MUSIC. MOVEMENTS. FORMATION. COUNTRY GARDENS (HANDKERCHIEF DANCE). Once to yourself. Ju. last half-bar. Column. A1. Down-and-back, Ju. " Up-and-back, j. (forming Fr.). Col. to Front. B1. Bars 1 to 4. Hand-striking as per Notation Front. (see p. 58). Bars 5 to 8. Half-chain. Column. Bars 9 to 12. Hand-striking. Front. Bars 13 to 16. Half-chain. This completes the Column. Chain. C1. Chain. Column. B2. Bars 1 to 4. Hand-striking. Front. Bars 5 to 8. Hand-striking, repeated. " A2. Cross-over. " B3. Bars 1 to 4. Hand-striking. " Bars 5 to 8. Hand-striking, repeated " C2. Back-to-back. " B4. Bars 1 to 4. Hand-striking. " Bars 5 to 7. Hand-striking, repeated. Beginning " of bar 5, leader calls "All in." Bar 8. Beat 1, all j. (giving Col. Column. formation). Half-bar, all throw up hands. ALL IN.



MUSIC. MOVEMENTS. FORMATION. CONSTANT BILLY (STICK DANCE). Once to yourself Partners tap across, last half-bar. Column. A1. Down-and-back, Ju. " Up-and-back, j. (forming Front). Col. to Front. Partners tap at half-bar in bars 4 and 8. B1. Bars 1 to 4 Tapping (see diagram, p. 54). " Bars 5 to 8 Half-Chain. Tap on half-bar in Column. bar 8. Bars 9 to 12 Tapping, as in first 4 bars. Front. Bars 13 to 16 Complete Chain. Tap on last Column. half-bar. A2. Chain. Tap at half-bar in bars 4 " and 8. B2. Bars 1 to 4 Tapping as before. Front. Bars 5 to 8 Tapping as before. " Bars 9 to 16 Cross-over. Tap at half-bar in " bars 12 and 16. A3. Bars 1 to 4 Tapping as before. " Bars 5 to 8 Tapping as before. " B3. Bars 1 to 8 Back-to-back. Tap as in Chain, &c. " Bars 9 to 12 Tapping as before. Front. Bars 13 to 16 Tapping as before; but in bar 14 " leader calls "All in," and in bar 16 all j. (to Col.), and tap across Column. on last half-bar, holding sticks as at the beginning. ALL IN.



