through their path in an unusual hey. Think of each half of the hey as wedge-shaped; one leg of the wedge is on the diagonal, and the other is either straight across (for 1st corners) or up-or-down the line (for 2nd corners). Each half-hey has three actions: 1) dance the first leg of your wedge; 2) loop around someone turning the corner of the wedge; and 3) dance the second leg of your wedge.

Couples who prefer not to switch roles in the cross-stitch hey may change sides while waiting out at either end, thereby remaining a first or second corner.

Thanks to Aniela Wolkonowski, who came up with the name for the cross-stitch hey.

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Follow Me ****
August 2020
Duple minor longways
Tune: The Call by Judith Cooper (© 2006), 4 steps per bar

A 1-4 Right-file dancers, working in tandem, initiate a dolphin hey on the left file (see note): begin with 2nd diagonals passing left shoulder, switch leads twice, and finish with the tandem pair crossing back to own side with #1 in the lead (right file is progressed)
5-8 Similarly, left-file dancers initiate a dolphin hey on the right file: begin with 1st diagonals passing right shoulder, switch leads twice, and finish with the tandem pair crossing back to their own side with #1 in the lead (all are progressed)
B 1-2 Ones, a long cast up to original places while
Twos meet, lead down, and fall back to line
(3-4) Partners set and turn single
(5-6) Half poussette clockwise
7-8 Same four right-hand star once around

The heys are oriented up and down on one side of the set, as in Jack’s Maggot. Changing the lead in these dolphin heys involves “going wide” rather than “going long,” so that crowding is reduced. Each #1 dancer, when they are leading the hey, begins by splitting the dancers in the opposite line and continuing wide. Their neighbor begins by following but immediately does a tight loop around the bottom dancer, thereby taking the lead. Coming around the top of the hey it is the #2 dancer who goes wide out the side, while the original leader does a tight loop to regain the lead before crossing the set to their home side. The progression is embedded in the heys.

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Here We Go Again ***
August 2021
Duple minor longways
Tune: A Bagpipe Hornpipe

A 1-3 Ones lead down between twos and cast back
4 Ones change places across passing right shoulder
5-7 Twos lead up between ones and cast back
8 Twos change places across passing right shoulder (all are improper)
B 1-2 Following twos’ momentum, all dance up or down the line (R-file down/L-file up)
3-4 Turn over left shoulder and return
5-7 Within original fours, left-hand star
8 Turn single right
C 1-2 Second diagonals change places, first diagonals the same
3-4 Partners quick 2-hand turn
5-6 Circle left halfway, fall back a bit
7-8 Two changes of a circular hey, partners pass right to begin

Wright published two different 3/2 tunes called “A Bagpipe Hornpipe”; I particularly love this one. The original tune has six parts. I have adapted it for this 3-part dance by choosing to use only parts A, C, and F. In my notation those parts are re-named A, B, and C to make the directions clear.

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In the Moment ***
October 2020
Duple minor longways
Tune: First Parish by Andrew Marcus (November 2001)

A1 1-4 First corners back-to-back
5-8 Neighbors gate once around counterclockwise (second corners forward)
A2 1-4 Second corners left-shoulder back-to-back
5-8 Neighbors gate once around clockwise (first corners forward)
B 1-2 Maintaining hand with neighbor, fall back setting
3-4 Partners change places passing right shoulder, flip on last beat to face back in
5-8 Set and link: Taking inside hands, neighbors set and then change places turning over right shoulder (right diagonals roll through the center and end facing out while left diagonals cast up or down and end facing across) (all now progressed, but improper)
C1 1-4 Ones chase clockwise around couple above: “First around two and your partner cut through”
5-8 Twos, similarly, chase clockwise around couple below
C2 1-4 Circle left once around
5-8 Partners 2-hand turn

In the A-parts, the active corners fall back to place and then continue to fall back in the gate figure. In a sense this is a “trust fall,” and a trustworthy neighbor–who steps into the gate and reliably catches their neighbor’s hand–is important to its success. At the end of A2, dancers can move in to end close to partner before (more!) falling back in the B-part.

