Couples dances literally are for two persons.   Broadly, however, some two hand dances are enjoyed by trios and quartets.

      Some couples dances are progressive -- that is, a particular pattern is danced within a group of dancers then the group divides and dances forward or backward in the line of dance (lod) to form another group where the pattern is repeated.  When a dance is not progressive, the pattern is danced repeatedly by the same group until the music stops or the dancers quit.

      Bar counts (quantities of measures) are shown in bold in the documentation below.

      Speed-of-the-music is shown only relatively (slow, moderate, fast, etc.).  Ones learning the choreography of a fast dance pattern may initially need to have the music played more slowly.

Some couples dances are danced to specific tunes.  

      These couples dances are really WORLD DANCES.  Though a dance may have been created in Amity, Arkansas USA, it likely was based-upon patterns from Europe, Africa or elsewhere.  Further, that USA-dance above may have been later revised by one from Britain,  Japan or elsewhere.  Revisions include changed music and variations to one or more—or perhaps all—of the patterns.  Note multiple variations for the SCHOTTISCHE and the POLKA.

      Historical information about couples dances is available on other sites of the worldwide web.  Note, however, the caveat quoted from one of those sites, streetswing.com/histmain:  "Information is not deemed to be factual or accurate so use at your own risk."

      The documentation below perhaps should not be considered official or final.  The notes record dance instructions for a point-in-time.  Couples dances may change due to dancers' skill levels, the dancers' and musicians' likes and dislikes and other factors.  There may thus be many different versions of couples dances which are not documented here. Though an embarrassment to the webmaster, typographical and content errors are sometimes posted also.   Please share your proofreader corrections with the webmaster.

      This page has been created and is maintained by dancers, Dr. Lenette S. and Larry E. Taylor of Stow, Ohio USA.  Contact:   larryetaylor@hotmail.com 

      Click-on dance information below.   Portions of this page marked      have either been recently posted or recently revised.   Note the version-date for each dance.

 

(a) known by other names  (b) multiple versions exist

Anniversario (Anniversary) Two Step         

Gents dance first on the left foot and ladies step first on the right foot.
Begin with partners facing in a circle around the dance area.  Gents have backs to the center.
Version of January 26, 2007.   

AWAY, 2, 3, BOW; TOGETHER, 2, 3, JOIN HANDS. With the men using the L foot, and the
women using the R, step directly away from each other (men to the inside of the circle, women to
the outside).Take three steps away, and touch the free foot fwd as you make a slight bow. Then move
twd each other for three steps nd a touch, the men stepping fwd to their partners' L side and
joining L hands with them. R hands are joined with the person to he R side of you (Alamos style).
TWO-STEP LEFT, TWO-STEP RIGHT, TURN, 2, 3, 4. The men
step on their L foot, swing the R out a little beyond it and touch the
floor, and then step on the L again. (The women using the opp foot,
so the circle will be working in one dir. It is really a pas-de-basque
that is done, the men swinging their L foot out to the front, on
around, and back almost to place where they put it down, then
touching the R foot in front of it, and then taking the wt again on
the L in pos.) Then swinging the R foot around and taking wt on it,
touching the L in front, and taking the wt on the R again.
     Holding partners' L hand, and letting go with the R hand,
walk four steps around partner (CCW), and join R hands with the
next person. The men are now facing in and the women out
(Alamo style).
TWO-STEP LEFT, TWO-STEP RIGHT, TURN, 2, 3, 4. Repeat
the pas-de-basque steps again. (The men step L again, touch R in
front, and step wt on L again; then step on R, touch L in front, and
take wt on R again.) Now turn the woman you are holding by the R
hand, using the same four steps, but finishing with a box-the-gnat,
by having the women back under (L-face) the man's R arm to pos
opp and facing him. (They change hand holds, he now taking her R
hand in his L.)
DRAW AND, DRAW AND, TWO-STEP LEFT, TWO-STEP
RIGHT. The men step on their L and draw the R to the L, then step
on the L again and draw the R to the L. Then they do a bouncy
two-step, a leap-step-step. The woman does a slight leap fwd on
the R foot between her partners' feet on the first meas, and on the
second two-step the man does the same. They circle once
completely around in two two-steps, ready to repeat the dance
again with their new partner.

Bingo Waltz      

Formation: Couples (lady on man's right) in a single circle, all hands joined and facing COH.

Footwork: Opposite throughout, directions are for the man.

