Scottish Country Dancing Instructions

Original by Douglas J Dean 10/2/2002.

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Contents

General Description of Scottish Dancing and its Origins
Background to Scottish Country Dancing
Modern Scottish Country Dancing
 
Instructions
Communication, Looking, Covering and Hands
 
Reels:
Basic Reels
Reels of 3. Reels of 4
Reels of the side: Parallel, Mirror Image, and Rotationally Symmetric Reels
Reels of 3, Sheet ‘A’
Reels of 4, Sheet ‘B’
More about Reels
6 Bar Reels
Double Mirror Image Reels - ‘Gates of Edinburgh Reels’
Double Parallel Reels - ‘Cadger’s Reels’
Reels with rotational symmetry, Sheet ‘C’
Inveran Reels
Inveran Reels Sheet ‘D’
Flight of the Falcon Reels
Half Flight of the Falcon Reels
 
Rights and Lefts, and Grand Chains
Rights and Lefts, and Grand Chains
Standard Rights and Lefts
Four and Three Couple Grand Chains
More Rights and Lefts
Diagonal Rights and Lefts
Three Couple Rights and Lefts
Diagonal Rights and Lefts, Sheet ‘E’
Kelloholm Jig
Three Couple Rights and Lefts, Sheet ‘F’
 
Ladies’ and Men’s Chains
 
Double Triangles and Corners
Double Triangles, Sheet ‘G’
1st and 2nd corners
 
Progressions
Poussette in Reel Time
Poussette in Reel Time, Sheet ‘H’
Strathspey Poussette
Strathspey Half Poussette
Poussette in Strathspey Time, Sheet ‘I’
Allemande
The Knot, a progressive figure for two couples
Full Rondel, usually in Strathspey time
Half Rondel
Tournee, Progressive movement in 8 bars
The Italienne
Set and Link
Set and Link for Two Couples
Set and Link for Three Couples
 
The Scottish Dance Language

GENERAL DESCRIPTION OF SCOTTISH DANCING AND ITS ORIGINS

Background to Scottish Country Dancing

Scottish Country Dancing has its roots in the British formal dances mainly of the Eighteenth and Nineteenth Centuries. These dances were figure based with the emphasis on elegance along with a considerable level of stylized flirtation. With the emergence of the Polka and the Waltz in the early 1800s the formal figure based dances of earlier years almost died out in England. Possibly because of the poorer quality of the floors in Scotland and Ireland the Country Dance remained popular in those countries. By the end of the 1st World War the Polka and Waltz was taking hold in Scotland and the knowledge of Scottish Country Dancing was being lost. There was some knowledge of figures from various manuscripts and the recollections of the older generation, however, memories are not always perfect and the descriptions of figures and steps were very rudimentary. The interpretation that existed also varied widely across the country.

Two Ladies, Miss Milligan and Mrs. Stewart got together to save Scottish Country Dancing before all memory had faded. In 1923 these two Ladies formed the Scottish Country Dancing Society (to become Royal in 1951). The society and especially Miss Milligan formalized the dances, figures and steps over the first 15 years. Miss Milligan continued to develop the Strathspey travelling step, which she only finalized in around 1950. The (R)SCDS has now published 41 Books of an average of 12 dances each along with collections of leaflet dances and some other books with a special market such as for children. The later books contain many dances composed by modern devisors but the dates of the manuscripts on which the dances in the first 20 books were based range from 1710 to 1890 with a concentration around 1780.

Modern Scottish Country Dancing

So called ‘Traditional’ Scottish Country Dancing therefore really dates from 1923 and the standardized interpretation by Miss Milligan of the rather ill defined Eighteenth Century dances. However modern Scottish Country Dancing still has some of the easy formality of the early dances and is social with an opportunity for mild flirtation without any commitment. Scottish Country Dancing at Bracknell Reel Club is based on sociable dancing for fun. This is the early approach of the Society as spearheaded by Miss Milligan where the spirit of the dance ruled the day rather than the more rigid adherence to the printed word now adopted by some groups.

Scottish Country Dancing should be a light hearted pursuit and not a religion. It should be danced by a group which is known as a set and should not be taken as an opportunity for an individual or couple to show off how much better they are than the rest of the set. Such individualists ruin a demonstration team and similarly greatly detract from the social aspects of Scottish Country Dancing. A good dancer can carry a set but only by dancing with them and not by being aloof. It is not important to the rest of the set how good you are as an individual dancer but only how you enhance the pleasure of the others in the group.

It is important for the beginner not to be concerned about the effect their mistakes have on the other dancers. We all make mistakes on a regular basis but the beginner will always tend to blame themselves for the mistakes of others. Remember if we were perfect we would be prancing about on the stage at Covent Garden and not enjoying ourselves at a social dance.

Footwork is part of Scottish Country Dancing but at a social dance it is only important to the rest of the dancers that the beginner is able to move from one position to another with the music. Footwork can be perfected in the future at the wish of the dancer as and when they are ready.

