Note:
COMMENTS BY EDITOR usually but not always paraphrase RSCDS Manual
1992 and TAC Notes 1995. Suggestions welcome. Write Holly Fuchs,
fuchs@iastate.edu.
* No briefings in honor of RSCDS's 75th anniversary.
1.
Waltzing To Iowa
6x32W1 progressive
Doug Schneider,
Wee Hoose On The Prairie,
1994, p. 18 (devised 1993)
Couples face center of circle, nearer hands joined, W on R of
partner.
1-4
With nearer hands joined ADVANCE towards center of circle,
then RETIRE away from center of circle;
5-8
Turning towards partner to face out of the circle with
nearer hands joined ADVANCE away from center, then RETIRE
towards center of circle.
9-16
GYPSY (dance around partner back to place keeping eye contact
but no hands joined); TURN partner RH. At end retain RH with
partner & link LH with neighbor to form a large circle with M
facing in & W facing out.
17-24
All BALANCE R and L, then drop RH and 1/2 TURN neighbor LH to
again form a large circle this time with M facing out & W facing
in and all BALANCE R then L, drop RH and 1/2 TURN neighbor LH to
face partner.
25-32
Dance BACK TO BACK with partner; PASS partner RS & TURN new
partner BH to face center of circle nearer hands joined.
2.
Mrs. Stewart Sinton's Reel
8x32J2
Graded Book #12
1-8
1C+2C SET 2X; CROSS OVER to change sides using 4 SCOS with
W nearer hands joined dancing under an arch made by M.
9-16
1C+2C REPEAT bars 1-8 back to places.
17-24
1C LEAD DOWN the middle and UP to finish ready
for allemande (2C STEP IN on bar 24).
25-32
1C+2C ALLEMANDE.
COMMENTS BY EDITOR:
1-8
1M+2M & 1W+2W finish crossing by turning towards each other
to face across the set. Careful phrasing is required in order
to avoid dancing much beyond the bounds of the set.
3.
The Ladies of Dunse
8x40R3
Book 26 #11
1-8
1C LEAD DOWN for 3 steps and UP for 3 steps then CAST OFF
1 place (2C STEP UP on bars 7-8).
9-16
2C LEAD DOWN for 3 steps and UP for 3 steps then CAST OFF
1 place (1C STEP UP on bars 15-16) to finish in original
positions both couples facing down ready for ...
17-24
2C followed by 1C dance a FIG. 8 about 3C to finish with 2C
in 1st place and 1C in 2nd place.
25-32
1C+3C dance RIGHTS & LEFTS 1C finishing facing
1st Corners.
33-40
1C SET TO CORNERS pulling R shoulder back on bar 36 to finish
facing partner; 1 1/2 TURN RH back to original sides.
COMMENTS BY EDITOR
17
2W WAKE UP & MOVE! You are on the "hot seat"!
Both 1C & 2C should MOVE like they are shot from guns
as they cross diagonally down between 3C one after the
other -- 2W, 2M, 1W, 1M -- in order for 1M who is last to
finish Fig. 8 in 2nd place on M's side at the end of 8 bars
and if 2W does not move, no one else can! Suggest 2C complete
Fig. 8 in 6 bars leaving 2 bars to dance leisurely to 1st
place and ensuring that 1M has time to finish his Fig. 8
in 2nd place on own side in timely fashion!
31-32
To finish R&L 1M only BRIEFLY touches 3M's hand,
omits polite turn, and dances in to face his 1st Corner,
while 1W only BRIEFLY touches hands with 3W as
both extend their steps, 1W to face her 1st Corner
and 3W to complete a polite turn and be ready to set to 1M.
4.
*Miss Milligan's Strathspey
8x32S3
Leaflet #20
1973
Devised by the RSCDS Publication Committee to honor Miss
Jean C. Milligan and the 50th anniversary of the RSCDS.
1-8
1C+2C circle 4 HANDS ROUND to L to finish 1C facing down & 2C
facing up nearer hands joined; SET with 1C turning towards each
other to face up on 2nd setting step, then 1C CAST OFF to 2nd
place WHILE 2C DANCE UP to 1st place to face out, ready for...
9-16
2C+1C+3C dance mirror REELS-3 on own sides
nearer hands joined with partner when possible and 2C & 3C
finish by turning the long way round to places.