INTRO: Wait four measures, then dance starts.

Meas. (3 counts per meas.)

1- 4 BALANCE IN; BALANCE OUT; ROLL AWAY; HALF SASHAY; Step fwd on left ft on ct 1, touch rt toe to side of left ft on ct 2, hold ct 3, swinging joined hands forward; step bwd on rt ft on ct 1, touch left toe to side of rt ft on ct 2, hold ct 3, swinging joined hands bwd; man rolls lady across in front of him (she makes a full L-face turn in 6 steps) and takes her rt hand in his left during the roll to end in a single circle again, all facing COH.

5-16 REPEAT MEASS. 1-4 THREE MORE TIMES. At end of Meas. 16, man faces LOD and the lady on his right, while lady faces RLOD and him to take butterfly position, M & W's palms together, arms extended sideways.

17-20 STEP DRAW; STEP DRAW (IN); STEP DRAW; STEP DRAW (OUT); M & W step sideways twd COH on ct. 1. They draw their following ft to lead ft (heel to instep), cts 2 and 3 (there should be a slight sideward bend at the waist, M & W lead hands high, while each is looking at the drawing ft and keeping following hands low); repeat Meas. 17; repeat step-draws away from ctr of hall, with natural change of hands held high and low;

21-24 REPEAT MEAS. 17-20;

25-28 GRAND RIGHT AND LEFT – Still facing partners, take rt hands and begin a grand right and left; everyone shouts "B" while taking 1^st rt hand, "I" on taking left hands, then "N" with rt hand, and "G" on taking left hands; 20-32 SWING – When meeting the fifth lady, hug her (or swing) shouting OOOOOH

Blackhawk Waltz  [ follow link ]      

Blue Pacific Waltz

Position: Couples in open position, near hands joined, and starting on outside feet.

Directions for the man, lady does counterpart. Standard acknowledgment during musical intro. 

Measures:

1  STEP, SWING, -; Gently swing the joined inside hands forward and turn slightly away from partner, step fwd L, swing R across in front of L, and hold;

2- 3  ROLL-ACROSS, -, 3; 1, SWING, -; In canter rhythm with M turning CW (W CCW, passing in front of M) partners exchange places (into L open pos.) step R, and, L; step R, swing L, and hold;

4- 5  ROLL-ACROSS, -, 3; 1, SWING, -; Repeat Mea. 2-3 in opposite dir, with opposite footwork and rolling in opposite directions, W XIF of M;

6  FACE, TOUCH, -; (take closed pos.) While assuming closed pos: Step R, touch L, and hold; (M face wall)

7- 8  WALTZ, 2, 3; WALTZ, 2, 3; Two R-face turning waltzes ending in open position.

9-16  Repeat Meas. 1-8, ending in semi-closed position.

17  STEP, SWING, -; Step L fwd, swing R fwd, and hold;

18  TWINKLE, 2, 3; Step fwd R, fwd L while starting to turn inward, close R

to face RLOD in reverse semi-closed pos.

19  TWINKLE, 2, 3; Repeat Meas. 18 in opposite direction with opp. ftwork.

20  STEP, TOUCH, -; Step fwd R, touch L, and hold;

21-28  Repeat Meas. 17-20 twice more.

29-32  STEP, SWING, -; HOOK, (pivot), (and); WALTZ, 2, 3; OPEN, 2, 3; Still in semi-closed position step fwd L, swing R fwd, and hold; then the M crosses his R over his L so that his feet are almost touching and parallel, then with both feet on the floor but the weight on his R he pivots L-face until his feet are again parallel and he is facing almost RLOD, and holds; (at the same time the W dances around him with 3 steps; L, R, L; staying close so as not to pull the M off balance). Then in closed position waltz (L-face) until M is facing wall; and on the last measure drift apart in 3 more steps into open position.

Bolero      

Lloyd Shaw reported that this dance was brought west to Denver

from New York by Katherine West Nathan and subsequently

revived by Martha S. Frye. From Denver it spread throughout the

state. The dance was a great favorite on all the Viennese Waltz

Nights. These were special evenings held in Denver and Colorado

Springs beginning in the 1940s. People dressed up and came for an
evening of dining and dancing to music played by members of the
local symphony orchestra. As you might expect, Viennese waltzes
dominated the program. Bolero is a waltz in Viennese tempo,
danced to "Estudiantina Waltz" by Emil Waldteufel.

Position: Start facing partner with man's R and woman's L hand
joined.