COMMUNICATION, LOOKING, COVERING AND HANDS

It has already been explained that so called traditional Scottish Country Dancing really dates from 1923 and Miss Milligan, helped by a base of rather ill defined Eighteenth Century dances. However it still has some of the easy formality of the early dances and is social with an opportunity for mild flirtation without any commitment. The following is based on the sociable dancing for fun approach of Miss Milligan where the spirit of the dance ruled the day rather than the more rigid adherence to the printed word approach adopted by some groups. Scottish dancing should be a light hearted pursuit; as Miss Milligan said “dancing is a joyous thing and must never become so drilled as to loose the natural gay social spirit”.

Communication

Without communication an activity cannot be described as social. Also you do not need to speak to communicate. You can communicate with your eyes, your hands and by doing things jointly with others. It is the same in Scottish Dancing. Dances are performed in sets usually of four couples, to be social the dancer has to dance with the others in the set and not in isolation. The true social dancer dances as part of a group and there has to be communication to hold the group together.

Looking

There is a tendency for dancers to look on the floor instead of looking in the eyes of the rest of the dancers in the set and this is especially so with beginners. If I was dancing with you and you were constantly looking at the floor I would feel that you were criticizing my steps, now if everyone were to be looking the others in the face the dancers’ steps would not be important. Generally you have asked your partner to dance or you have accepted their invitation, so dance with them and look at them. When walking down a road you would not ignore someone you had a social relationship with, so when you are moving round the dance, acknowledge the others in the set with a smile. If you cannot stand the person then look at their ears and smile at how funny they look.

There is a joke in Scottish Dance circles that the difference between and Extrovert Scottish Dancer and an Introvert one is that the Extrovert looks at other dancer’s feet and the Introvert at his own.

Covering

If you are moving up or down or across the set at the same time as others then move with them. It gives them, and you, a sense of belonging to the whole. If they are slow, hold back a bit. To cover well the whole set needs to be conscious of the whole group and to have that consciousness needs some level of communication between the members of the set. By dancing together the whole set becomes a social unit. If you all take pride in your covering then you will enjoy the social aspects of dancing even more.

Hands

Jean Milligan wrote a large number of instructions in the use of hands; typical of these is the following:

“In all formations it is advisable to give hands freely and wherever possible, as not only is it very helpful, but it adds greatly to the social feeling of the dance. It also helps to maintain the shape of the set and to keep the lines straight.”

You can communicate so much with your hands, in a circle you can indicate that you are going to drop hands and give a little squeeze to a member of the opposite sex to say good bye. When you change places with a member of the opposite sex in Rights and Lefts I was taught to ‘Hold, Smile, Squeeze and pass on with a gentle caress’. When men change they can hold hands firmly and stare into each other’s eyes as if to say “I’m going to dance with your partner next time”. Lead, assist and help the others by giving hands and you will enjoy your dancing even more

REELS      See Sheets ‘A’ & ‘B’

In its most basic form the reel is an intertwining figure where 3 dancers follow the same figure of 8 figure on the ground at the same time. The actual tracks are shown in the attached diagram ‘A’. To read these diagrams the 1st dancer should just follow the tracks given by the circle inscribed by a 1 going down the page for each bar in turn.

For a reel of 4 the figure described by the dancers is a figure of eight with an extra loop and the tracks are shown in the attached diagram ‘B’. Most reels of 4 are danced giving right shoulders at the end and left in the middle.

Reels of 3 are usually danced with each of the dancing couple, normally the 1st couple, dancing separate reels. When the Man dances on the men’s side he dances with the 2nd and 3rd Man and when he dances on the ladies’ side he dances with the 2nd and 3rd Ladies. The Lady dances similarly with the Ladies or the Men. The 2nd and 3rd Ladies are known as the Man’s corners and the 2nd and 3rd Men the Ladies’ corners, this will be described more fully with respect to other figures.

Reels of 3 are also danced across the set, usually with the Lady dancing with the 2nd couple and the Man with the 3rd or visa versa.

BASIC TYPES OF REELS

There are 3 basic types of reels on the sides, Parallel, Mirror Image and those with Rotational Symmetry (sounds complicated but it is just the dancing couple dancing in opposite directions on the opposite side). Most reels of 3 across the set have Rotational Symmetry.

Parallel Reels

With Parallel Reels the dancing couple start on opposite sides facing the same direction, give the same shoulder to the first person they meet and all dance alongside their partners moving to the right when their partner moves to the right and to the left when their partner moves to the left. All three couples cover off their partner throughout the reel acknowledging their presence from time to time.