17-24
2C+1C+ 3C SET, 2C+1C 1/2 TURN LH to face down the dance;
1C followed by 2C LEAD DOWN LH then CROSS OVER below 3C and
CAST UP to original places.
25-32
1C+2C dance the KNOT.
5.
West's Hornpipe
4x32R4
Book 5/65 #3
1797
1-16
1C+2C+3C dance REELS-3 ON OPPOSITE SIDE AND THEN
ON OWN SIDE (cross-over reels).
17-24
1C LEAD DOWN the middle & UP turning inwards on
the last step to face 2C diagonally.
25-32
1C SET to 2C, then joining nearer hands DANCE DOWN the middle
to 4th place and turn inwards (2C+3C+4C STEP UP on bars
27-28); 4C+1C circle 4 HANDS ROUND to L.
COMMENTS BY EDITOR:
29
4M in 3rd place must be ready to dance in
IMMEDIATELY to circle 4 HANDS ROUND to L
32
4C finish in 3rd place on sides again ready to dance in towards
each other to begin the next turn of the dance.
6.
*Mrs. Stewart's Jig
8x32J3
Book 35 #1
Devised by Frans Ligtmans, Eindhoven
1986
1-8
1C SET, 1W CASTS OFF 2 places as 1M follows;
1W CROSSES below 3C & DANCES UP behind 3M
to 2nd place on M's side WHILE 1M DANCES UP the
middle to 2nd place on W's side both curving by the right
to finish facing down (2C STEP UP on bars 7-8) ready for...
9-16
2C+1C+3C GRAND CHAIN finishing with 1M & 2M facing out
ready for...
17-24
2C+1C LADIES' CHAIN.
25-32
2C+1C+3C ADVANCE & RETIRE; 1C 1 1/2 TURN RH to 2nd place
on own sides.
COMMENTS BY EDITOR:
9-16
Usual phrasing for grand chain is 1-1-2
taking hands at the beginning of each bar.
23-24
1M must remember to EXTEND HIS STEPS so
he can complete the ladies' chain & make
a polite turn & be ready to advance
while dancing 2 complete skip-change-of-steps.
7.
Peggy Dewar
8x32R3
Book 38 #1
1-8
1C SET, CROSS DOWN RH between 2C (2C STEP UP
on bars 3-4); DANCE DOWN behind 3C (1W behind
3M and 1M behind 3W), and DANCE UP the middle
nearer hands joined to finish facing 1st Corners.
9-16
1C SET & TURN 1st Corners RH to finish with 1W
between 2C facing 2W and 1M between 3C facing 3M;
1W+2C & 1M+3C 1/2 REEL-3 L shoulder across the
dance to finish with 1C passing R shoulder (short way)
to face 2nd Corners (in partner's 1st Corner positions).
17-24
1C REPEAT 9-16 with 2nd Corners EXCEPT 1W
finish between 3C facing up & 1M finish between 2C
facing down ready for...
25-32
1C 1 1/2 TURN LH to change places; 1W+2C &
1M+3C 3 HANDS ACROSS once round to finish
with 1C in 2nd place on own sides.
COMMENTS BY EDITOR:
16
Corners dance long turns to face in at end
of 1/2 REEL-3, and 2W and 3M must be ready
immediately to set to 1M and 1W respectively.
8.
Miss Nancy Arnott
5x32S lines of 3 progressive
Book 32 #5
1973
Devised by Graeme Stephens in honor of
RSCDS' Diamond Jubilee Year (50th Anniversary )
and inscribed to Miss Arnott, Kirkcaldy Branch Secretary
since 1951.
One line of 3 facing another, each with 1 man between 2 women.
1-4
Taking hands in lines of 3 all ADVANCE 1 step & RETIRE
1 step, M PETRONELLA TURN to R to finish between 2
women on their right;
5-8
Taking hands in new lines of 3 all ADVANCE 1 step & RETIRE
1 step across the dance, M PETRONELLA TURN to R to finish
in opposite M's original position.
9-16
Each line of 3 (M with opposite M's partners) dances REEL-3.
To begin each M gives R shoulder to W on his R.
At end W make a long turn to flow into...
17-24
W PETRONELLA TURN to change 1 place to the R, SET facing
diagonally inward; W PETRONELLA TURN 1 more place to the
R finishing on correct side of partner in original lines of 3
but on opposite side of dance all facing opposite to original
direction, then all join hands in lines of 3 and SET.