Footwork: Opposite, directions given for man with woman doing
counterpart.

Measures
     1-2  STEP-SWING, HOP BACK-TO-BACK; BALANCE
     Step to the side in LOD on man's L; then swing the other
     foot through between you and also swing the joined hands
     forward and up, turning back-to-back; on the third count,
     hop on the supporting foot in this back-to-back position. To
     balance, step to the side in LOD, close, and step in place  
     to the side, close with L, R in place).
     3-4  STEP, DRAW (CLOSE); STEP, DRAW (TOUCH)
     Still in the back-to-back position, step to the side in RLOD
     (man's L) and draw the trailing foot, closing on the third
     count. Step again in LOD and draw man's R foot to touch
     by L, but don't take weight on it the second time, leaving it
     free for the next step. To add some style, bend the
     supporting leg and point the drawing foot in LOD as it
     closes.
     5-6  STEP-SWING, HOP FACE-TO-FACE; BALANCE
     Moving in LOD step sideways on man's R; swing the other
     foot around, swinging the joined hands back between you
     and turning face-to-face; hop on man's R. Facing, balance
     in LOD (L, R, L).
     7-8  STEP, DRAW (CLOSE); STEP, DRAW, (TOUCH) IN
     RLOD
     Repeat 3-4, above, in RLOD but facing (R, draw L and
     close with it, R, draw L to touch).
     9-10 STEP, SWING; STEP, SWING
     Still with just man's R and woman's L hands joined, step
     (L), swing (R) in LOD, and in RLOD (step R, swing L).
     11-12 SIX-STEP TURN AWAY
     Man swings their hands forward and they release hands and
     turn away (man L-face and woman R-face) making a little
     six-step circle in place until they are facing again.
     13-14 STEP, SWING; STEP, SWING
     Repeat 9-10, above.
     15-16 STEP, STAMP, STAMP; STEP, SWING
     Step (L), stamp (R), stamp (L). Step (R), swing (L).

OR: a variation could be done by changing the last four bars (13-
16) to four turning waltzes in closed position.

Boston Two Step      

Position: Open, woman on man's R side, near hands joined.

Footwork: Opposite, directions given for man, woman doing the
counterpart.

Measures
     1-2  TWO PAS DE BAS BALANCES FORWARD
     Starting on outside feet, dancers leap diagonally forward
     and away from each other, and in two quick steps, close
     with the inside foot and step in place with the outside foot.
     (Man leaps L, closes with R and steps in place on L.) They
     repeat the step, leaping with the inside foot diagonally
     forward and toward each other (leap R, close L, step R).
     3-4  WALK, 2, 3, TURN
     Starting on outside feet, walk forward three steps (L, R, L).
     On the fourth count, keep weight on the outside feet and
     pivot toward each other to turn to face RLOD, joining new
     inside hands, man's L and woman's R.
     5-8  REPEAT 1-4 IN RLOD
     Starting on new outside feet, man's R and woman's L, do
     two pas de bas balances out and in, walk, 2, 3, and turn to
     face on count 4.
     9-10 PAS DE BAS BALANCES L AND R
     Facing with both hands joined, balance to man's L and R.
     When not traveling with the balance, dancers should close
     on the second step behind the leaping foot (leap L, close R
     behind L, step L in place, leap R, close L behind R, step R
     in place).
     11-12 STEP DRAW, STEP DRAW IN LOD
     Both step to the side in LOD (man's L), draw the other foot
     to close, taking weight on it, and repeat.
     13-16 FOUR TURNING TWO-STEPS
     Take closed dance position and do four turning two-steps,
     traveling in LOD and making two clockwise revolutions.

STYLING: This dance should be danced with light springy steps.

Butterfly Valzer (Waltz)      

Formation: Couples in circle, butterfly pos, M's back to COH

Footwork: Opposite throughout 

Introduction: Wait 2 meas, in open pos, bal apart, bal to butterfly 

Measures:

PART A

1-4 BALANCE TOGETHER; BALANCE APART; CANTER; CANTER; Starting M's L do one waltz bal tog, one waltz bal apart; step L to L in LOD, close R hold 2 counts. Repeat meas 3.

5-8 GRAPEVINE, 2, 3; 4, 5, 6; STEP, DRAW; STEP, DRAW; M steps on L to L in LOD, cross R behind L (W also crosses behind), step to side on L, cross R in front of L, step to side on L, cross R behind L, step to side on L, draw R closing to L. Repeat meas 7.