MUSIC. MOVEMENTS. FORMATION. TRUNKLES (CORNER DANCE). Once to yourself Ju, last half-bar. Column. A1. Down-and-back, Ju., Up-and-back, Column j. (forming Fr). to Fr. B1. (Corners). (1st time). Nos. 1 and 6 advance at 4/3 step, Front. Bars 1 to 8 beginning with the left foot, so that they are face to face at the end of bar 3. Bar 4 At beginning, Nos. 1 and 6 stamp their right feet. Nos. 1 and 6 raise and swing their right feet and on half-bar, strike them together, sidelong; then step briskly backward to their places, making room for Nos. 2 and 5. B1. (Corners). (2nd time). Nos. 2 and 5 do precisely as Nos. 1 and 6 in B1, 1st time. B1. (Centres). (3rd time). Nos. 3 and 4 do precisely as Nos. 1 Front. and 6 in B1, 1st time. C1. (Capers). (1st time). Nos. 1 and 6 advance at 4/3 step; " Bars 1 and 2 pass in centre, right shoulders touching, and get to each other's places. Bar 3 Nos. 1 and 6 turn about, inward " and to the right, at 4/3 step. Bar 4 Nos. 1 and 6 advance at 4/3 step " until they come face to face, but do not touch or pass. Bar 5 Nos. 1 and 6 retire, at 4/2 step, to " opposite corners. Bar 6 Beginning, Nos. 1 and 6 reach " opposite corners. Half-bar, Nos. 1 and 6 Ju. Nos. 1 and 6 have now changed corners. C1. (Capers) (2nd time). Nos. 2 and 5 change corners as " Nos. 1 and 6 in C, 1st time. C1. (Capers) (3rd time). Nos. 3 and 4 change places as " Nos. 1 and 6 in C, first time. A1. (repeat). Chain. Column. B1. (repeat). As before, with the difference only Front. (3 times). that pairs start with right foot so that, in bar 4, they stamp and strike together the left feet. C1. (repeat). As before, All change places Front. (3 times). again, returning, therefore, to original stations. A2. Cross-over. " B2. As in B1. Pairs start with left " (3 times). feet, and stamp and strike right feet in bar 4. C2. (Capers). (3 times). As in C1, except that pairs, in " Slower, except changing places, step rather in last two higher to the slower music, also bars, played in the last two bars of normal in original time. The High Step is to be time. reserved for the Slow Capers in C3, and repeat. A2. (repeat). Back-to-back. " B2 (repeat). As in B1 (repeat), pairs start with " (3 times). right feet so that, in bar 4, they stamp and strike the left feet. C2 (repeat). (3 times). As in C2. Pairs re-change. " Capers. Slower. A3. Cross-over. " B3. As in B1 and B2. Pairs start with " (3 times). left feet, and stamp and strike right feet. C3 (Capers). (3 times). As in C1, pairs change places. Bars 1, 2, 3, 4 In these the step is 4/1, and High " in each really as high as possible. repetition (very slow). Bars 5 and 6 In these the pairs retire, after Front. in each meeting in centre, at 4/2 step, repetition lifting the feet as high as (presto). possible, and as quickly. The greater the contrast between these two quick bars and the preceding slow ones, the better the effect. A3. (repeat). Back-to-back. " B3. (repeat). As in B1 and B2 (repeats), pairs " (3 times). start with right feet, and stamp and strike left feet in bar 4. C3. (Capers) Very slow. As in C3. Pairs re-change to " (Repeat). original places. (3 times). At the beginning of bar 5, in final repetition of the music, leader calls "All in," when all draw together into Ring, throw up the Fr. to Ring. right hands, raise the right feet, and Call. ALL IN.



MUSIC. MOVEMENTS. FORMATION. RIGS O' MARLOW (STICK DANCE). Once to yourself Tap sticks on last two beats of Column. bar 4. A. (1st time). Step 4/2 throughout "A" music in " all repetitions. Down-and-back twice. Partners tap sticks across on last " two beats of bars 4 and 8; but on making last tap but one, j. Col. to (forming Fr.), so that final tap Front. is given in Front formation. B. (1st time). Double-tapping. (For instructions, Front. see diagram, p. 55). A. (2nd time). Chain. Tap sticks as in A, 1st " time. B. (2nd time). Double-tapping, as in B, 1st time. " A. (3rd time). Cross-over. Tap sticks as in A, 1st " time. B. (3rd time). Double-tapping, as in B, 1st time. " A. (4th time). Back-to back. Tap sticks as in " A, 1st and 2nd time. B. (4th time). Double-tapping as in B, 1st and " 2nd time. In bar 7, leader calls "All in," whereupon all j., giving Col. formation, in which final Column. tap is made. ALL IN.