25-28
All dance BACK TO BACK with person opposite taking hands
for the 1st step forward & the last step backward;
29-30
All ADVANCE 1 short step, make a slight BOW or CURTSEY, then...
31-32
Still holding hands in lines of 3, each M RAISES LH to form
an arch with LH partner WHILE she DANCES 1/2 CIRCLE CW
as RH partner DANCES 1/2 CIRCLE CCW under arch & M
TURNS 1/2 ROUND under own L arm following RH partner
to finish in original lines of 3 facing in original directions
but facing different lines of 3 (lines of 3 originally facing
now have backs to each other).
COMMENTS BY EDITOR:
A very welcoming gracious dance.
9.
*The Duke of Atholl's Reel
8x32J2
Book 16 #3 Skillern
1776
1-8
With nearer hands joined 1C+2C SET, RIGHT HANDS ACROSS 1/2;
SET, LEFT HANDS ACROSS 1/2 back to original places.
9-16
1M+2W SET ADVANCING, TURN RH back to place; 1W+2M REPEAT 9-12.
17-24
1C CROSS RH, CAST OFF 1 place (2C STEP UP on
bars 19-20); 1/2 FIG. 8 about 2C.
25-32
2C+1C RIGHTS & LEFTS.
10.
Argyll Strathspey
8x32S3
Book 35 #5
1985
Devised by Roy Goldring & inscribed to Bob Campbell of
Oakville, Ontario, d. 1993, whose ancestors hailed from
Argyll. Bob devised many SC dances and new formations,
including the Tournée.
1-8
1C+2C+3C 1/2 TURN RH remaining in center of dance,
then releasing hands & pulling back R shoulders DANCE OUT
to partner's places on opposite sides; REPEAT 1-4 back to
original places.
9-16
1C+2C+3C circle 6 HANDS ROUND & BACK to finish with
1C & 3C facing each other up and down the dance.
17-24
1C+3C RIGHTS & LEFTS up and down the dance finishing
in original places.
25-32
1C+2C TOURNÉE to change places.
Note: On 2nd turn of the dance, 1C finish in 3rd place
& step down on bars 1-2 of the next turn, as 4C dance
up 1/2 turning RH.
COMMENT BY EDITOR:
1-8
Spiral effect.
11.
*Triumph
4x24R4
Book 1 #2
Introduced by Nathaniel Gow
1808
1-8
1C LEAD DOWN the middle & UP to finish with 1M passing
1W in front to him to present her to 2M as 1M dances up
to the top and turns to face down.
9-16
1W+2M DANCE DOWN the middle nearer hands joined
with 1M following to finish 2M+1W+1M FACING UP
with 1M+2M FORMING AN ARCH behind 1W's head;
then 1W with 2M+1M DANCE UP the middle IN TRIUMPH
to finish with 2M in own place & 1C at the
top facing opposite sides BH joined ready for...
17-24
1C "TRIUMPH" POUSSETTE* to finish in 4th place
(2C+3C+4C STEP UP on bars 23-24).
* 17 Quarter Turn
18 Travel Down
19 Quarter Turn
20 Quarter Turn
21 Travel Down
22 Travel & Turn
23 To Your Own Side Turn
24 Fall Back
Or:
TURN
DOWN
TURN
TURN
DOWN
TURN
TURN
BACK
COMMENTS BY EDITOR:
8
1W joins NEARER hands with 2M (1W's RH & 2M's LH)
as 1M dances up to 1st position in center to face down.
12
To turn & form the arch, 1W & 2M turn towards each other
WHILE 1M dances down and turns towards 1W then 1W
retains 2M's LH with her RH as she crosses her arms
to give LH to 1M WHILE M join hands nearest to 1W
(1M's LH, 2M's RH) & raise them as high as possible
to form an arch behind 1W's head;
16
1C finish at the top of the set in the center on opposite
sides facing each other, i.e., 1W has her back to M's side,
1M has his back to W's side, hands joined as for usual
fast-time poussette.
17-24
The above rhythmic mantra for the "TRIUMPH" POUSSETTE was
suggested by Martha Veranth (veranth@utah-inter.net) 1998.
The above 1-WORD/bar mantra was suggested by
(guess who?)...Ron! It IS easy to remember!
12.
