Madawaska Strathspey A 32 bar strathspey for 3 couples in a 4 couple set Craig Williams, March 2024
1 – 8 1st couple dance a ½ figure of eight on their own sides. Begin by dancing in and down. Take nearer hands when they meet between the 3rd couple, dance up to the top and cast off to 2nd place on own sides, 2nd couple stepping up on bars 7 & 8
9 – 16 2nd, 1st & 3rd couples dance a 3 couple Espagnole. 9 – 10 2nd man & 3rd woman cross to opposite sides. 2nd & 1st women giving right hands, cross to opposite sides, 1st woman passing in front of 2nd woman. 1st & 3rd men giving right hands, cross to opposite sides, 1st man passing in front of 3rd man 11 – 12 Repeat bars 9-10 from new positions 13 – 14 Repeat bars 9-10 from new positions. The dancers should finish on opposite sides in order (3, 1, 2) across from their partners 15 – 16 All ½ turn partners with the right hand, finishing ready for allemande.
17 – 24 3rd, 1st & 2nd couples dance a allemande.
25 – 32 Circle 6 hands round & back.
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Waterlily Ballet A 32 bar reel for 3 couples in a 3 couple set Jayne Irwin, May 2024
1 – 8 1st couple dance a figure of eight around the 2nd & 3rd couples on the sides. 1st couple begin by dancing out & down.
9 – 16 1st, 2nd & 3rd couples dance a mirror reel of three on the sides. Right shoulder on the women;s side, left shoulder on the men’s side. 1st couple dance out & down, 2nd couple in and up, 3rd couple out & up
17 – 20 1st man with 2nd man turn 1 ½ times with the left hand. 1st woman with 2nd woman turn 1 ½ times with the right hand
21 – 24 1st man with 3rd man turn once round with the right hand. 1st woman with 3rd woman turn once round with the left hand
Another Costco inspired dance. While watching the graceful ballet of parallel twirling of forklifts parting their separate ways at the top of the set. I’m always amazed they don’t crash. The same as waterlilies.
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Don’t Make Me Stop, I’ll Get Lost Rhonda Raye, RSCDS Atlanta Branch Celebrating 40 Years of Dancing Memories 32-bar reel for three couples in a three-couple longwise set
1 – 2 1st couple crosses down as 2nd couple steps up (no hand given).
3 – 4 1st couple turns 2nd couple three-quarter way round by left hand women’s side and right hand on the men’s side. All finish in a line across facing down, 1st man with his partner on his right.
5 – 8 1st and 2nd couples in line dance down the middle for 4 bars and on bar 7 1st couple takes the lead with 2nd couple behind still facing down.
9 – 12 2nd couple followed by 1st couple dance up to finish 2nd couple in first place on own sides and 1st couple in second place on opposite sides.
13 – 20 2nd and 1st couples dance a ladies chain.
21 – 24 1st couple dance a half turn and twirl while the 2nd and 3rd couples change places on the side and then set for one bar to that person just passed and then set for one bar across the set to partner finishing 3, 1, 2.
25 – 32 All three couples circle six hands round and back.
Repeat with a new top couple.
Note: The figures “down the middle and up” and “ladies chain” fall across phrases.
Devised by Rhonda Raye in memory of Jane Thomaston, known as “Grandma Jane” to many of her dancing friends.
Campbell’s Frolic RSCDS Book 15 32-bar jig for three couples in a four-couple longwise set
1 – 2 1st and 2nd couples set. 3 – 6 1st and 2nd couples dance right hands across once round. 7 – 8 1st couple cast off one place and 2nd couple dance up to first place.
9 – 16 1st couple repeat bars 1-8 with 3rd couple, dancing left hands across on bars 11-14.
17 – 24 1st couple set, lead up to the top and cast off one place. 3rd couple step down on bars 19-20.
25 – 32 2nd, 1st and 3rd couples dance six hands round and back.
Repeat, having passed a couple.
David Rutherford: Compleat Collection of 200 of the most celebrated Country Dances both old and new …Vol 1, London, c. 1755. Original tune: Campbell’s Frolic (Rutherford) Music: Eileen Watts Reel by Luke Brady.
I’ll Gang Nea Mair Tae Yon Toon RSCDS Book 15 40-bar strathspey for three couples in a four-couple longwise set
1-8 1st and 2nd couples dance right hands across and left hands back. 9 – 16 1st couple lead down the middle for three steps, lead up to the top of the set and turn with the right hand once round to finish in original places.
17 – 24 1st, 2nd and 3rd couples dance a grand chain.
25 – 28 1st, 2nd and 3rd couples set and, giving right hands, cross over.
29 – 32 1st, 2nd and 3rd couples repeat bars 25-28 back to places.
33 – 36 1st and 2nd couples set twice and, on the second setting, advance to form a diagonal line, 1st woman and 2nd man back to back. 1st and 2nd couples join both hands with partner.
37 – 40 1st and 2nd couples dance a half poussette.
Repeat, having passed a couple. T Wilson: Analysis of the London Ballroom, 1825. Original tune: Mr Patrick Duff Junior’s Strathspey (D Grant)
I’ll gang nae mair tae yon town, O, never a’ my life again; I’ll ne’er gae back tae yon town To seek anither wife again.
These are the old words to a tune which appeared in Robert Bremner’s Scots Reels (1757), iin James Oswald’s Caledonian Pocket Companion (1759), and in James Aird’s First Book (circa 1784).