Mirror Image Reels

With Mirror Image Reels the dancing couple start on opposite sides facing the same direction, give the opposite shoulders to the first person they meet and all dance alongside their partners moving to the right when their partner moves to the left and to the left when their partner moves to the right. Miss Milligan taught that you always give inside hands to your partner where possible except when the instructions specifically say you shouldn’t. Some modern teachers say you should not give hands except where it specifically says you should. It makes it easier to control the dance if you give hands and it is more social. I will therefore teach with the giving of hands.

Rotationally Symmetric Reels

With Rotationally Symmetric Reels the dancing couple start on opposite sides, at opposite ends, facing the opposite direction, give the same shoulder to the first person they meet and move to the right when their partner moves to the right and to the left when their partner moves to the left. When coming in from the ends the dancing couple are facing their partners diagonally across the dance and should acknowledge them with a relaxed smile.

Reels involving both sides of the dance

These will be covered later.

REELS Right Shoulder Reel of 3 in 8 Bars Left Shoulder Reel of 3 in 8 Bars Start End of Bar 1 End of Bar 2 End of Bar 3 End of Bar 4 End of Bar 5 End of Bar 6 End of Bar 7 End of Bar 8

Sheet ‘A’

Start
End of Bar 1
End of Bar 2
End of Bar 3
End of Bar 4
End of Bar 5
End of Bar 6
End of Bar 7
End of Bar 8

MORE ABOUT REELS

There are two classes of reel that have to be addressed; 6 bar reels on the dancing couple’s opposite sides and those reels or combination of reels that are danced on both sides of the dance.

6 Bar Reels  See Sheet ‘C’

6 bar reels are danced on the wrong side of the dance and the two bars at the end are used to enable the dancing couple to cross to their own side of the dance. These reels always have rotational symmetry with covering on the diagonal as described in the sheet on basic types of reels. 6 bar reels are normally danced following a figure that leaves the dancing couple approximately in 2nd place on the wrong side facing up or down. In these descriptions it is taken that the dancing couple are the 1st couple and they are dancing with their corners. The first shoulder given by the 1st couple is almost always intended to enable the 1st couple to cross to their own side from between their corners i.e. from 2nd place on the wrong side.

Both ‘Turning Corner, Partner, Corner, Partner’ and ‘Set and Turn Corners’ normally leaves the 1st couple again facing their 1st corner to whom they give ‘Left’ shoulders at the start of the reel.

With ‘Set to Corners’ and ‘Cauld Kail’ now commonly known as ‘Hello Goodbye Setting’ the dancing couple finish the figure facing or alongside their 2nd corners to whom they give ‘Right’ shoulders at the start of the reel.

Reels on Both Sides of the Dance

Except Inveran Reels, which are covered in an other sheet, these reels involve two separate mirror image or parallel reels, one on each side of the dance, and take a total of 16 bars.

Double Mirror Image Reels. Commonly known as ‘Gates of Edinburgh Reels’.

These are danced with the 1st couple crossing down to begin with the 1st Man dancing out between the 2nd and 3rd Ladies and passing the 3rd Lady by the right shoulder. The 1st Lady, crossing down in front of her partner, similarly dances out between the 2nd and 3rd Men and passes the 3rd Man by the left shoulder. The reel on the Ladies side is actually a left shoulder reel although the first shoulder is passed during the crossing down of the 1st Man. The reel on the Men’s side is similarly a right shoulder reel with the right shoulder being passed by the 1st Lady during the crossing.

When the 1st couple return to the top of the figure they then cross down to repeat their partner’s track on their own side of the dance with the 1st Lady again crossing in front.

Throughout the figure the dancers give hands to their partners wherever possible.

Double Parallel Reels. Commonly known as ‘Cadger’s Reels’.

In Parallel Reels both reels are right shoulder reels although the 1st lady’s 1st reel is entered by her crossing down as was her 1st ‘Mirror Image’ reel and the 2nd reel danced by the 1st Man is the same as his 2nd Mirror Image reel. The Man’s 1st reel and the Lady’s 2nd reel are standard right shoulder reels, entered by crossing to the Ladies’ side passing through 1st place and dancing out and down to pass the 2nd Lady by the right shoulder. In both reels the 2nd Lady allows the 1st Man or Lady to pass in front of her before she moves to the top.

REELS with rotational symmetry

= men

= ladies

Sheet ‘C’

Start
Lady’s Side
Centre of the Dance
Men’s Side
End of Bar 1		At the end of the first the 2nd Man and the 3rd Lady are facing each other diagonally across the dance.
Lady’s Side
Centre of the Dance
		They should acknowledge each other with at least a glance, better yet a smile and if you know each other very well then even a blown kiss.
Men’s Side
End of Bar 2		Half way through the second bar it is the 2nd Lady and 3rd Man who should acknowledge each other.
Lady’s Side
Centre of the Dance
Men’s Side
End of Bar 3		At the start of the 3rd bar the 1st couple acknowledge each other.
Lady’s Side
Centre of the Dance
Men’s Side

The tracks are now repeated for the next 3 bars but at the opposite ends.