The Summer Assembly
1x88R4 square
Book 35 #8
Roy Goldring
1985
Devised as a tribute to RSCDS Summer School at St. Andrews.
1-8
All TURN partners RH; W DANCE clockwise 1 place
outside set as M stand still facing CCW, all SET.
9-16
REPEAT 1-8.
17-24
All TURN partners LH; M DANCE counterclockwise 1 place
outside set as W stand still facing CW, all SET.
25-32
REPEAT 17-24. All finish halfway round set.
32-40
1C+3C (heads) RH ACROSS; 1M followed by 1W & 3M
followed by 3W CHASE clockwise outside set back to
original places.
41-48
2C+4C (sides) REPEAT 32-40.
49-56
W FIG. 8 about partner & corner, dancing in front of
partner to begin.
57-64
M FIG. 8 about partner & corner, dancing in front of
partner to begin.
65-72
1C+3C (heads) CHANGE PLACES with 3C making arch,
SET; REPEAT 65-68 with 1C making arch.
73-80
2C+4C (sides) REPEAT 65-72.
80-88
All circle 8 HANDS ROUND & BACK.
13.
*Sugar Candie
8x32S3
Book 26 #9
1-8
1C SET, CAST OFF 1 place (2C STEP UP on bars 3-4),
CROSS OVER passing L shoulders & DANCE around 1st
corners with R shoulders to finish back to back in the
middle with 1M facing down and 1W facing up.
9-16
1W+2C & 1M+3C circle 3 HANDS ROUND to L at end of
which 1C pull R shoulders back to face each other in
the middle with 1M facing up and 1W facing down;
1C SET, 3/4 TURN BH to finish back to back facing
1st Corners.
17-24
1C TURN CORNERS & PARTNER to finish facing 1st Corners.
25-30
2M+1W+3M & 2W+1M+3W dance REELS-3 L shoulder
on the sides, then...
31-32
1C CROSS OVER RH to own sides.
COMMENTS BY EDITOR:
16
As 1C open out to finish back to back 1M retains 1W's
LH in his RH to assist her to face her 1st Corner.
24
Note:
The word "facing" is really key here. It means exactly
that: 1C finish with heads facing 1st corners. However,
the bodies are doing something else: 1M's body is prepared
to dance down & 1W's up curving to the L. The eye contact
with 1st corners lets the corners know 1C is dancing with
them and the set of the shoulders indicates which shoulder
is to be passed. The only problem with this non-verbal
communication is that it cannot convey that this reel of 3
is on the sides rather than across! That has to be remembered
or indicated another way.
Corners are important. 2C should be facing out and down while
3C faces out and up by the end of bar 24. This lets 1C know that
1st corners (the only corners 1C can see) have remembered the
upcoming reel when 1C sees 1st Corners have turned their bodies
out at the end of bar 24 and in case the 1C has forgotten what
comes next this action by 1st corners will remind the 1C of the
reel. In other words, the corners anticipate the reels so that
at the end of bar 24 2C is facing out and down and 3C is facing
out and up.
Note also the angle which the body turns out is less for
those who go through the middle of the reel 1st, e.g. 2M &
3W turn their bodies out 30 degrees, say, while 2W & 3M turn
theirs out 45 degrees, which allows 2M & 3W to go through
the middle of the reel before 3M & 2W respectively.
Thanks to Ron again for pointing out the importance of preparing
corners for reels of 3 so their bodies are turned at the end of
the previous bar ready to dance in the correct direction.
Note:
Those who have SC danced a long time do all of the above naturally.
Those of us who came to SCDancing late often need to have such
nuances pointed out to us!
14.
Scotland (corrected May 8)
8x32J2
Book 31 #6
Playford, "The Dancing Master"
1728
1-8
1W+2W & 1M+2M TURN RH on the sides;
then dance BACK TO BACK with partner.
9-16
1C+2C TURN RH with partner;
1W+2W & 1M+2M dance BACK TO BACK on the sides.
17-24
1M+2M DANCE ACROSS the set passing outside their partners,
joining nearer hands DANCE BETWEEN 1W+2W back to places;
SET to each other & CHANGE PLACES LH.
25-32
1W+2W DANCE ACROSS the set passing outside their partners,
joining nearer hands DANCE BETWEEN 1M+2M back to places;
SET to each other & CHANGE PLACES LH.
COMMENTS BY EDITOR:
(A) The pattern of the dancing can be described as:
1-8
dance on the SIDES; dance ACROSS.