Robert Burns used this widely-known song as the basis for two poems and both were published in James Johnson’s The Scots Musical Museum, Volume 5.
The first, “I’ll Ay Ca’ in by Yon Town”, was written by Burns for his wife, Jean Armour (1767–1834), whom he at long last married in 1788.
In regard to the second, “O Wat Ye Wha’s in Yon Town”, Stenhouse said: “Both of the songs were composed in honour of ‘His Jean’, afterwards Mrs Burns.” This is not entirely true for the second song was written for Jean Lorimer, a friend of Burns for nearly all of his life and whom Burns called “Chloris”. Described by the poet as “one of the finest women in Scotland”, he wrote at least twenty-four songs in her honour. Typical of Burns, he changed the name “Jean”, which occurs several times in the song, to “Lucy” and sent a copy of “O Wat Ye Wha’s in Yon Town” to Lucy Johnstone Oswald, a distinguished amateur composer, a celebrated beauty and Burns’ “imcomparable woman” who was married to Richard Oswald of Auchincruive.
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Blue Moon Rendezvous 32 bar jig for 3 couples
1-4 1st couple set and cast off one place, 2nd couple step up on bars 3 and 4.
5-8 1st couple set and turn three quarters round, giving left hands and end in the center, 1st man facing up, 1st woman facing down. Meanwhile, 2nd and 3rd couples turn once round, giving left hands and end facing out on own sides.
9-16 2nd, 1st and 3rd couples dance left shoulder reels of three on own sides. 1st man passes left shoulder with 2nd man and 1st woman passes left shoulder with 3rd woman to begin. 1st couple finish the reel by dancing towards each other through 2nd place, pulling back right shoulder to end back to back in the center facing own sides. 2nd and 3rd couples dance long loops at end of reels.
17-22 2nd, 1st and 3rd couples dance six bars of double triangles.
23-24 1st couple, with two pas de basques and staying back to back, dance three quarters round to the right, to end 1st man facing up and 1st woman facing down. 2nd and 3rd couples continue setting.
25–28 1st man with 2nd couple and 1st woman with 3rd couple circle once round to the left (8 slip steps). 1st couple release right hands on 6th step and open out to finish in 2nd place own side. 2nd and 3rd couples retain hands with partners.
29-32 2nd, 1st and 3rd couples circle once round to the left.
This dance was devised by Fred DeMarse for Linda Henderson, originally from North Berwick, Scotland and currently of Alamo, California on the occasion of her first Scottish Country Dance workshop teaching engagement in Truckee, California on June 30th, 2007, which coincided with an occurrence of a Blue Moon.
Campbell’s Frolic Book 15 – No. 3 32-bar jig for three couples in a four-couple longwise set
1 – 2 1st and 2nd couples set. 3 – 6 1st and 2nd couples dance right hands across once round. 7 – 8 1st couple cast off one place and 2nd couple dance up to first place.
9 – 16 1st couple repeat bars 1-8 with 3rd couple, dancing left hands across on bars 11-14.
17 – 24 1st couple set, lead up to the top and cast off one place. 3rd couple step down on bars 19-20.
25 – 32 2nd, 1st and 3rd couples dance six hands round and back.
Repeat, having passed a couple.
David Rutherford: Compleat Collection of 200 of the most celebrated Country Dances both old and new …Vol 1, London, c. 1755. Original tune: Campbell’s Frolic (Rutherford)
Kirsten’s Jig Ron Wallace, Give it a Whirl 32-bar jig for three couples in a four-couple longwise set
1 – 8 1st and 2nd couples dance the bourrel using RIGHT hands for the turns: 1st man and 2nd woman set advancing, turn by the RIGHT hands just over halfway and turn RIGHT about to face partner. 1st man faces down and 1st woman faces up. while: 1st woman and 2nd man dance anti-clockwise round to face partner in a line up and down the middle of the set. All set to partner and turn by the RIGHT hand. 1st couple turn right about to face first corners while 2nd couple cross to own side in first place
9 – 16 Corners pass and advance and retire: 1st couple pass first corners RIGHT shoulder and dance to meet partner to pass RIGHT shoulder, pass second corners RIGHT shoulder and join right hands to face up the middle in second place. while: 9 – 12 First corners advance and retire. 13 – 16 Second corners advance and retire. (On bar 10 (first corners) and bar 14 (second corners), corners slap both thighs on count “1”, clap hands together on count ‘and’ clap both hands to opposite corner on count “2”). Coach: advance for 1, slap clap clap, retire, retire
17 – 24 2nd,1st, and 3rd couples dance mirror reels: 1st couple lead up the middle and cross over to begin, 2nd couple dance out and down, 3rd couple dance out and up, all joining nearer hands with partner during the reel. NOTE: At the end of the reel, 2nd couple continue to dance out and down as 1st couple dance up the middle to smoothly connect the reel and the non-progressive allemande, while the 3rd couple dance the long way into place to complete the reel.
25 – 32 2nd and 1st couples dance a non-progressive allemande: 25 – 26 1st couple dance up the middle taking hands in promenade hold before lifting them over smoothly into allemande hold. while: 2nd couple cast off and dance down the side lines to meet in second place and take hands in promenade hold. 27 – 28 1st couple dance bars 3-4 of a standard allemande for two couples. while: 2nd couple dance up the middle as they lift joined hands into allemande hold then turn onto the men’s side behind 1st couple. 29 – 32 1st and 2nd couples dance bars 5-8 of a standard allemande for two couples.