9-16 REPEAT PART A: Ending in Open Pos facing LOD. 

PART B

17-20 WALTZ FWD; WRAP; BALANCE FWD; BALANCE BACK; Starting M's L do 2 waltz fwd in LOD (on 2^nd meas W still holding inside hands makes one turn L-face into M's R arm, joining her R and his L hands as she faces LOD); do one waltz bal fwd on L; repeat bal stepping back on R.

21-24 WALTZ FWD; INTO CLOSED POS; WALTZ TURN; OPEN; Starting L and still in wrap pos, waltz 2 meas in LOD; releasing M's R and W's L hands maneuver to closed pos on second meas. M's back is to LOD as he steps back L in LOD to commence R-face waltz turn in 2 meas ending in Open Pos facing LOD.

25-28 WALTZ AWAY; WALTZ TOGETHER; SOLO TURN; INTO BANJO; Starting M's L do 2 waltz meas LOD, turning away and tog, swinging inside joined hands fwd and back. Letting go hands and progressing LOD do solo 3/4 turn away from each other (M L-face, W R-face) in 6 steps to Closed Banjo Pos; (M is facing diagonally to wall in LOD, W faces RLOD diag to COH).

29-32 BANJO AROUND; AROUND; TWIRL; FACE IN BUTTERFLY; Starting M's L with R hips adjacent, wheel CW in 3 meas of waltz; then step R touch L. M is facing wall. (On 3^rd meas W twirls R-face under her R and M's L arms to face him in Butterfly pos.) 

The routine is done 3 times. At end of dance, twirl to open pos and bow.

C J Mixer      

By Cal and Judy Campbell, Castle Rock, Colorado

Formation: Open for introduction; varsouvianna for dance.

Footwork: Outside feet, M's L, W's R.

Introduction: Wait 2 meas. APART, POINT; TOGETHER, TOUCH; SOLO WALK AROUND with 4 steps, M to L, W to R, (take varsouvianna position).

Measures:

1 - 4 WALK, 2; 3, TURN; BACK –UP (in LOD), 2; 3, 4; In varsouviana position, walk fwd in LOD 3 steps and turn ˝ R-face as a couple on 4^th step to face RLOD with W on outside, M on inside while maintaining the hand hold; back up in LOD with 4 steps;

5 - 8 WALK FWD (in RLOD), 2; 3, TURN; BACK-UP (in RLOD), 2; 3, 4; Walk fwd in RLOD with 3 steps and turn ˝ L-face as a couple on the 4^th step to face LOD; back up in RLOD with 4 steps;

9 - 12 STAR LEFT, 2; 3, 4; 5, 6; CHANGE HANDS; Drop R hands but keep L hands joined and pull the W to the inside of the circle making a L-hand star and move around in a star formation for 6 cts; then turn on 2 cts and join R hands in a star formation;

13 - 16 STAR RIGHT, 2; 3, 4; 5, 6; TO A NEW ONE; Move around in a the R-hand star for 6 cts then on cts. 7 and 8 the M moves back (W fwd) to a new partner and assumes varsouvianna position ready to repeat the dance.

Dance goes through six times.

Ending: WALK; 2, 3, TURN; BACK-UP (in LOD), 2; 3, 4; (Repeat Meas. 1-4 above) WALK FWD (In RLOD), 2; 3, TURN; BACK-UP (in RLOD), 2; 3, BOW. (Repeat Meas. 5-8 above). Bow to partner.

Capistrano Valzer (Waltz)      

A waltz written by Henry (Buzz) Glass, Oakland, California.

Couples stand side by side, with R hands joined over the girl's R
shoulder and the L hands joined in front of the men (Varsouvianna
pos). During the four measures of introduction, they rock slightly
fwd and back, and again fwd and back, if they wish.