The chase in C1 (first for couple 1 and then for couple 2) works like this: each first corner in turn begins by chasing their partner in an orbit around the neighbor couple, but takes a short cut by slipping between those neighbors. Transitions in this dance are improved if you stay facing your partner as you slip through (somewhat like a modern “Mad Robin” chase). You are crossed over when the chase begins, but partners exchange places because of the “cut through” and so C1 ends with all on their original side. The path is similar to the first figure in Cheshire Rounds (1710), and the figure has jumped from one dance genre to another over the years. It came into southern Appalachian round dancing as “the old side door,” and from there made its way into traditional squares. Ted Sannella imported it into his contra dance New Friendship Reel, after which many other contra dance authors, including Penn Fix, Roger Diggle, and Donna Calhoun, have featured it. (I should count myself in that list as well; the same chase appears in my Triplet #7.) With Gary Roodman’s use of the figure in his now classic English country dance The Homecoming, this particular chase has come full circle.

The tune First Parish was originally composed in the key of F. I transposed it to keep the fiddlers I work with happy.

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Lady Hamilton’s Tea ****
January 2021
Duple minor longways
Tune by Jonathan Jensen

(Music in 9/8)
A1 1-6 Right-file dancers, working in tandem, initiate a hey-for-3 on the left file: #1R, with neighbor following closely, cross down to make the first left-shoulder pass at the bottom; end by returning to own side with #1R still in lead (right file is progressed)
7-8 Opposites right-hand turn; top two (original first corners) loop left out of the turn (others release hands and follow momentum clockwise to enter second hey)
A2 1-6 Left file dancers, similarly, initiate a hey on the right file: #2L, with neighbor following closely, cross up to make the first left-shoulder pass at the top; end by returning to own side (all are progressed)
7-8 Partners 2-hand turn, open up to take hands-4
(Music in 3/4)
B 1-2 In a ring-of-4, balance in; as you come out, partners release hands
3-4 Neighbors gate, ones up the center to begin; drop hands with these neighbors and take hands-4 with new neighbors
5-6 Balance the new ring in and out, neighbors release hands
7-8 Partners gate: these are “offset” gates across the dance (see note*), right-file dancers go forward to begin, and ones start the gate just ahead of twos

Written to honor Darlene Hamilton of the Historical Tea and Dance Society.

The heys are oriented up and down on one side of the set or the other. Both begin with left shoulder, and people from second diagonal places make the first pass. All four dancers participate in these heys-for-3, with two dancers working together as a unit within the hey, the leader’s neighbor following them closely throughout. Note that this is not a “dolphin hey”; there is no overtake and pass. (There is no catching up with Lady Hamilton!)

A strong turn for the first gate is important to create enough time for the transition from one ring to the next.

*The final gate figure is unusual in two ways. First, it goes across the hall instead of up and down. Also, it is “offset,” in that the ones begin just before the twos do, so that the gates interweave like gears. Think of it as similar to a half figure-8 where one dancer must go first. This helps to avoid collisions or crowding, and it also sets up the leader and follower for the tandem hey that begins the next round of the dance.

Composed January 2021, and revised August, 2020. Changes not yet road-tested.

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Newt’s News ****
June 2020
Duple minor longways
Tune: Salamander’s Tea, by Nadine Dyskant-Miller

A1 1-4 First corners orbit counterclockwise halfway into each other’s place
5-8 Partners on the side, set and turn single
9 Partners right-hand turn halfway
A2 1-4 New first corners orbit clockwise halfway
5-8 Partners across, set and turn single
9 Partners right-hand turn halfway (all are home)
B1 1-3 All single file clockwise 3/4
4-5 Partners 2-hand turn halfway and take hands in a ring-of-4
6-7 Balance the ring in and out
8-9 Turn single while moving right one place, as in Petronella
(all in progressed places)
B2 1-7 Full double figure-8, ones cross up and twos cast down to begin
8-9 Reverse turn single cloverleaf, ones turning single up and twos down

Each part of the tune is 9 bars in length. Alert dancers that the musical phrase will not necessarily be immediately apparent.

Last time through, when B2 has 10 measures, use the extra measure of music after the turn single to face across and honor partner.