Deviser: Ron Wallace Music: “Kirsten’s Jig” by Muriel Johnstone This dance was commissioned by Kirsten Steinbach’s husband, Jenz, and first presented in Freiburg, Germany at a weekend course there.
This is no’ my ain Hoose RSCDS Book 15 32-bar strathspey for three couples in a four-couple longwise set
1 – 4 1st and 2nd couples dance right hands across once round. On bar 4, 1st couple cast off one place and 2nd couple dance up.
5 – 8 1st couple repeat bars 1-4 with 3rd couple, dancing left hands across.
9 – 16 1st couple set, lead up to the top, cast off one place and, giving right hands, turn to face first corners. 3rd couple step down on bars 13-14.
17 – 24 1st couple dance round first corners, passing by the right and dance round partner, passing by the left, to face second corners. 1st couple dance round second corners passing by the right and, giving left hands, turn to face first corners.
25 – 32 1st couple set to first corners, set to each other across the set, set to second corners and, giving right hand to partner, turn to second place on own sides.
Repeat, having passed a couple.
Holmain Ms. c.1710-1720: from a notebook (early 18th Century) found in the Holmain (Dumfriesshire) Family Charter Chest. (Now in National Archives of Scotland.) By courtesy of the Rev. W Mitchell Carruthers and Mr A Stanley Carruthers.
Original tune: Mrs Colonel Sinclair of Forss (D Grant)
The Reel Of The Gordon Highlanders (32 bar reel for three couples in a four-couple set) Aad L.M. Boode, The Delft Book Of Scottish Country Dances
1 – 8 1st couple cross over giving right hand, cast off 1 place (2nd couple move up); 1st man dances a ½ figure of eight between 3rd couple and round 3rd man – while – 1st woman does the same between 2nd couple and round 2nd woman, to finish 1st couple in 2nd place on own sides.
9 – 16 1st couple dance reels of three on own sides with 2nd and 3rd couples, giving LEFT shoulder to the person on their LEFT to begin, i.e.: 1st and 2nd men pass left shoulder and 1st and 3rd women pass left shoulder, to finish 1st couple in a diagonal line RIGHT hand joined with partner and LEFT hand with partner’s 1st corner. 2nd and 3rd couples turn the long way round to places.
17 – 24 Balance in line RIGHT ROUND or THE SPOKE (clockwise) (Note: Everyone is dancing for 8 Pas de Basque steps. Only 1st couple move round, the other dancers set diagonally across the set when hands are not joined diagonally (1st couple may use skip change of step on last bar).) 1st couple retaining partner’s RIGHT hand throughout, balance in line with partner’s 1st corner, move on a ¼ turn clockwise, balance in line with 2nd corner, move on a ¼ turn clockwise, balance in line with 1st corner, move on a ¼ turn clockwise, balance in line with partner’s 2nd corner, 1st couple drop hands and dance into 2nd place own sides.
25 – 32 2nd, 1st and 3rd couples dance six hands round to the left and back.
Repeat, having passed a couple.
(Dance crib compiled by the deviser, Aad L.M. Boode, Delft, 1994)
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Don’t Make Me Stop, I’ll Get Lost Rhonda Raye, RSCDS Atlanta Branch Celebrating 40 Years of Dancing Memories 32-bar reel for three couples in a three-couple longwise set
1 – 2 1st couple crosses down as 2nd couple steps up (no hand given).
3 – 4 1st couple turns 2nd couple three-quarter way round by left hand women’s side and right hand on the men’s side. All finish in a line across facing down, 1st man with his partner on his right.
5 – 8 1st and 2nd couples in line dance down the middle for 4 bars and on bar 7 1st couple takes the lead with 2nd couple behind still facing down.
9 – 12 2nd couple followed by 1st couple dance up to finish 2nd couple in first place on own sides and 1st couple in second place on opposite sides.
13 – 20 2nd and 1st couples dance a ladies chain.
21 – 24 1st couple dance a half turn and twirl while the 2nd and 3rd couples change places on the side and then set for one bar to that person just passed and then set for one bar across the set to partner finishing 3, 1, 2.
25 – 32 All three couples circle six hands round and back.
Repeat with a new top couple.
Note: The figures “down the middle and up” and “ladies chain” fall across phrases.
Devised by Rhonda Raye in memory of Jane Thomaston, known as “Grandma Jane” to many of her dancing friends.
Middling, thank you RSCDS Book 15 40-bar jig for three couples in a four-couple longwise set
1 – 8 1st and 2nd couples set twice and dance half rights and lefts.
9 – 16 2nd and 1st couples repeat bars 1-8 to finish in the middle of the set facing partners, both hands joined.
17 – 24 1st and 2nd couples dance a poussette.
25 – 32 1st couple lead down the middle and up and cast off one place to face first corners.
33 – 40 1st couple turn first corners with the right hand, partner with the left hand, second corners with the right hand and, giving left hand to partner, cross over to second place on own sides.
Repeat, having passed a couple.
Dances for 1813, published by Button and Whittaker, 1813. Original tune: Middling, Thank you (Traditional)
TACNotes:’ 15-16 2nd woman helps 1st woman, 1st man helps 2nd man, into position for poussette before completing their polite turns.
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Peridot and Sapphire Debbie Crossley . The Fourth Sheaf Collection of Scottish Country Dances 32-bar strathspey for three couples in a three-couple longwise set
1 – 6 1st woman, followed by her partner, casts off behind the women’s line, crosses the set below 3rd couple. 1st woman dances up behind the men’s line to 1st man’s place whilst 1st man dances up the middle of the set to finish in 1st woman’s place (turning in the easy way, left shoulder pulled back). 7 – 8 1st and 2nd couples set on the side.