Measures
     1-2  BAL FWD; PARK LEFT
     Without changing hand holds the woman waltzes over in
     front of the man (L, R, L) and backs up to his L side,
     stepping on her R foot and swinging the L foot out in front.
     The man at the same time steps in place (L, R, L) while he
     crosses her over in front of him, and steps on his R
     swinging the L fwd.
     3-4  BAL FWD; PARK RIGHT
     She repeats by crossing back (L, R, L), (while he does
     almost the same steps in place), and they both swing the L
     fwd as they bal back on the R.
     5-6  TWIRL, 2, 3; 4, 5, 6
     Letting go with his R hand, he starts her fwd on a R face
     twirl, and lets go of her hand. She does one complete, slow,
     R face revolution in six steps. He follows her with very
     light steps and takes her hands again in Varsouvianna pos.
     7-8  ROCK FWD AND BACK
     They both rock fwd on the L foot in one measure and back
     on the R on the next.
     9-16 REPEAT MEAS 1-8
          17-24      MODIFIED BOX WALTZ FOR EIGHT MEASURES
     They turn L face or CCW, turning nearly twice around, and
     ending facing the wall. If they go fwd on the L foot on the
     first beat of the first meas, and step behind with the R on
     the second meas, and so on for the 8 measures, letting the
     RL and LR fall where they will on the end of each meas,
     they will come near enough to the box waltz to serve our
     purpose.
          25-26     RUN THREE; SWING FWD
     Letting go with their R hands, the girl runs fwd in front of
     the man (still holding his L hand), while he works a little to
     his R (L, R, L), and ends with her facing into the COH
     while he faces the wall. In this pos they both step on the R
     and swing on the L fwd.
          27-28     AND BACK THREE; SWING AGAIN
     Then running bwd for three steps, they end by the man
     facing twd the COH and the lady facing out, and stepping
     on the R, swing the L again
          29-30     RUN AND DUCK UNDER
     Running three steps fwd again, so both are almost facing in
     the original pos, the man raises his L arm and the woman
     turns L face under it. They are both facing fwd again
     around the circle, resuming the Varsouvianna hold.
          31-32     ROCK FWD AND BACK
     They both rock fwd on the L on the first measure and back
     on the R on the second.

They repeat the whole routine two more times, and start the fourth
time, finishing after the repeated turn-around, leaving plenty of
time for the final bow.

Capri      

A Sicilian circle mixer written by Muriel Curd Smith.

Formation: Sicilian circle of couple-facing-couple, couples' near
hands joined with partner. Footwork identical, starting with L foot.

Introduction: 2 measures of 4/4 time (8 counts). Wait.

Measures
     1-2  GRAPEVINE LEFT; GRAPEVINE RIGHT
     Everyone steps to the L on his (her) L foot, swings the R
     behind it, taking the weight on the R, steps again to the L
     on the L, and swings the R in front of the L; Repeat in the
     opposite direction, stepping to the R on the R foot, step
     behind the R with the L foot, taking weight on it, step again
     to the side with the R foot, and swing the L foot in front of
     it. (Do not take the weight on the L foot.)
     3-4  DOS-A-DOS WITH THE PERSON YOU ARE FACING
     Starting with the L foot and using 4 two-steps, pass to the L
     of the person you are facing (lady facing man - man facing
     lady) and, facing the same direction throughout, cross
     behind that person (back to back) and on around him/her,
     returning to your original position. Cue: Two-step L, two-
     step R, two-step L, two-step R.
     5-6  REPEAT MEAS 1-3, GRAPEVINE LEFT; GRAPEVINE
     RIGHT
     7-8  PASS THROUGH WITH TWO-STEP LEFT, TWO-STEP
     RIGHT; WALK, 2, 3, 4
     With these 8 counts you will progress in the direction you
     are facing, passing to the L of the person you are facing
     (pass R shoulders) and moving on to face a new couple.

Repeat the dance with a new couple, etc.

NOTE: This dance is fun to do and feels good. Better yet, with
beginning groups, it is excellent practice in two basic figures:
GRAPEVINE ("vine") and DOS-A-DOS

Caprice Valzer (Waltz)      

A waltz written by Jess and Ellis Gates of San Antonio.

Music: "Caprice Viennoise"

Position at introduction, open, facing LOD, inside hands joined.

Footwork: Opposite throughout, directions for man.

Introduction: four measures
     1-4  WAIT; WAIT; APART, POINT,  ; TOGETHER (to
     butterfly), TOUCH,  