MUSIC. MOVEMENTS. FORMATION. BLUFF KING HAL (HANDKERCHIEF DANCE.) Once to yourself None. Front. A. Bars 1 to 4 Advance slowly, until files are face " to face. On half-bar of bar 4, partners nod to one another (see instructions, p. 57). Bars 5 to 8 Retire to original position. Front B. Bars 1 to 4 Mark time. " Bars 5 to 8 Advance and nod as before. " C. Bars 1 to 4 Retire. " Bars 5 to 8 Mark time. Files link arms in last " bar, and remain linked until told to loose arms. A. Bars 1 to 4 Advance as before, nod. " Bars 5 to 8 Retire. " B. Bars 1 to 4 Mark time. " Bars 5 to 8 Advance as before, nod. " C. Bars 1 to 4 Retire. " Bars 5 to 8 Loose arms. Files turn very slowly " about until they are reversed. A. Bars 1 to 4 Retire, until partners' backs are all " but touching. Bars 5 to 8 Advance to original position. " B. Bars 1 to 4 Mark time. " Bars 5 to 8 Retire as before. " C. Bars 1 to 4 Advance as before. Front. Bars 5 to 8 Mark time. Link arms in last bar, " and remain linked until told to loose arms. A. B. Go through same movements, " linked, as in preceding A and B. Loose arms at end of B. C. Files extend into single line, facing Line. music. To do this, Nos. 1 and 2 advance; Nos. 3 and 5 follow No. 1; Nos. 4 and 6 follow No. 2. When all are in line, with Nos. 1 and 2 at wings, Nos. 5 and 6 in centre, all face music. Distances between dancers to be kept the 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. Mark time, advance and retire " linked, and mark time, as in preceding A and B. In last bar, loose arms and join hands. C. Form into Ring: Nos. 1 and 2 Ring. joining hands in last bar. A. } (8 bars), } Move to right, dancers making the " and B. } complete circle. (Bars 1 to 4). } B. } Bars 5 to 8, } Move to left, dancers nearly " and } travelling round circle again. C. } Bars 1 to 4. } C. Bars 5 to 8 Nos. 5 and 6 loose hands. No. 5 Two Rings. joins hands with No. 1, and No. 6 with No. 2, forming two rings, one to each file. Each ring will form round about the line of position of its numbers when in file. A. } (8 bars) } Rings move to right, as single Two Rings. and B. } Ring previously, but making Bars 1 to 4. } double circuit. B. } Bars 5 to 8. } Rings move to left, as single Ring " and } previously, nearly double circuit. C. } Bars 1 to 4. } C. Bars 5 to 8 Rings break up and re-form line of Two Rings 6 as before. to Line. A. B. C. Line mark time, advance, retire, Line. &c., as before, link arms in last bar of C. A. B. C. Line as before, linked. Last 4 bars Line. of C, break into files, in original position in Front, but reversed Front. as before. A. B. C. Files reversed, mark time, retire, " advance, &c., as before. Link arms in last bar of C. A. B. C. Files, reversed, mark time, retire, " advance, &c., as before, arms linked. Loose arms, and turn slowly about in last 4 bars of C, forming Front. A. B. C. Mark time, advance, nod, &c., as " before. Link arms in last bar of C. A. B. C. Mark time, advance, &c., with " linked arms, as before. At the call of "All in," the dance ends quietly on the last four bars, mark time, of C.



MUSIC. MOVEMENTS. FORMATION. HOW D'YE DO (CORNER DANCE). Once to Ju. last half-bar. Column. yourself. A. (1st time). Down-and-back, Ju. Up-and-back., Column to j. (forming Fr.). Front. B. (1st time) This is the Challenge. Nos. 1 and Front. (Corners). 6 advance and shake hands, as Bar 1. described (see p. 58). Bar 2. Nos. 2 and 5 the same. " Bar 3. Nos. 3 and 4 the same. Front. Bar 4 and 5. Nos. 3 and 4 pause (see p. 58). " A. (2nd time). Chain. Column. B. (2nd time) This is the Fight. Nos. 1 and 6 Front. (Corners). advance and square up, as Bar 1. shown in description (see p. 58). Bar 2. Nos. 2 and 5 the same. " Bar 3. Nos. 3 and 4 the same. " Bars 4 and 5. Nos. 3 and 4 pause as before. " A. (3rd time.) Cross-over. " B. (3rd time) This is the Reconciliation, and " (Corners). goes precisely as in B, 1st time. A. (4th time). Back-to-back. " B. (4th time) This is Good Fellowship, and goes " (Corners). precisely as in B, 1st and 3rd time. A2. Cross-over. As usual, up to bar 7, " when leader calls "All in," whereupon all close inward into Ring in centre; throw up hands, Ring. raise right feet on last half-bar, and Call. ALL IN.