9 – 16 1st and 2nd couples dance a circulating knot, with 1st couple finishing facing partner’s first corner. (9-10) 1st and 2nd couples turn partner right hand halfway into allemande hold, first couple are facing up and 2nd couple are facing down. (11-12) 1st couple turn to left to dance across to the men’s side and turn to face down and dance down the sideline to second place whilst 2nd couple turn to dance across to the woman’s side and turn to face up then dance up the sideline to first place. (13-14) 2nd and 1st couples both release right hand to pass the woman in front as 2nd man continues to dance up the women’s side and 1st man continues to dance down the men’s side. (15-16) 2nd couple continue to turn by the left hand to finish in first place on own side whilst 1st couple continue to turn by the left hand to finish facing partners first corners.
17 – 20 1st couple and first corners dance corners pass and turn. First corners turn with the right hand. 1st couple pass by the right shoulder to face partner’s second corner. 21 – 24 1st couple and second corners dance pass corners and turn. Second corners turn with the right hand. 1st couple pass by the right shoulder to finish in second place opposite sides.
25 – 28 All three couples chase half-way round clockwise. 29 – 32 1st couple, giving both hands, turn once and finish on own sides whilst 2nd and 3rd couples, giving both hands, turn halfway and face partner before turning to the right to dance out to own sides. Finish 3 1 2.
Repeat from new positions.
Devised by Debbie Crossley, Sheffield Branch, 2021. The dance was written to celebrate the marriage of Jana Hesselmann to Reg Stones. The first eight bars remind us of Reg and Jana dancing The Flowers of Edinburgh at the Scunthorpe dance when Luke Brady and his band came to play. The dance was encored with enthusiasm. The second eight bars celebrate Reg and Jana’s unique style of doing things their way. The third eight bars remind us that it’s not unheard of for Reg to switch sides part way through a dance. The final four bars are because Reg and Jana have found the partner they want to keep hold of. Formations in bold can be found in the Formations file.
King’s Croft Ann Dix, Real Friends Book 2 A 32 bar reel for Three 2 couple sets in a triangular spoke formation
1 – 4 1st & 2nd couples dance right hands across,
5 – 8 1st & 2nd couples dance a circle to the left
9 – 12 1st & 2nd couples, set advancing to join right hands with partner, 1st woman and & 2nd man join left hands for a balance in line, the women pull back eight shoulders to be beside partners, all facing anticlockwise.
13 – 16 All promenade ⅓ round anticlockwise and face partner in single line, men with backs to centre
17– 24 All dance a petronella & set twice to single line, now women with backs to centre
25 – 28 All ½ Reels of four; 29 – 32 All turn partner ¾ with the right hand to sides (2,1)
Repeat once, ending with Tulloch turn
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The Ottawa Flourish Craig Williams A 32 bar reel for 3 couples in a 4 couple longwise set
1-8 1st and 2nd couples dance right hands across and left hands back
9-16 1st couple lead down the middle and back to 2nd place. 2nd couple step up on bars 11 – 12
17-24 1st woman dance right hands across with 2nd couple while 1st man dances right hands across with 3rd couple. 1st couple pass right shoulders to dance left hands across, 1st woman with 3rd couple and 1st man with 2nd couple.
25-32 2nd couple followed by 1st and 3rd couple, dance down the middle and cast up on own sides.
Repeat having passed a couple
A simple dance inspired by Glasgow Flourish form RSCDS Book 11
Test Dance 1 Craig Williams, March 2026 A 32 bar reel for 3 couples in a 4 coupe set
1 – 4 1st couple set and 1/2 turn with the right hand moving down to 2nd place finishing in the middle facing each other with right hands joined. 2nd couple step up on bars 3-4. 5 – 6 1st couple pull back right shoulders and dance out to 2nd place on opposite sides 7 – 8 1st & 2nd couples, taking hands, set on the sides.
9 – 16 2nd & 1st couples repeat bars 1-8 to finish on opposite sides
17 – 20 2nd couples followed by 1st couple dance a 1/2 figure of eight around 3rd couple. Begin by crossing down between 3rd couple. Finish in own side in progressed places. 21 – 24 1st woman with 2nd couple, 1st man with 3rd couple dance right hands across
25 – 32 2nd, 1st & 3rd couples dance reels of 3 on the side. 2nd &1st man, also 1st & 3rd women, pass left shoulders to begin.
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Test Dance 2 Craig Williams, Leaflet August 2025 A 32 bar reel for 3 couples in a 4 couple longwise set
1 – 8 1st couple, giving right hands, cross below 2nd couple, cast down behind 3rd couple and meet below 3rd couple, joining nearer hands, dance up to the top and change sides, woman dancing under the raised arms. Finish in the centre of the set facing down.
9 – 16 All 3 couples dance a mirror reel of three on the sides, 1st couple dancing through 2nd place, 2nd couple dancing out and up, 3rd couple in and up. Finish on the sides in original places.