It should be noted that partners never travel along side each other in this figure and therefore except for the 1st couple covering diagonally dancers should not try to cover their partner although this is very common.

INVERAN REELS       See sheet ‘D’

These are a special type of mirror image reel danced by the 1st Cpl. dancing on both sides of the dance and take a total of 8 Bars.

As with ‘Gates of Edinburgh Reels’ Inveran Reels are danced with the 1st couple crossing down to begin with the 1st Man dancing out between the 2nd and 3rd Ladies and passing the 3rd Lady by the right shoulder. The 1st Lady, crossing down in front of her partner, similarly dances out between the 2nd and 3rd Men and passes the 3rd Man by the left shoulder. The reel on the Ladies side is actually a left shoulder reel although the first shoulder is passed during the crossing down of the 1st Man. The reel on the Men’s side is similarly a right shoulder reel with the right shoulder being passed by the 1st Lady during the crossing.

When the 1st couple reach the bottom of the dance they then cross up to their own side with the 1st Man dancing out between the 2nd and 3rd Men and passing the 3rd Man by the right shoulder. The 1st Lady, crossing up in front of her partner, similarly dances out between the 2nd and 3rd Ladies and passes the 3rd Lady by the left shoulder.

Throughout the figure the dancers give hands to their partners wherever possible.

Although the 2nd and 3rd Cpl’s just dance normal mirror image reels on their own sides the 1st Cpl. describe a diagonal oval path as shown in sheet ‘I’. The 1st Man’s oval lies between his own place and the 3rd Lady’s place, first passing through the 2nd Lady’s place and coming back through the 2nd Man’s place. Similarly the 1st Lady’s oval lies between his own place and the 3rd Man’s place, first passing through the 2nd Man’s place and coming back through the 2nd Lady’s place.

INVERAN REELS

= men

= ladies

Sheet ‘D’

First Man’s Track
Lady’s Side
Centre of the Dance
Men’s Side
First Lady’s Track
Lady’s Side
Centre of the Dance
Men’s Side
Start of Reel
Lady’s Side
Centre of the Dance
Men’s Side
Start of Bar 5
Lady’s Side
Centre of the Dance
Men’s Side

FLIGHT OF THE FALCON REELS

HALF FLIGHT OF THE FALCON REELS AS IN

Pelorus Jack

Alphabet Reel

RIGHTS AND LEFTS and GRAND CHAINS

Standard Rights and Lefts

Rights and Lefts is a figure were two couples dance round in a square passing by giving right and left hands alternatively. The figure starts with both couples crossing the set, giving right hands to their own partner in passing. Both couples then change places on the opposite sides with the respective members of their own sex giving Left hands. Both couples then cross back to their own side giving right hands and finally back to place giving left hands.

Normally the figure takes eight bars with two bars to each hand although in a few dances only one bar is used for each hand. If dancing with a member of the opposite sex then hold smile then pass on, if with the same sex then hold their hand firmly and look into their eyes as if to say I am going to have your partner in the next dance. In each case your are dancing with the person you are passing and all four are dancing as a complete figure. If you know the member of the opposite sex add a squeeze and maybe even hold, smile squeeze and pass on with a gentle caress. At the very least please look at them.

Throughout rights and lefts the dancers take the shortest route and avoid twirling round. When crossing observe the other couple and try to cover off them, after all you are dancing with them. Also note to which side the other couple is from you and that is the way you have to turn at each corner. If you are the first Man or the second Lady the other couple will be on your right so you turn to the right at each turn. The first Lady and the second Man similarly turn to the left at each turn. The final left hand to original place is slightly different in that the dancers retain hands rather longer and the first Man and second Lady rotate anticlockwise in what is known as the polite turn.

Four and Three Couple Grand Chains

Four couple grand chains are danced in both longwise and square sets. In a longwise set both of the end couples, usually the first and fourth couples, cross giving right hands to their own partners as in standard Rights and Lefts. At the same time the middle couples change places on the sides also giving right hands. Those who started by dancing in a clockwise direction continue in a clockwise direction right round the set back to place. The others who started in an anticlockwise direction continue in an anticlockwise direction, also right round the set back to place. As they progress round the set the dancers all give alternative hands to the dancers they meet, that is right hands then left hands four times. The figure takes eight bars, each hand taking one step and one bar.

When danced in a square set the dancers all start giving right hands to their partner and then continue right round as in the longwise set. In a square set the Ladies travel clockwise and the Men anticlockwise.

A three couple grand chain is danced in a longwise set. The first couple start by crossing right hands while the second and third couples change places on the sides of the dance also giving right hands. The second couple then cross giving left hands while the first and third couples change on the sides also giving left hands. This continues back to place. Three hands are given in each four bars so the aim should be to get half way in the first 4 bars and this requires careful phrasing but leads to a smooth figure. In some areas dancers use one bar each for the first two hands and two for the third, leading to an awkward stop start figure.