MUSIC. MOVEMENTS. FORMATION. SHEPHERD'S HEY (STICK OR HANDKERCHIEF DANCE). Once to Ju. last half-bar. Column. yourself. A1. Down-and-back, Ju. " Up-and-back, j. (forming Fr.) Col. to Fr. B1. Tapping (or Hand-clapping). Front. (See p. 59.) A2. Chain. Column B2. Tapping (or Hand-clapping). Front. A1. (2nd time). Go-and-come. " B1. (2nd time). Tapping (or Hand-clapping). " A2. (2nd time). Back-to-back. " B2. (2nd time). Tapping (or Hand-clapping). " A3. Go-and-come. j. on last half-bar Fr. to Col. (to Col.). To extend, repeat A1, B1, A2, B2 (2nd time). A3. Dance at 4/3 quick-step, mark time Column. (repeat). (that is, in position); left hand (Presto). hanging loose, until last half-bar, when it is thrown up. Right hand holds stick across the body, the stick slanting upward towards the right shoulder. Two bars from end leader calls "All in." All Ju. on last half-bar, and throw up both hands. ALL IN.



MUSIC. MOVEMENTS. FORMATION. BLUE-EYED STRANGER (HANDKERCHIEF DANCE). Once to yourself. Ju. last half-bar. Column. A1. Down-and-back, Ju. " Up-and-back, j. (forming Fr.) Col. to Fr. B1. All dance at 4/3 step, mark time; Front. Bars 1 to 8. swinging hands back and forth together in time. Bars 7 and 8 to be danced in 4/2 step. B1. Chain. Column. Bars 9 to 16. A2. As previously in B1, bars 1 to 8. Front. B2. Bars 1 to 8. Cross-over. " B2. Bars 9 to 16. As previously in B1, bars 1 to 8. " A1. (2nd time). Back-to-back. " B1. Bars 1 to 8. As previously in B1, bars 1 to 8, " (2nd time). until bar 7, when leader call "All in." All then draw into Ring in centre, throw up hands Fr. to Ring. on half-bar of bar 8, and Call. (To extend this dance to full Ring. length of music, see note p. 50.) ALL IN.



MORRIS OFF.

This, as the name denotes, is the tune to which the dancers step as they leave the scene—be it stage, or high road, or village green—of their performance. Its execution is very simple, and there is no limit to the number of times the eight-bar measure may be played—or rather, the limit is set according to the fancy of the leader, for he may, if he pleases, and if the audience manifests no impatience, lead his side back and forth in a serpentine track, round and round for ever so long, till finally they wind from the scene.

The step is the 4/3 step throughout, but with a difference. It is more of a plod, with less of stamping and much less lifting of the feet. Morris Off, danced in the traditional manner, gives one the impression of a company agreeably tired, but pleased and comfortable, having rollicked to their hearts' content, and to the contentment of the lookers-on; and being now upon the way to supper, and to bed. Of course, if they be still exuberant, they may show it, and stamp their lustiest; still a demurer step will usually suggest itself as the more appropriate. This quieter manner is best described as almost a slow, very gentle trot, the steps little longer than the foot—left, right, left; and then, on the fourth beat, not a hop, but a tap with the heel.

As for the movements. After "Once to yourself," the side marks time for 6 bars, and makes a complete right turn, slowly, in bars 7 and 8; then the leader, with Nos. 3 and 5 behind him, starts forward as described, Nos. 2, 4 and 6 meanwhile marking time. As No. 5 draws level with No. 2, he falls in behind, and Nos. 4 and 6 in order after him.

The side is now going slowly forward, in the manner of "Follow my leader." In every repetition of bars 7 and 8, all make a complete right turn, as already described, so that at the repeat of the first bar all are again facing in the course the leader shall have set.

The course will be set according to circumstances, and the position of exit, if in a room; or, if in the open, the leader will wind—or in the old manner of saying, he will "hey"—to some chosen point for quitting the scene.

To hey was to wind in and out and round about—though the term has many meanings. That is the leader's business: to lead the side across and back again, all turning together in the last two bars, and back and across again, or round about occasionally, as long as he may please.

Suppose more than one side has been dancing; then the leading side will start as already described, the other, or others, falling in as may have been previously arranged.

Morris Off, smoothly and quietly danced, with its strange monotony, has a fascination all its own. It is farewell, with no sorrow in it; good-bye, but with no dread of loneliness to-morrow; somehow, one cannot tell how, all the wholesomeness of the Morris, and of the folk that sent it down to us, and are with us yet, is in this dance. When the dance is over, and the bells quiet, there is neither surfeit nor exhaustion. Morris Off is like to make one think of sound sleep and clear awakenings.

THE END.