17 – 24 1st & 2nd couples dance the Rosette: 17 – 18 1st & 2nd couples 1/2 turn RH and take hands in a circle 19 – 20 1st & 2nd couples set 21 – 24 1st & 2nd couples pull back right shoulders and cast into a chase to progressed places
25 – 32 All 3 couples circle for 3 bars, cross right foot over left and pivot to face anti-clockwise, all chase back
The Merchant City Anne Thorn, 90th anniversary of Glasgow Branch 32-bar strathspey for three couples in a three-couple longwise set
1 – 8 1st and 2nd couples dance ’The Espagnole’ as follows
1 – 2 1st and 2nd women, joining right hands, dance towards the opposite side passing between their partners. On the second step, 1st woman crosses 2nd woman over in front of her, so that 2nd woman dances out and up towards first place while 1st woman dances out and down towards second place. At the same time 1st and 2“d men cross to opposite side passing on either side of their partners.
3 – 4 1st and 2nd man, joining right hands, dance back towards their own side passing between their partners. On the fourth step, 1st man crosses 2nd man over in front of him, so that 2nd man dances up and out towards first place while 1st man dances out and down towards second place. At the same time 2nd and 1st women cross back to their own side passing on either side of their partners.
5 – 8 2nd couple turn with right hands while 1st couple turn with left hands.
9 – 12 1st man with 3rd couple, 1st woman with 2nd couple, dance right hands across once round, 1st couple pass by the right
13 – 16 1st man with 2nd couple, 1st woman with 3rd couple, dance left hands across once round, 1st couple finish in second place.
17 – 24 1st and 3rd couples dance ’The Rosette’ as follows
17 – 20 1st and 3rd couples, with nearer hands joined, set, turn partner right hands halfway round and, staying close together, face partner, release hands and cast by the right towards partner’s place
21 – 24 Dance clockwise halfway round to new positions.
25 – 32 2nd, 3rd and 1st couples dance six hands round and back.
Repeat from new positions.
The Espagnole and The Rosette are progressions devised by John Drewry. Devised by Anne Thorn for the 90th anniversary of Glasgow Branch of the RSCDS. The figures in the dance reflect the continental trade routes in the city which prospered due to the Glasgow Merchants and Tobacco Lords. Tune: Jessie Smith (Trad)
Campbell’s Frolic RSCDS Book 15 32-bar jig for three couples in a four-couple longwise set
1 – 2 1st and 2nd couples set. 3 – 6 1st and 2nd couples dance right hands across once round. 7 – 8 1st couple cast off one place and 2nd couple dance up to first place.
9 – 16 1st couple repeat bars 1-8 with 3rd couple, dancing left hands across on bars 11-14.
17 – 24 1st couple set, lead up to the top and cast off one place. 3rd couple step down on bars 19-20.
25 – 32 2nd, 1st and 3rd couples dance six hands round and back.
Repeat, having passed a couple.
David Rutherford: Compleat Collection of 200 of the most celebrated Country Dances both old and new …Vol 1, London, c. 1755. Original tune: Campbell’s Frolic (Rutherford)
Grandpa’s Wife Ferne Katzberg 32 Bar Strathspey for Three Couples
1 – 4 1st and 2nd couples set and cast; 1st couple cast into second place, while 2nd couple dance up to first place and dance a long turn (polite turn) to place
5 – 8 1st and 3rd couples set and cast; 1st couple cast into third place, while 3rd couple dance up to second place and face out on bar 8
9 – 16 1st, 2nd and 3rt! couples dance reels of three on own side, all joining nearer hands where possible
1st couple dance in and up to start
3rd couple dance out and down to start
2nd couple dance in and down to start 17 – 24 1st and 3rd couples dance the Knot, 1st couple finish facing first corners, 3rd couple finish on own side of dance
Middling, thank you RSCDS Book 15 40-bar jig for three couples in a four-couple longwise set
1 – 8 1st and 2nd couples set twice and dance half rights and lefts.
9 – 16 2nd and 1st couples repeat bars 1-8 to finish in the middle of the set facing partners, both hands joined.
17 – 24 1st and 2nd couples dance a poussette.
25 – 32 1st couple lead down the middle and up and cast off one place to face first corners.
33 – 40 1st couple turn first corners with the right hand, partner with the left hand, second corners with the right hand and, giving left hand to partner, cross over to second place on own sides.
Repeat, having passed a couple.
Dances for 1813, published by Button and Whittaker, 1813. Original tune: Middling, Thank you (Traditional)
TACNotes: 15-16 2nd woman helps 1st woman, 1st man helps 2nd man, into position for poussette before completing their polite turns.
No Video
Peridot and Sapphire Debbie Crossley . The Fourth Sheaf Collection of Scottish Country Dances 32-bar strathspey for three couples in a three-couple longwise set
1 – 6 1st woman, followed by her partner, casts off behind the women’s line, crosses the set below 3rd couple. 1st woman dances up behind the men’s line to 1st man’s place whilst 1st man dances up the middle of the set to finish in 1st woman’s place (turning in the easy way, left shoulder pulled back). 7 – 8 1st and 2nd couples set on the side.
9 – 16 1st and 2nd couples dance a circulating knot, with 1st couple finishing facing partner’s first corner. (9-10) 1st and 2nd couples turn partner right hand halfway into allemande hold, first couple are facing up and 2nd couple are facing down. (11-12) 1st couple turn to left to dance across to the men’s side and turn to face down and dance down the sideline to second place whilst 2nd couple turn to dance across to the woman’s side and turn to face up then dance up the sideline to first place. (13-14) 2nd and 1st couples both release right hand to pass the woman in front as 2nd man continues to dance up the women’s side and 1st man continues to dance down the men’s side. (15-16) 2nd couple continue to turn by the left hand to finish in first place on own side whilst 1st couple continue to turn by the left hand to finish facing partners first corners.