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The Nuthatch ****
March 2021
Duple minor longways
Tune by Nadine Dyskant-Miller

A 1-2 Circle left halfway
3-4 Turn single left
5-6 Left-hand star to home
B 1-2 All dance forward a double one place up or down your own line
3-4 Fall back on the diagonal to cross the set (ending in partner’s place)
5-6 Fall back on the other diagonal, crossing set again
7-8 Dance forward a double to original places, face across
C1 1-4 Partners left shoulder-to-shoulder siding, turn single right to home
5-8 Three changes of rights and lefts, starting with partner
C2 1-4 Partners set and turn single
5-8 Partners 2-hand turn

The B-part imitates the way a nuthatch moves on the trunk of a tree. When falling back diagonally, always pass right shoulder. First corners back up past each other the first time, and past a former corner the second. Second corners do the opposite: back up past the former corner first, and current corner second.

At either end of the set, those waiting out can participate. Also, when at the ends of the set, some of the corners you pass might be “ghosts.” Dance through the entire pattern anyway

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Prospero’s Promise ***
February 2021
Duple minor longways
Tune: Introduzione, adapted from Oboe Concerto by Domenico Cimarosa
(4 steps per bar)

A 1-2 First corners right-hand turn once around
3-4 Same two turn out over left shoulder and orbit counterclockwise to change places while second corners right-hand turn once around
5-6 Second corners turn out over left shoulder and orbit counterclockwise to change places
7-8 Facing neighbor and taking partner’s hand: advance and retire
9-10 Twos cast down while ones lead up and turn single away (6 steps)
B 1-2 Partners 2-hand turn
3-4 Neighbors right-shoulder swirly siding
5-6 Partners left-shoulder swirly siding
7-8 Two changes of rights and lefts, starting with partner

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Take the Long View ****
November 2020
Duple minor longways
Tune: Our Cat Has Kitted

A1 1-2 First corners left-hand turn, into . . .
3-4 Dance behind your neighbor moving along the set to the place beyond them (temporarily losing partner)
A2 1-2 Second corners, similarly, right-hand turn, into . . .
3-4 Dance along the set behind the one who replaced your neighbor (partners are reunited)
B1 1-2 Partners right shoulder once around
3-4 Partners 2-hand turn, end facing down
B2 1 Ones cast up while twos lead down (meeting original neighbors)
2-4 Original neighbors mirror back-to-back, twos between ones to begin; as the figure ends, first corners turn over left shoulder to meet the next

The dancers who are not moving in each A-part (second corners in A1 and first corners in A2), should stand their ground, resisting the urge to accommodate the neighbor traveling behind them.

The A-parts result in a (temporary) double progression. In B2, dancers back-track one couple to their actual progressed place. At the ends of the set, participate where possible, even though it will sometimes be necessary to cast around an imaginary neighbor.

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Take the Oar **
June 2020
Duple minor longways
Tune by David Smukler

A 1-3 First corners right-hand turn
4 Turn single left
5-8 Neighbors on the side, left-shoulder back-to-back
9-12 Partners half poussette counterclockwise
13-15 New first corners left-hand turn
16 Turn single right
B 1-3 Circle left
4-6 Partners 2-hand turn
7-8 Cloverleaf turn single, ones down and twos up

Neutral corners may choose to participate if they wish during the A music by also turning single (bars 4 and 16).

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Retrospect ***
October 2022
Duple minor longways
Tune by Colin Hume

A1 1-4 Ones lead down between twos and cast back to place
5-8 Ones half figure-8 up through former neighbors
A2 1-4 Twos lead up between ones and cast back to place
5-8 Twos half figure-8 down through former neighbors
B1 1-4 Right-shoulder swirly siding
5-6 Turn single right
7-8 Two changes of rights and lefts, starting with partner
9-10 Partners 2-hand turn once around
B2 1-4 Circle left, drawing in at the end of the phrase
5-6 Turn single left
7-10 Left-shoulder swirly siding

At either end of the set, be prepared to dance the half figure-8 through a ghost couple.

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Up Aloft ***
January 2022
Duple minor longways
Tune: Up Da Stroods Da Sailor Goes

A 1-4 Ones lead down the center while twos go up the outside
5-6 All chassé home (ones taking two hands; twos facing across and side stepping)
7-8 Ones cast down and twos lead up
B 1-8 “Double clove hitch” as follows:
With next neighbors:
Ones half figure-8 down while twos come up outside and cross down
With original neighbors:
Ones half figure-8 up while twos go down outside and cross up

There are end effects. One way to deal with them is for couples at either end (couple 2 at the top and couple 1 at the bottom) to dance with “ghosts.” Another approach is for these end couples to do only the second half of B (bars 5-8), thereby ending improper. Then, while waiting out, they can resist the desire to cross back to original side, instead allowing themselves to be borrowed for the next B 1-4 (which crosses them back).

