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New Dances ~ 2

~ Adderbury ~


Saturday Night

For Three Dancers; in the mode of Adderbury; Handkerchiefs; 6/8 time
Tune: Saturday Night and Sunday Morn (John Kirkpatrick & Sue Harris, Facing the Music), played in alternation with Millfield (same source)

Suggested by cumulatively progressing dances in other traditions; built round the Adderbury Hey.
It is valuable in making a contrast from the dances for six; and in giving dancers a break when numbers are short; and in being danceable in a pub or other confined space.
Sequence: A Long Half-Hey; inverted Whole-Hey; and a Rounds-and-All-In.

Right foot lead. Figures are 3 pairs of Four-Steps, and 4 Capers.
The only Call is at the end: "All-In!"

In the "Long Half-Hey," the first 2 pairs of Four-Steps are usually in place; the 3rd pair of Four-Steps are travelling; and the 4 Capers are arriving.
That 3rd (travelling) pair of Four-Steps is looping at the ends (Right at the Top, Left at the Foot), or else passing shoulders (also Right in the Upper part, Left in the Lower part).
Sequence:
Once-To-Yourself: Face Up in file, 1st, 2nd, 3rd. Ends with 1st solo, 4 Capers.
Long Half-Hey:
(1) 1st, 2 pairs Four-Steps in position, 1 pair Four-Steps to make a large semi-circular loop, starting obliquely Left and Up, and veering Right, returning to face 2nd, who joins in on the 4 Capers.
(2) 1st and 2nd, 2 pairs Four-Steps facing, pass Right shoulders on the 3rd Four-Step; 1st arrives to face 3rd, who joins in on the 4 Capers; while 2nd arrives at Top place.
(3) 1st and 3rd, 2 pairs Four-Steps facing, pass Left shoulders on the 3rd Four-Step, and 1st arrives at Foot; while 2nd repeats 1st's movements in (1), returning to meet 3rd for the 4 Capers.
(4) 2nd and 3rd, 2 pairs Four-Steps facing, pass Right shoulders on 3rd Four-Step, 4 Capers to take Top (3rd) and Middle (2nd) positions; while 1st repeats action of (1), but in opposite direction, obliquely Right and veering Left, ending in Bottom position. 1st and 3rd are facing up; 2nd is facing Down.
(5) 3rd repeats movements of 1st in (1), while 1st and 2nd dance in position. This creates an inverted set for a Whole-Hey, top facing down, others facing up.
Whole-Hey: started by 1st and 2nd passing Left shoulders.
End the Whole-Hey by using the Capers to form a Circle of Three.
In that formation do a Rounds, with All-In on the 4 Capers.


The Machine Without Horses

In the mode of Adderbury; Long Sticks; 4/4 time
Tune: Opera Reel. Music in 4 parts, each repeated (A, B, C, D)

A briskly moving dance, with an unusual casting-out sequence, all of which suggested the title (taken from a Scottish Country Dance), which makes me think of a railway locomotive.

Step sequences:
Whole-Rounds, Whole-Hey (the continuous figures): 7 Four-Steps, Step-&-Jump with Clash.
Other figures (those with a repeat): 2 Four-Steps, 4 Step-Hops; 2 Four-Steps, 2 Step-Hops, Step-&-Jump with Clash.

Distinctive Figure:
Sticking: Striking is in a Quick-Quick-SLOW rhythm; Odd, Odd, Even, 3 times; then both Clash, twice.
Travelling: 2 Four-Steps, 2 Step-Hops, Step-&-Jump with Clash (as in the repeat part of the repeating figures).
Casting (also a Country-Dance figure) is the same as the curving opening movement by the four ends in a typical "mirror-image" Half-Hey; something like the shape of a question mark; it begins obliquely away from the ultimate direction.
Topping-Down: Top couple travel straight down the set to 3rd place, while 2nd and 3rd couples Cast out and Up one place.
Topping-Up: the reverse of Topping-Down, back to original place.
Bottoming-Up: Bottoms to 1st place, 1st and 2nd couples Cast Out and Down one place.
Bottoming-Down: the reverse of Bottoming-Up, back to original place.
Distinctive Figure #1: Sticking; Topping-Down; Sticking: Topping-Up.
Distinctive Figure #2: Sticking; Bottoming-Up; Sticking: Bottoming-Down.
Distinctive Figure #3: Sticking; Topping-Down; Sticking: Rounds-&-All-In.

Sequence:
A) (lead-in Music) Once-To-Yourself (with Clash, no Jump)
A) Whole-Rounds
B) Half-Hands
C, D) Distinctive Figure #1
A) Processional-Down
B) Processional-Up
C, D) Distinctive Figure #2
A) Dance-Round
B) Whole-Hey
C, D) Distinctive Figure #3




... to be continued