17 – 20 1st couple and first corners dance corners pass and turn. First corners turn with the right hand. 1st couple pass by the right shoulder to face partner’s second corner. 21 – 24 1st couple and second corners dance pass corners and turn. Second corners turn with the right hand. 1st couple pass by the right shoulder to finish in second place opposite sides.
25 – 28 All three couples chase half-way round clockwise. 29 – 32 1st couple, giving both hands, turn once and finish on own sides whilst 2nd and 3rd couples, giving both hands, turn halfway and face partner before turning to the right to dance out to own sides. Finish 3 1 2.
Repeat from new positions.
Devised by Debbie Crossley, Sheffield Branch, 2021. The dance was written to celebrate the marriage of Jana Hesselmann to Reg Stones. The first eight bars remind us of Reg and Jana dancing The Flowers of Edinburgh at the Scunthorpe dance when Luke Brady and his band came to play. The dance was encored with enthusiasm. The second eight bars celebrate Reg and Jana’s unique style of doing things their way. The third eight bars remind us that it’s not unheard of for Reg to switch sides part way through a dance. The final four bars are because Reg and Jana have found the partner they want to keep hold of. Formations in bold can be found in the Formations file.
The Celtic Kiwi John Drewry, Bankhead Part 1 October 1991 for the dancers of Whangarei, New Zealand
Hornpipe – 3 couples – 32 bars
Tune – “The Redesdale Hornpipe” by James Hill, who also composed the “High Level Hornpipe” use of this tune was suggested by Janette Johns of Whangarei.
1 – 8 1st, 2nd and 3rd couples dance reels of three on the sides. To begin:- 1st couple dance down crossing over to reel on opposite sides; 2nd couple dance out and up; 3rd couple dance in and up. All join nearer hands with partners where possible in the reels. At the end:- 1st couple dance in to join nearer hands facing down; 2nd couple stay facing out; 3rd couple dance in to join nearer hands facing up.
9 – 16 1st and 3rd couples set and dance “petronella in tandem” half way round the set while 2nd couple dance as follows:- 2nd man casts up and dances into the middle in top place, while 2nd woman casts off and dances into the middle in third place; 2nd couple, giving right hands, change places up and down the middle and cast to their right to second place on own sides.
17 – 20 2nd woman dances right hands across with 3rd couple, who are in first place, while 2nd man dances right hands across with 1st couple, who are in third place. Make sure that these wheels are in the middle of the dance.
21 – 24 2nd man, followed by 1st couple, dances up the men’s side while 2nd woman, followed by 3rd couple, dances down the women’s side. All continue to chase clockwise until 1st and 2nd couples are in partners’ original places and 3rd couple are in own original places.
25 – 32 1st and 2nd couples dance a “Kiwi Knot”. i.e. upside-down. They turn partners with the right hand halfway round to finish facing up with hands in allemande hold; they dance out to the men’s side and down (with 2nd couple following 1st couple). Dropping right hands, 2nd and 1st couples dance into the middle and turn partners with the left hand to own sides. (N.B. This is a longer turn than in the ordinary Knot and the dancers need to anticipate this by keeping the whole progression well within the confines of the set.)
Repeat, having passed a couple.
NOTES —- “Petronella in tandem” see notes at end of book,
While I was staying in Whangarei, I was taken (17-10-91) with a group of dancers for a sail in Keith Wright’s yacht “Waihaka” (“The Water Dancer”) A coastal cargo boat passed us; it was called “THE CELTIC KIWI”. The name fired the imagination of the dancers and I was commissioned to write a dance for them with this title. The dance was to contain “petronella in tandem”, wheels and a knot. I devised the dance the same evening and taught it several times over the next few days.
Imagine our surprise at the Auckland Weekend (26-10-91) to hear that The Celtic Kiwi had sunk on its way to Norfolk Island. The crew (13 men) had been rescued. I have heard recently that the boat was probably overloaded. In any case the blame could not be laid at my door because the boat had changed its name from the “Holmdale” and so, with a name-change and a 13-man crew it was chancing its luck.
“Petronella in Tandem” occurs in several of these dances. Usually it is preceded by setting. It was first used in “Anna Holden’s Strathspey”. In spite of its simplicity, I thought that it was a new idea, but Iain Boyd, in New Zealand, and Marie Boehmer, in Ontario, say they have used it (without a name) in their dances. At least it now has a label.
In my dances, it is danced by a man and a woman standing side by side (the man having the woman on his right – if they were the other way, the man would precede the woman) or by two men or two women standing side by side.
The dancer on the right executes an ordinary petronella turn except that he or she travels slightly beyond the normal position to leave room for the other dancer. The dancer on the left also executes a petronella turn dancing initially closely behind the other dancer (i.e. “in tandem”) to finish once again on the left of the other dancer.
In reels or jigs it is best to execute the movement with skip change of step.
A Trip to the Drakensberg RSCDS Book 38 40-bar jig for three couples in a four-couple longwise set
1 – 8 1st couple set, cast off two places and dance up to the top, remaining in the middle of the set. 2nd couple step in on bars 7-8.
9 – 16 1st and 2nd couples dance a poussette. 1st couple release hands at the end of bar 14 and set advancing, passing each other by the left, to face first corners.
17 – 20 1st couple dance a half reel of four with first corners and pass by the left to finish facing second corners.
21 – 24 1st couple dance a half reel of four with second corners and finish in second place on opposite sides.