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Waiting for a Thaw ***
February 2022
Duple minor longways
Tune: A Wife of My Ain, Scottish folksong

A1 1 Siding with neighbors: Approach, right shoulder to right shoulder, forming a line across
2 Turn single left back to place, into…
3-4 Single file counterclockwise halfway around
A2 1 With partner across, left shoulder to left shoulder siding
2 Turn single right back to place, into…
3-4 Single file clockwise halfway around (all are home)
B1 1-3 Draw poussette clockwise halfway round
4 Two-hand turn halfway
B2 1-4 Four changes of a circular hey, tug past partner’s right shoulder to begin

Allow the draw poussette to fill all 3 bars. It might be useful to think of the path as an elongated U-shape: 3 steps moving out of the set, 3 to arc up or down, and 3 to move back into the set in new places.

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Worth the Wait ***
January 2021
Duple minor longways
Tune: Jig du dimanche après-midi, by Nicholas Williams

A1 1-4 Partners left shoulder round
5-8 Partners set and turn single
A2 1-4 Circle left halfway, balance the ring in and out
5-8 Circle left halfway, turn single left
    First corners: Second corners:
B1 1-2 Left-shoulder side-by-side siding  
3-4 Turn single right to return Left-shoulder side-by-side siding
5-6 Change places passing right Turn single right to return
7-8 Loop right to face back in Change places passing right
B2 1-2 Right-shoulder side-by-side siding Loop right to face back in
3-4 Turn single left to return Forward and pass by right shoulder
5-8 Left shoulder round each other 3/4, crossing set (to progressed place) Turn single right into home place, and cast up or down to progress

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Ganymede’s Secret ***
December 2021
Three-couple longways (if using role names, twos begin improper)
Tune adapted from an Almain by Anthony Holborne, 4 steps per bar

A1 1-2 Up a double and back
[2nd time: Right shoulder siding into line and back]
[3rd time: Arm right]
3-4 Ones cast to bottom; others follow to invert the set, twos ending wide to form a ring
A2 1-2 All into the center and back
3-4 Left shoulder round corner (at the top this is your partner; for others it is the neighbor), and face the next (turn your back on corner)
B 1-2 Starting with this person, do 2 changes of a grand chain
3-4 With the next (corner person from A2), 2-hand turn 1-1/2 and face out (threes at bottom are with partner and face down; others face out the sides with neighbor)
C 1-2 Lead out (original threes at bottom leading down, others leading out the sides), all California twirl and return
3-4 Top couple cast to bottom while bottom couple continue to lead up and turn single away at the top (ending in 3-1-2 order)
5-6 Partners set and turn single

Ends in 3-1-2 order. Those moving into or out of second place will have switched sides with partner. After three times through all are in original places.

All but the first two bars is the same each time. A1 1-2 uses standard Playford “USA” figures.

Those who go clockwise in the first grand chain will always do so, and vice versa.

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The Innocents’ Frolick ***
October 2022
Three-couple longways
Tune (The Virgin’s Frolick) in Barnes II

(Twos active)
A1 1-2 First corners right-hand turn, twos pass right
3-4 Second corners left-hand turn (see note), twos pass left
5-8 Heys-for-3 across, first corners pass left to begin
A2 1-2 Second corners left-hand turn, twos pass left
3-4 First corners right-hand turn (see note), twos pass right
5-8 Heys-for-3 across, second corners pass right to begin
(Ones active)
B1 1-2 Ones cast down and twos lead up
3-4 Ones cross passing left and loop right around one (their first corner) into lines-of-3 facing up or down
5-6 Lines set right and left
7-8 Ones right-hand turn in the center and return to first corner
B2 1-2 First corners left-hand turn until ones are in middle place improper
3-4 Ones split half figure-8 through same end couple to finish proper
5-8 Bottom four: three changes of rights and lefts (starting with partner), and turn single left

Ends in 2-3-1 order. Repeat twice more to place.