MORE RIGHTS AND LEFTS        See Sheets ‘E’ & ‘F’

Diagonal Rights and Lefts (see Sheet ‘E’)

Diagonal Rights and Lefts is a three couple figure commencing with the end couples having changed places diagonally. Take it, as is usual, that the top couple is the third couple and they are on the wrong side of the dance, the centre couple are the first couple on the correct side of the dance and the second couple are at the bottom on the wrong side of the dance. The first Lady always dances up when crossing and the first Man always dances down.

Giving right hands the first couple starts the figure by crossing with the person diagonally to their right, that is those in their own first corner position. Hence, the first Man crosses downwards, giving right hand to the second Man who is in the bottom Lady’s position and the first Lady crosses upwards, giving right hand to the third Lady who is in top Man’s position. All four dancers then change places on the sides giving left hands; that is the first Man with the third Lady and the first Lady with the second Man. The figure is then completed with the remaining two dancers who are now diagonally to the first couples left, that is in their partner’s second corner position. The first Man continues the figure by crossing downwards, giving right hand to the second Lady who is in bottom Man’s position and the first Lady similarly crosses upwards with the third Man who is in top Lady’s position. All four dancers then change places on the sides giving left hands; that is the first Man with the third Man and the first Lady with the second Lady. All are now on their own side of the dance in the order two, one, three.

Three Couple Rights and Lefts (See Sheet ‘F’)

This figure takes twelve bars to complete, two bars being used for each hand. When giving right hands all the dancers cross the set with the couple who are opposite them. When giving left hands the dancers in first lady’s position and the third man’s position change place on the diagonal while the other dancers change with the dancer alongside them on the side.

Starting in with second couple in top place, first in second place and third at the bottom with all on own side; all three couples cross the set giving right hands to finish 2, 1, 3 on the wrong side of the dance. At the end of the first two bars this leaves the 2nd Man in top Lady’s position diagonally facing the 3rd Lady in bottom Man’s position.

The 2nd Man and the 3rd Lady change places on the diagonal while the 1st and 2nd Ladies and the 1st and 3rd Men change places all giving left hand. Finishing after 4 bars in the order: 3rd Lady, 3rd & 1st Men on the Ladies’ side and 1st & 2nd Ladies and 2nd Man on the Men’s.

All cross giving right hands for the next 2 bars to finish in the same order but on the other side.

The 1st couple now change places on the diagonal while the 2nd and 3rd couples change places with own partner, all giving left hand. Finishing after 8 bars in the order: 1st & 2nd Men and 2nd Lady on the Ladies’ side and 3rd Man with 3rd and 1st Ladies on the Men’s side.

All cross giving right hands for the next 2 bars to finish in the same order but on the other side.

The 3rd Man and the 2nd Lady change places on the diagonal while the 3rd and 1st Ladies and the 1st and 2nd Men change places all giving left hand. All are now in original place.

Diagonal Rights and Lefts

= men

= ladies

Sheet ‘E’

Start
End of Bar 2
End of Bar 4
End of Bar 6
End of Bar 8

Kelloholm Jig

A similar movement occurs in Kelloholm Jig but the 1st or Dancing couple start changing with each corner from 2nd place on their own side. The corners also start at their own ends and on their own sides of the dance, but finish having changed ends. All three couples also finish on the wrong side of the dance.

Start of Figure and after 4 Bars of the Dance After 12 Bars of the Dance

Three Couple Rights and Lefts

= men

= ladies

Sheet ‘F’

Start
End of Bar 2
End of Bar 4
End of Bar 6
End of Bar 8
End of Bar 10
End of Bar 12

LADIES’ AND MEN’S CHAINS

Starting positions

Both Figures start with two couples facing, either up and down or across the dance with the Ladies on their partner’s right.

Ladies’ Chain

The figure starts with the ladies changing places giving right hands while their partners dance directly into the place vacated by their own partners. The ladies then turn the opposite man halfway with the left hand. The men are now in their original position while the ladies are in the opposite ladies’ original position and are facing each other.

The Ladies again change places giving right hands while their partners dance directly into the place originally vacated by their own partners. The ladies then turn their own partners halfway with the left hand.

Everybody is now back in the place where they started the figure.

The Ladies follow the same path as they would in a Reel of Four except they are effectively passing right shoulders in the middle and left at the ends. The men’s path is effectively anti clockwise circles at the ends of the reel.

Alternative Starting positions

It is also common for the figure to be danced starting with the men having the other man’s partner on their right. In this case the figure is the same as above except where the instructions say own partner it should be read as being the other dancer’s partner and where the instructions say opposites it should be read as being the dancer’s own partner.

Men’s Chain

The figure is essentially the same as the Ladies’ Chain except that the men change places giving left hands and turn the Ladies with the right.