9-16
dance ACROSS; dance on the SIDES
.
17-24
MEN.
25-32
WOMEN.
(B) Dancers were given the option at St. Andrews summer
1997 of doing long (following the natural curve) (polite) or
short turns at the end of each turn or when changing places.
If you don't get dizzy or tired it IS fun to do the longer
turns for it follows the natural motion of the body.
4
1W, 2M
12
1M, 2W
32
1W (& 3W dancing as 2W at end of 2nd turn of the dance)
(C) This dance is a little more CHALLENGING for W
than M. There are two reasons.
1st, it is the SURPRISE that W experience after they
finish 1 rep and discover they should IMMEDIATELY dance again
while M rest on 25-32 and have a chance to collect their
thoughts!
The 2nd reason only applies if W do long turns.
In that case W have a HARDER TRANSITION than M. When M dance
their 3rd 8 bars per turn of the dance, 17-24, they must make
the transition from bar 16 to bar 17. This requires a 1/4 turn
to go from back to back to dancing across the set. When W dance
their 3rd 8 bars per turn of the dance, 25-32, they must
make the transition from bar 32 to bar 1 of the new turn of the
dance. This requires, if W dance long turns, a complete turn
to go from changing places LH to turning RH. This is more
challenging than the 1/4 turn which M dance. If W do NOT dance
long turns on bar 32, then they make no turn at all and the
dancing is LESS challenging for W than for M.
15.
The Minister on the Loch
3x32S3 exactly
Roy Goldring,
24 Graded & Social Dances #15
1-8
1C+2C POUSSETTE RIGHT ROUND.
9-16
1C DANCE DOWN, TURN BH once round; DANCE UP,
TURN BH to finish in center facing up.
17-24
1C+3C dance DOUBLE FIG. 8 about standing 2C.
To begin 1C cast off as 3C cross up. 1C finish facing out.
25-28
1W+2W 1 1/2 TURN RH while 1M+2M 1 1/2 TURN LH
to change places ("handy hands"). 1C finish facing in as
3C turn to face out.
29-32
1W+3W 1 1/2 TURN LH while 1M+3M 1 1/2 TURN RH
to change places ("handy hands").
16.
The Montgomeries' Rant
8x32R3
Book 10 #1
Castle Menzies MMS.
1749
1-8
C1 CROSS RH, CAST OFF 1 place (2C step up on bars 3-4);
CROSS LH, 1W CASTS UP while 1M CASTS OFF 1 place to finish with
1W between 2C facing 2M and 1M between 3C facing 3W ready for...
9-16
1W+2C & 1M+3C REELS -3 R shoulders across the dance. 1C finish
with nearer hands joined facing 2W with 1W on L of partner.
17-24
1C SET to 2W, 3M, 3W, 2M and finish back to back
facing 2nd Corners.
25-30
2M+1W+3M & 2W+1M+3W REELS-3 R shoulder on sides.
31-32
1C CROSS RH to own sides.
COMMENTS BY EDITOR:
24
1M helps 1W as she pulls her L shoulder back.
Note:
As in Sugar Candie, 1C ends facing corners but the
body is prepared to move in a slightly different direction.
In this dance 1C faces 2nd Corners while 1M's body is prepared
to move up the set and 1W's down curving to the R.
Extra
The Whistling Wind
8x32R3
Book 35 #3
Devised by Elizabeth Goosen,
Winnipeg Branch
1984
1-8
C1 SET, CAST OFF 1 place (long cast) (2C step up on
bars 5-6) and SET ADVANCING to face 1st Corners.
9-12
1C+1st Corners 1/2 REELS -4 1C passing R
shoulders to face 2nd Corners;
13-16
1C+2nd Corners 1/2 REELS -4 to finish with 1C back
to back in middle of dance 1W facing down & 1M facing
up & 3C in 1st place & 2C in 3rd place on opposite sides.
17-24
3C+1C+2C DOUBLE TRIANGLES facing up and down the dance
with 1C finishing in 2nd place on own sides.
25-32
3W+1C+2M 1/2 DIAGONAL RIGHTS & LEFTS;
3M+1C+2W 1/2 DIAGONAL RIGHTS & LEFTS.
COMMENTS BY EDITOR:
17-24
Width of set should be a little less than usual to help
position the double triangles.