25 – 28 3rd, 1st and 2nd men dance a petronella turn and set. At the same time, 3rd, 1st and 2nd women set and dance a petronella turn to face partners.
29 – 32 3rd, 1st and 2nd couples, giving right hands, turn partners into allemande hold.
33 – 40 3rd, 1st and 2nd couples dance an allemande.
Repeat, having passed a couple.
Devised by Barbara J Rendle, Somerset West, South Africa. Original tune: The Britches Maker (Nathaniel Gow, Gow’s Fourth Collection) The Drakensberg is a range of mountains in Natal, South Africa.
TACNotes: 21-24 3rd man must move quickly through half reel, to complete curve to right into 2nd woman’s position ready for bar 25.
No Video
The Camp of Pleasure RSCDS Book 15 – No. 4 32-bar strathspey for two couples in a four-couple longwise set
1 – 4 1st couple, giving right hands, turn once round.
5 – 8 1st man and 2nd woman, giving left hands, turn to finish in the middle at second place. On bars 7-8, 2nd man dances up and in to meet 1st woman who steps in. All finish facing up.
9 – 16 2nd man with 1st woman and 1st man with 2nd woman dance an allemande.
17 – 20 1st and 2nd couples lead down the middle, 1st man dancing down and 2nd man dancing up to meet partners.
21 – 24 2nd and 1st couples lead up, 2nd couple finishing in first place and 1st couple in second place.
25 – 32 2nd and 1st couples dance rights and lefts.
Repeat, having passed a couple.
From an old book of Scottish and Irish Dances (title page lost). Original tune: Charles Leslie of Findrassie’s Strathspey (D Grant)
TACNotes: 7-8 2nd man dances up & in to meet 1st woman, who dances in on bar 8. 17 1st & 2nd women dance in to meet their partners.
No Video
Miss Nicholl’s Reel Joan Dodwell. Imperial Book of SCDs Book 1-3 32-bar reel for four couples in a four-couple longwise set Two chords: on the second chord, 2nd and 4th couples cross to opposite sides.
1 – 2 1st couple cast off one place and 4th couple cast up one place. At the same time, 2nd couple dance up to first place and 3rd couple dance down to fourth place.
3 – 6 1st and 4th couples dance right hands across once round.
7 – 8 2nd, 1st, 4th and 3rd couples set to partners.
9 – 14 2nd, 1st, 4th and 3rd couples repeat bars 1-6 from new positions to finish in original places.
15 – 16 All set advancing to meet partners with both hands joined. 1st and 3rd couples face up, 2nd and 4th couples face down.
17 – 24 1st and 3rd couples, 2nd and 4th couples dance interlocking allemandes to finish in the order 3,4,1,2 with 4th and 2nd couples on opposite sides. (Note)
25 – 28 3rd, 4th, 1st and 2nd couples set to partners and, giving right hands, cross over.
29 – 32 2nd couple lead up between 1st couple, cross and dance out between 4th and 1st couples, cast up to first place on opposite sides and, giving right hands, cross to first place on own sides and face out. 3rd, 4th and 1st couples, taking hands on the sides, step down on bars 31-32.
Repeat from new positions.
Devised by Joan Dodwell.
Note: Bars 17-24 are a variation of the interlocking allemandes described in the Manual of Scottish country dancing. In the standard version, the top two couples face up and the bottom two couples face down but it is essentially the same formation. In the original instructions, the formation is referred to as linked allemandes.
King’s Croft Ann Dix, Real Friends Book 2 A 32 bar reel for Three 2 couple sets in a triangular spoke formation
1 – 4 1st & 2nd couples dance right hands across,
5 – 8 1st & 2nd couples dance a circle to the left
9 – 12 1st & 2nd couples, set advancing to join right hands with partner, 1st woman and & 2nd man join left hands for a balance in line, the women pull back eight shoulders to be beside partners, all facing anticlockwise.
13 – 16 All promenade ⅓ round anticlockwise and face partner in single line, men with backs to centre
17– 24 All dance a petronella & set twice to single line, now women with backs to centre
25 – 28 All ½ Reels of four; 29 – 32 All turn partner ¾ with the right hand to sides (2,1)
A Glasgow Welcome Glasgow Branch 100th Anniversary 32-bar jig for three couples in a four-couple longwise set
1 – 8 1st couple set and, giving right hands, cross down one place, cast off behind 3rd couple and dance up to finish back to back in the middle in second place facing opposite sides. 2nd couple step up on bars 3-4.
9 – 16 ‘Rotating double triangles’ 9 – 10 1st couple with their 1st and 2nd corners, set in double triangles position. 11 – 12 1st couple set moving round back to back three quarters clockwise, to finish with the man in the middle, facing up, and the woman in the middle, facing down. At the same time, corners dance a petronella turn one corner position anticlockwise. 13 – 14 1st couple with 1st and 2nd corners, set in crown triangles position. 15 – 16 1st couple set moving round back to back clockwise, pulling back by the right to finish, woman in the middle of first place facing the women’s side, man in the middle of third place facing the men’s side. At the same time, corners dance a petronella turn one corner position anticlockwise.
17 – 24 1st woman with 3rd couple and 1st man with 2nd couple dance reels of three across the set. 1st woman and 3rd man, and 1st man and 2nd woman pass by the right to begin. 1st couple finish in second place on opposite sides.
25 – 28 1st man with 3rd couple and 1st woman with 2nd couple dance right hands across once round.