Adding a quick little turn single after the second turn in each A-part (as follows) is helpful. In A1, after twos turn their second corner by the left, that second corner turns single right out of the turn. Their partner will be starting the left-shoulder hey with the active person. The turn single both helps the active dancer know with whom to begin the hey (“Not me, I’m turning single”) and helps the second corner enter the hey smoothly. Similarly, in A2, after the twos turn their first corner by the right, that first corner turns single left out of the turn.

Loosely based on The Virgin’s Frolick (published 1710 in the Dancing Master).

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Mulled Cider ***
October 2021
Three-couple longways
Tune: Somerset Wassail, adapted by David Smukler

A 1-4 Right diagonals right-hand turn 1-1/2, changing places
5-8 Left diagonals left-hand turn 1-1/2, changing places; take hands-6
9-12 Balance the ring and spin one place to the right as in Petronella
(all are improper and across from partner in 3-2-1 order)
13-16 Ends cross the set passing right shoulders and loop right to face in while middles right shoulder round, once and a little more, to face first corners
B1 1-2 First corners clap patta-cake (own hands, corners’ rights, own hands, corners’ lefts); on final clap middles face across improper
3-4 Partners clap patta-cake with each other; on final clap, second corners face
5-6 Second corners clap patta-cake; on final clap, middles move toward proper side, into . . .
7-8 Middles cast clockwise one place up or down own side while first corners roll into middle place
B2 1-4 All set, turn single
5-8 Partners 2-hand turn

Mixer: L-file end in 2-3-1 order, R-file in 3-1-2 order. Repeat twice more to place.

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Return to Pinewoods ****
July 2021
Three-couple longways
Tune: The Champaign Jig Goes to Columbia, by Liz Carroll

A1 1-4 Top four set to partner, two changes of rights and lefts
5-8 Bottom four the same (end in 2-3-1 order; only the 1s are on original side)
A2 1-4 Top four, partners lead down and cast back; middles are in the lead throughout and end at the top
5-8 Similarly, bottom four, partners lead up and cast back, new middles lead and end at the bottom (now in 3-1-2 order)
B1 1-4 Slipping circle to the right
5-8 Slip back to the left
B2 1-4 Partners 2-hand turn (and the end couples both face down)
5-8 Ends half double figure-8 through the middles, top couple cross down and bottom couple cast up to begin (skipping or skip change step)

Ends in 3-1-2 order. Repeat twice more to place.

In the final half double figure-8, the middles (original 1s) should be aware that the other dancers must efficiently get both between them and behind them, and therefore be careful about spacing. Also, if the top dancers want a rule about who goes first, they can pass right shoulders while crossing down. This improves the flow slightly coming out of the 2-hand turn. However, it is of little importance, and dancers used to dancing in traditional gendered roles might not expect it.

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Slippery Slope ***
November 2020
Three-couple longways
Tune: The Icy Drive, by Nadine Dyskant-Miller

A1 1-6 Parallel heys-for-3, pass right shoulder at the top to begin
7-8 Ones gate counterclockwise halfway to change sides, while
Twos, turning left whenever possible, cross set passing left shoulder (see note)
A2 1-6 Parallel heys-for-3, pass left shoulder at the top to begin
7-8 Ones gate clockwise halfway to change sides, while
Twos, turning right whenever possible, cross set passing right shoulder (all are home)
B1 1-4 Top four, circle left halfway; those partners change places (keep inside hands joined and roll clockwise)
5-8 Bottom four the same
B2 1-4 Lines-of-3 fall back a double; set right and left
5-8 Come forward and partners 2-hand turn

Ends in 2-3-1 order. Repeat twice more to place.

Each couple has its own unique transition in bars 7-8 of the A-parts:

Ones- The same person (orignal #1R) goes forward in both gates

Twos- Follow momentum coming out of hey, even if it means turning farther than expected. At the end of A1 the twos’ path is counterclockwise, so…
– Before crossing, #2L loops left 3/4 to face across (almost a full turn single)
– After crossing, #2R (similarly following momentum) loops left 3/4 to face up

Similarly, at the end of A2, the twos’ path is clockwise throughout, so…
– Before crossing, original #2L loops right 3/4 to face across
– After crossing, #2R loops right 3/4 to face up
Note that the same person crosses first (or loops first before crossing) both times.