Half, Ladies’ or Men’s Chains

The figure is exactly the same as the first half of the full chains described above. This figure is commonly used to regain ones own partner having exchanged partners earlier in the dance.

DOUBLE TRIANGLES and CORNERS                   See Sheet ‘G’

In these descriptions the dancing couple are taken to be the first couple and the corners are taken to be the second and third couples.

DOUBLE TRIANGLES   See Sheet ‘G’

Double triangles begin with the 2nd couple having moved into 1st place and the 1st couple, in second place, having moved into the centre back to back facing out to their own sides of the dance. The 1st Man takes the 2nd Man’s right hand in his right hand and the 3rd Man’s left hand in his left, that is he takes the right hand of the person on his right in his right hand and the left hand of the person on his left in his left hand. The 1st Lady does likewise with the 2nd and 3rd ladies.

All then set for 2 bars. For the next 2 bars the 2nd and 3rd couples continue setting while the 1st couple rotate clockwise, back to back, to face the opposite side of the dance where they repeat the first 2 bars but with the opposite sex. The 1st couple finishes the figure by rotating back to their own side of the dance in 2nd place. The 1st couple remains back to back throughout, until the last bar. If the arms are not long enough to take hands then the 2nd and 3rd couples dance in to reach; the 1st couple does not dance out to meet them.

CORNERS   See Bottom of Sheet ‘G’

If the 1st couple go back to the position in Double Triangles after 4 bars the hands they held belong to people who are known as corners and thinking of Double Triangles makes it easier to remember who and where these corners are. After 4 bars of Double Triangles the 1st couple are facing the wrong side of the dance and the 1st Man has hold of the hands of the 2nd and 3rd Ladies while the 1st Lady has hold of the hands of the 2nd and 3rd Men. The 1st Man holds the 3rd Lady’s right hand in his right hand and she is known as the Man’s 1st corner while 1st Lady holds the 2nd Man’s right hand in her right hand and he is known as the 1st Lady’s 1st corner. The 1st corners are diagonally opposite each other. Similarly the 2nd Lady and the 3rd Man, whose Left hands are held, are known as the 2nd corners.

Many figures are referred to by the 1st couple’s involvement with their corners. This is especially the case with reels, however, there are some figures where the corners are danced with separately and in turn. Two very common such figures are known as ‘Turn corner, partner, corner, partner’ and ‘Set and turn corners’.

TURN CORNER, PARTNER, CORNER, PARTNER

Turn corner, partner, corner, partner, commences with the 1st couple turning their 1st corner by the right hand right round for two bars. That is the 1st Man turns the 3rd Lady and the 1st Lady turns the 2nd Man. The 1st couple then turn each other by the left hands 1¼ times to finish facing their 2nd corners, that is the 2nd Lady and the 3rd Man. They then turn their 2nd corner right round with the right hand and finish turning each other by the left hand, usually back to place or back to face their 1st corner. Skip change of step is used throughout this figure.

SET AND TURN CORNERS

In set and turn corners the 1st couple each set to their 1st corners and then turn their 1st corner right round with both hands using setting step. They finish facing their 2nd corner who they also set to and turn, usually finishing facing their 1st corner.

Double Triangles

Symbols

= men

= ladies

Sheet ‘G’

Start
End of Bar 4
End of Bar 8

1st Corners		Man’s 1st Corner
Lady’s 1st Corner
2nd Corners Man’s 2nd Corner
		Lady’s 2nd Corner

POUSSETTE IN REEL TIME        See Sheet ‘H’

The Reel Poussette figure is a means of progression in that two couples change places. The two couples who change places are usually the 1st and 2nd and this is how it will be described. The first six movements take one bar each and the last takes 2 bars. One of the other progressive figures is the Allemande which was first formalised as a Strathspey (slow time) figure in the 2nd RSCDS book. When the formalised Allemande figure was transferred to Jig (or Fast) time in the 4th RSCDS book it was found that allowing two bars at the end gave slower dancers the opportunity to catch up and be ready for the next figure. Early Poussettes did not allow the 2 bars to finish but in about 1931, Book 7, the Poussette was changed to the present figure with 2 bars at the end.

In the Poussette the movements are controlled by the Men, reflecting the period when these dances were devised.

The figure is danced with the two couples dancing round the sides of a square. Both couples start in the centre of the dance with their backs to their own sides and holding their partners with two hands joined, the Ladies right hand is placed in her partners left and her left in his right. The 1st couple progress down the Men’s side and the 2nd couple up the Ladies side.

In the first bar the 1st Man dances backwards straight towards the Men’s side bringing his partner with him, thus completing half of the top edge of the square. At the same time the 2nd Lady is pushed back by her partner towards her side of the dance completing half of the bottom edge. There must be no anticipation of the quarter turn that is to follow.