29 – 32 3rd, 1st and 2nd couples dance clockwise halfway round the set to own sides.
Best Set in the Hall RSCDS Book 46 32-bar jig for three couples in a four-couple longwise set
1 – 8 1st couple set and 1st woman, followed by her partner, casts off two places, crosses over below 3rd couple, casts up and dances in to face first corner. 1st man dances up the middle of the set to face his first corner. 2nd couple step up on bars 7-8.
9 – 12 1st couple and first corners set and, 1st couple, pulling back by the right, dance around each other and out to finish in partner’s first corner position. At the same time, first corners dance in towards each other and, pulling back by the right, finish back to back in the middle facing own places. (Fig.)
13 – 16 1st couple and first corners set and first corners, pulling back by the right, dance around each other and out to finish in opposite corner’s position. At the same time, 1st couple dance towards each other and, pulling back by the right, finish back to back in the middle facing second corners.
17 – 24 1st couple repeat bars 9-16 with second corners and pass each other by the right to finish in second place on opposite sides. 3rd, 1st and 2nd couples face clockwise.
25 – 28 3rd, 1st and 2nd couples dance clockwise halfway round the set.
29 – 32 2nd, 1st and 3rd couples, giving right hands, turn once round.
Repeat, having passed a couple.
Devised by Helen Greenwood, Auckland, New Zealand. Note: the movement in bars 9-24 was devised by the late Alec Hay.
Notes Compiled by teachers, Summer School , St Andrews 2010 15-16 1st couple turn on the spot.
TACNotes:1-8 1st woman dances straight in on bar 8 to face 1st corner.
The Calm Before The Storm Ian Boyd, THE KILMARNOCK ALBUM A three couple, 32 bar reel.
1 – 8 First couple dance a chase round second and third men. First woman dances down across the set, round third man passing by the left shoulders, up behind second man and across to own side while first man dances into the middle then follows his partner back to his original place.
9 – 16 First and second couples dance right hands across and back with the left.
17 – 24 First couple dance a chase round second and third women.First man dances down across the set, round third woman passing by right shoulders, up behind second woman and across to own side while first woman dances into the middle then follows her partner back to her original place. First and second couples finish facing the diagonally opposite dancer.
25 – 32 First and second couples dance set and rotate.
25-26 First and second couples set once to the diagonally opposite dancer and begin to turn right about on the spot on bar 26. 27-28 First and second couples cast to the right and dance on one place clockwise to finish facing partner – first couple on the women’s side and second couple on the men’s side. 29-30 First and second couples change places with partner with right hands. 31-32 First and second couples dance on one place clockwise to finish back on own sides having changed places.
The Falkirk Lass THREE COUPLES 8 x 32 STRATHSPEY The Merse Collection [Elaine Brunken]
1 – 4 1st couple turn by the right hand, and cast off one place. (2nd couple step up on 3 and 4).
5 – 8 1st couple cross by the left hand, 1st lady cast down around 3rd man, to finish between 3rd couple as 1st man casts up around 2nd woman, to finish between 2nd couple (all face up or down).
9 – 12 All advance for one step, retire for one step and change places by the right hand, up and down the dance.
13 – 16 All advance for one step, retire for one step, 2nd and 3rd couples change places by the right hand, up and down the dance while the 1st couple turns ¾ by the right hand to face 1st corners.
17 – 20 1st corners pass and turn: 1st couple dance around 1st corners by the right shoulder, dance in through the ends and pass each other by the right shoulder, up and down the dance to face 2nd corners, while corners dance in (1 bar), turn with two hands (1 bar), and dance out to place (2 bars).
21 – 24 2nd corners pass and turn, 1st couple pass right shoulders to finish to finish in 2nd place on their own sides.
25 – 32 All three couples circle round to the left and back to the right.
1-8 1s cross RH, cast down 1 place 2s+1s+3s set & 1s turn LH to face 1st corners
9-16 1s dance ‘Hello-Goodbye’ setting & end turning RH to 2nd place own sides facing out
17-24 1s dance out & chase clockwise to 2nd place opposite sides while 2M+3L change places RH then 2L+3M change places RH; 1s dance 1/2 reels of 3 on sides, LSh to 1st cnr pstn to start
25-32 1s dance 1/2 LSh reels of 3 across (LSh to 3rd cnr pstn to start) ending in 2nd place own sides; 1s turn RH & cast to 3rd place 2 3 1
Sugar Candie RSCDS Book 26 32-bar strathspey for three couples in a four-couple longwise set
1 – 4 1st couple set and cast off one place. 2nd couple step up on bars 3-4.
5 – 8 1st couple, passing each other by the left, dance round first corners by the right. On bar 8, 1st couple pull back by the right to finish back to back in the middle, woman facing up, man facing down.
9 – 12 1st woman and 2nd couple, 1st man and 3rd couple dance three hands round to the left. 1st couple pull back by the right to finish facing each other up and down the set.
13 – 16 1st couple set and, giving both hands, turn to face first corners. On bar 16, 1st couple open out as 1st man releases his partner’s right hand.
17 – 24 1st couple turn first corners with the right hand, partner with the left hand, second corners with the right hand and, giving left hand to partner, turn to face first corners.
25 – 30 1st couple dance reels of three on the sides passing first corners by the left to begin.
31 – 32 1st couple, giving right hands, cross to second place on own sides.
Repeat, having passed a couple.
Original tune: The Earl of Angus and Arran (William Marshall, A Collection of Scottish Melodies, Volume 4, 1844).