Threes can simply wait at the end of A1. Or, they may enjoy a big turn single right to flow into the second hey.

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We the People ****
November 2020
Three-couple longways
Tune: Heady Days, by Emily Askew

A1 1-2 Partners lead up and fall back
3-4 Ones cast down to middle place and then go diagonally left to form lines-of-3 facing up at the top and down at the bottom
Meanwhile, twos lead up and turn single out to the ends of the line that faces up, and threes turn single down and out to the ends of the line that faces down
5-6 Lines lead up or down, and fall back
7-8 Ones take a step forward and then cast to the right to end in middle place improper
while twos and threes 2-hand turn with partner (end facing up)
A2 1-8 Repeat A1 with ones and twos reversing roles
(end facing in, 1-2-3 order, ones and twos improper)
B1 1-2 All six, circle left halfway
3 Turn single left
4-5 Circle right
6 Turn single right
B2 1 Bottom four, right-hand star halfway (3 steps)
2 Same four, dance straight out of the set toward opposite walls, one partner chasing the other; at the end of bar 2 the one being chased flips to face partner (3)
3 Dance back into the set while facing, one moving forward and the other back
4-6 Top four repeat bars 1-3, starting again with a right-hand star halfway (9)

Ends in 3-1-2 order. Repeat twice more to place.

Composed November 2020. Not yet road-tested.

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Exposed ****
August 2020
Three-face-three, longways or Sicilian
Tune by Hieronymus Bosch & David Smukler (four steps to the bar)

A 1-2 Lines-of-3 forward a double and back
3-4 “Reshuffle and turn the line,” as follows:
  Two rightmost dancers gate 3/4, center moving forward, then release hands (4 steps)
  Original center 2-hand turn the other partner halfway (changing places) while the lone dancer turns over right shoulder; the line-of-3 re-forms facing the opposite direction from where it began (4)
5-8 Repeat bars 1-4 to end facing original direction but in new order
(if originally numbered left-to-right 1-2-3, you are now in 2-3-1 order)
B1 1-2 All six, circle left halfway
3-4 Opposites back-to-back
5-8 Turn contra corners from here: middles turn each other by right, first corner left, middles right, second corner left, end where you began
B2 1-2 Circle right halfway
3-4 Opposites left shoulder back-to-back
5-6 Lines-of-3 zig-zag to right and left to progress
7-8 New opposites 2-hand turn, ease out to lines-of-3

The gate in bar 3 of the A-part ends with 2-facing-1 in each threesome. After bar 4 the line-of-3 has been reassembled in a new order facing the opposite direction from how it began. Although described bar by bar for clarity, think of bars 3-4 as one continuous action. The same moves are repeated in bars 7-8 with someone else in the center. Those who do the 2-hand turn in the first half of the A-part will do the gate in the second half.

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Breathing Space ****
August 2020
Four-couple square: partners on the left are ones; those on the right are twos
Tune: Nonpareil, by John Krumm

A 1-3 Ones weave individually counterclockwise, in front of your partner and behind the next, halfway round the set to meet your opposite
4 Opposites right-hand turn halfway, trading places
5-7 Twos, similarly, weave counterclockwise halfway round
8 Partners left-hand turn halfway
9-12 Twos right-hand star halfway; opposites left-hand turn, folding into promenade position (begins like an open chain, but then “closes”)
13-16 Promenade halfway, finishing with two single steps (step-close, step-close)
B 1-8 (Sides face) Grand square “with breathing space”: 3 steps to meet or fall back, 3 more to turn and honor someone new, etc.
9-10 Set to current partner, right and left
11-12 Right shoulder once around the same
13-15 Ones left-hand star three-quarters
16 New partners right-hand turn halfway

Mixer: Repeat 3 times more to place. Ones progress one place clockwise each time; twos progress across and back, twice.

Three Notes about the Grand Square:
1. Using waltz footwork helps the figure stay in sync with the tune.
2. Since the twos remain either heads or sides, the ones can rely on them to know which way to go to begin the figure.
3. On the final change, honor current partner (i.e., heads do not turn on the last three counts, but sides do).

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