In the 2nd bar the 1st Man swivels on the spot and the 1st Lady describes a clockwise arc of a ¼ circle to finish on the Men’s side with her back towards the bottom of the set thus producing one of the right angle corners of the square. At the same time the 2nd Lady swivels on the spot and her partner rotates to finish on the Ladies side with his back towards the top of the set. The movement gives the feeling of the Man pulling with his right hand and pushing with his left.

In the 3rd bar the 1st Man pushes his partner down the Men’s side and the 2nd Man pulls his partner up the Ladies side thus completing the two side sides of the square again with no anticipation of the turn to come.

In the 4th bar it is the 1st Lady who swivels on the spot and the 1st Man describes the clockwise arc of a ¼ circle to finish in a line across the set in the 2nd couple’s original place but towards the men’s side and with his back towards the Ladies’ side of the set thus producing another of the right angle corners of the square. At the same time the 2nd Man swivels on the spot and his partner rotates to finish across the 1st couples position but towards the Ladies side with her back to the men’s side of the dance.

In the 5th bar the 1st Man dances backwards straight towards the ladies’ side bringing his partner with him, thus completing the other half of the bottom edge of the square. At the same time the 2nd Lady is pushed back by her partner towards the men’s side of the dance completing the other half of the top edge. Both couples are now back in the centre of the dance but having changed places and having their backs to their partner’s side of the dance.

In the 6th bar the two couples turn half way round to finish, still in the centre, but with their backs to their own side of the dance.

The dancing couples drop hands and use the last two bars to fall back to their own side.

A summary of the 8 bars of the figure is:

Out to the side, quarter turn, up and down, quarter turn, into the centre, half a turn, fall back, fall back.

POUSSETTE IN REEL TIME

Symbols

= men

= ladies

Sheet ‘H’

Start		Both couples start in the centre with both hands joined.
End of Bar 1		Both couples have moved away from the centre, 1st couple to the men’s and 2nd couple to the ladies’ side.
End of Bar 2		Both couples have rotated a quarter turn clockwise.
End of Bar 3		Both couples have moved up or down, 1st couple down, 2nd couple up.
End of Bar 4		Both couples have rotated a quarter turn clockwise.
End of Bar 5		Both couples have moved back into the centre.
End of Bar 6		Both couples have turned with their partners half way round
End of Bar 8		Both couples have used the last two bars to fall back to their own side but having progressed.

STRATHSPEY POUSSETTE       See Sheet ‘I’

The Strathspey Poussette is a two couple figure based on a diamond shape with the couples moving round the diamond in an anticlockwise direction. Two points of the diamond are in the centre of the set between the 1st and 2nd Cpl’s positions. The other two points of the diamond lie on the sides of the dance, one half way between the first two ladies’ positions and the other half way between the first two men’s positions. The figure takes eight bars to complete; one to move into formation, six to move round the diamond and one to drop back to original place. There is a progressive version, ‘The Half Poussette’, but that will be described later.

On the first bar both the couples step in to meet their partner. The 1st couple at the top of the set use the leg nearer the top of the set for this first step and the 2nd couple, who are closer to the bottom than the 1st couple, use the leg nearer the bottom of the set for this first step. That is all dancers move in to the centre using their outside legs. The 1st couple meet slightly towards the men’s side of the dance and the 2nd couple towards the ladies’ side. On meeting each couple take both hands and turn to form a diagonal line between the 1st Man’s and 2nd Lady’s places facing partners and with the 1st Lady and the 2nd Man standing back to back. The couples, fairly close to their partners, stretch their arms to the side with their elbows slightly relaxed and their arms at about shoulder height.

On the second bar of the figure the movement round the diamond commences with the couples dancing sideways in a diagonal direction towards the points of the diamond on the sides of the dance, and once there they do a quarter clockwise turn keeping their arms extended. The 1st couple have moved to the point of the diamond on the men’s side and the 2nd couple to the point on the Ladies’ side.

On the third bar the couples, again moving sideways travel along the next edge of the diamond to the other couple’s original central position. On reaching the central point the couples draw their arms in and dance a tight 1¼ clockwise turn for one bar finishing ready to continue to dance round the diamond.

On bars five to seven each couple follows the tracks taken by the other couple in bars two to four to arrive in their original place but in the centre of the dance facing each other and with their backs to their own sides of the dance.

On bar eight the couples fall back to their original place on the side lines.

STRATHSPEY HALF POUSSETTE

The Strathspey Half Poussette commences with the dancing couples already in the position reached by the dancing couples in the full Strathspey Poussette at the end of the first bar. This position is reached either by remaining in the centre at the end of the previous figure, such as a ‘Promenade’, or by stepping in with the outside leg on the last bar of the previous figure.

The first three bars of the Half Poussette are the same as bars two to four in the full Poussette finishing having progressed in the centre of the dance facing each other and with their backs to their own sides of the dance.

On bar four the couples fall back to their original sides having progressed.

POUSSETTE IN STRATHSPEY TIME

Symbols

= men

= ladies

Sheet ‘I’

End of Bar 1				During the first bar the couples dance in towards the centre to take both their partner’s hands and turn into a diagonal line as in the figure with their arms raised gently to the sides.
End of Bar 2				During the 2nd bar both couples dance out to the side, and dance a quarter turn still keeping their arms out to the side of the dance as in the figure.
End of Bar 3				During the 3rd bar both couples dance into the centre of the dance and draw their elbows in ready to dance a close turn.
End of Bar 4				During the 4th bar the couples turn their partners ¾ of the way round and open up their arms into the position as at the end of Bar 1.

The dancers now repeat bars 3 to 4 having changed places. The dancers then fall back to own place on bar 8.

In a half poussette the dancers commence the figure as at the end of bar 1 having got into position at the end of the previous figure. They then dance the next 3 bars failing back on bar 4 to their own side having progressed.

ALLEMANDE   Original Formalised Version

The Allemande figure is a means of progression in that two couples change places. The two couples who change places are usually the 1st and 2nd and this is how it will be described. The first six movements take one bar each and the last takes 2 bars. The two bars at the end gave slower dancers the opportunity to catch up and be ready for the next figure. The figure can be danced in both Strathspey (slow) time and in Reel and Jig (Fast) time.

In the Allemande the movements are controlled by the Men, reflecting the period when these dances were devised. Both the Man and the Lady face the same way with the Lady on the Man’s right with the Man standing just behind the Lady and slightly overlapping her. The hold used involves the Ladies’ right upper arm being slightly below the horizontal and the forearm at about 45° up. The Man holds the Ladies’ right hand in his right hand with his right elbow close to the centre of the Ladies’ shoulders. This position allows the Man to guide the Lady forward with his right elbow. The left hands are clasped with the left arms held fairly straight close but not in contact with the body. This position allows the Lady to be turned by the Man pulling the Lady’s hand while he swivels.

At the end of the figure before the Allemande both couples finish in the centre of the dance facing up the set with the 1st couple above the 2nd couple. Each couple is holding left hands in front of the man and holding right hands in front of the Lady, the Man’s right arm is in front of the Ladies left arm. Without disturbing the Lady’s hair style the men raise their partners arms up and transfer their own right arms over their partners head on the first beat of the first bar of the Allemande.

In the first bar both couples take a small diagonal step forward to the right finishing with the 1st Man swivelling anticlockwise guiding his partner round so that they both finish facing the men’s side of the dance. At the same time the 2nd couple start to rotate to take up the position behind them.

In the second bar the 1st couple followed by the 2nd cross the set to the man’s side of the dance and the 1st Man again swivels anticlockwise guiding his partner round so that they both finish facing down the men’s side of the dance.

In the third bar the 1st couple travel down the men’s side of the dance while the 2nd couple take up position behind them also facing down the dance.

In the 4th bar both couples swivel round to finish in a line along the men’s side of the dance facing the Ladies’ side of the dance. The couples have now progressed.

In the 5th bar both couples covering each other advance in a line to the centre of the dance.

In the sixth bar both men raise their right arm over their partners head turning her to face him. Each dancer now has their back towards their own side of the dance. Men treat their partner with affection and not as a sack of potatoes.

The dancing couples now drop hands and use the last two bars to fall back to their own side.

The figure should be kept very tight especially in Reel or Jig time and it must be remembered throughout that the purpose is to change places.

THE KNOT A PROGRESSIVE FIGURE FOR TWO COUPLES

Usually danced in Strathspey Time

Starting positions

The Figure starts with the two couples facing their own partner across the dance and is danced with ones own partner. It is very occasionally danced with three couples.

It is very similar to an inverted Allemande.

Assume it is the 1st couple who are above the 2nd and are going to progress to below them.

FULL RONDEL usually in Strathspey time

Figure starts with 1st & 2nd Cpl. in the centre of the dance facing officially with nearer hands joined although the progression flows better if the 1st Cpl. hold Rt. hands.

HALF RONDEL usually in Reel or Jig time

In Twa Rogueish Een

TOURNEE   Progressive Movement in 8 Bars

THE ITALIENNE as in

A Tour in Turin

Ladies’ Version:

Men’s Version:

SET AND LINK   A PROGRESSIVE FIGURE
FOR TWO COUPLES

Although originally written for 2 Couples the figure has been modified for 3.

Devised for Strathspey Time but now danced in Reel & Jig Times

SET AND LINK FOR TWO COUPLES

SET AND LINK FOR THREE COUPLES

Instructions given for couples having progressed in a previous figure to the order 3rd, 1st & 2nd and all on the wrong side of the dance.

THE SCOTTISH DANCE LANGUAGE

In Scottish Country Dancing the instructions have become simplified to make them easier describe on paper. If during instruction a full description was used the figure would be completed before the instruction had been given. A language has therefore been evolved which also enables quick instruction to be given.