Measures
     1-4  WALTZ BAL L; WALTZ BAL R; VINE, 2, 3;
     THROUGH, SIDE CLOSE
     In butterfly pos, man's back to COH, waltz bal L by
     stepping to L side in LOD on L swaying upper body to L,
     step on R foot cross in back of L (woman also cross in
     back), step in place on L; step on R foot twd RLOD,
     swaying upper body twd R, step on L foot cross in back of
     R, step in place on R foot; man steps on L in LOD, crosses
     R behind L (woman also cross in back), step to side on L;
     step through on R in front of L, step to side on L, close R to
     L.
     5-8  STEP, SWING,  ; STEP, TOUCH,  ; CHANGE SIDES, 2,
     3; 4, 5, 6
     In open pos, step fwd in LOD on L, swing R fwd, pivoting
     to back to back pos, hold one count; step to side (LOD) on
     R, touch L to R; change hands joining man's L and
     woman's R and holding joined hands high, man turns L-
     face and walks half way around woman in 6 steps (1 meas)
     to end facing COH, while woman turns R face and walks
     under joined hands 6 steps to end facing wall and in
     butterfly pos.
     9-16 REPEAT MEAS 1-8 in RLOD, ending in open pos, facing
     LOD.
          17-20     WALTZ AWAY, 2, 3; WALTZ TOG, 2, 3; ROLL OUT, 2,
          3; LADY MANEUVER, 2, 3
     In open pos, starting man's L, waltz away from partner, L,
     R, L, moving in LOD; waltz twd partner and LOD, stepping
     fwd on man's R, step to side on man's L (twd LOD),
     turning to face partner, close R to L and at the same time
     change hands to man's L and woman's R, and face RLOD;
     stepping back twd LOD on man's L, and releasing hands,
     partners roll out and around (man R-face, woman L-face),
     man stepping R, L; continuing on around twd LOD, woman
     maneuvers in front of man with her back to LOD in closed
     pos, while man steps R, L, R.
          21-24      L-FACE WALTZ TURN; L-FACE WALTZ TURN;
          TWIRL, 2, 3; STEP, TOUCH,  
     Dance two L-face turning waltzes down LOD, making a 3/4
     turn to end with man's back to COH; woman twirls under
     her R and man's L arms down LOD as man dances fwd in
     LOD, L, R, L; step fwd on R, touch L, end in momentary
     butterfly.
          25-32      REPEAT MEAS 17-24, ending in closed pos, man's back
          to COH.
          33-36     FWD, SIDE, CLOSE; WALTZ (TWINKLE), 2, 3; WALTZ
          (TWINKLE), 2, 3; MANEUVER, 2, 3
     Dance a « box waltz, stepping fwd twd wall on L, to R side
     in RLOD on R, close L to R, turning to semi-closed pos;
     man steps fwd in LOD on R, close L to R, step in place on
     R (woman steps fwd on L, turning to banjo, steps R, L in
     place); still facing LOD, man steps in place L, R, L, while
     woman steps fwd twd RLOD on R, turning to semi-closed
     steps L, R; man maneuvers « R-face (R, L, R) to face
     RLOD as woman steps in place, L, R, L.
          37-40      WALTZ; WALTZ; WALTZ; TWIRL, 2, 3
     Man steps back in LOD on L to start 3 R-face turning
     waltzes, moving LOD; woman twirls R-face L, R, L, as
     man walks R, L, R; end in butterfly, man's back COH;
     woman twirls R-face L, R, L, as man walks R, L, R; end in
     butterfly, man's back COH.

Repeat the dance once (meas 1-40) and end with a twirl on meas
40 the second time through.

Carefree Valzer (Waltz)      

A waltz by Dena M. Fresh of Wichita, Kansas.

Music: "Paris Valentine"

Position: Open, facing LOD. Instructions for man, woman does
counterpart.

Introduction: Wait 2 meas, bal apart, bal together.

Measure
     1-4  STEP, SWING, RISE; STEP, SWING, RISE; SPOT-
     TURN AROUND, 2, 3; 4, 5, 6
     Step fwd in LOD on L, swing R fwd, rise onto ball of L
     foot by lifting L heel slightly from floor; repeat on R; spot-
     turn L face once around with 6 steps, starting on L (woman
     turn R face and start on R). End in open pos facing LOD.
     5-8  Repeat meas 1-4 and end facing partner in closed pos,
     man's back to COH.
     9-12 PAS DE BASQUE (L); PAS DE BASQUE (R); SIDE,
     BEHIND, SIDE; DIP (CROSS) SIDE, CLOSE
     On man's L, pas de basque to L (cross R in back - woman
     cross in back also); pas de basque to R on R (cross L in
     back - woman cross R in back); step L to side in LOD, step
     R behind L, step L to side; cross R over L with slight dip
     (woman opp), step to side on L, close R to L.
          13-16     DIP BACK; MANEUVER; WALTZ; WALTZ
     In closed pos, man dip back on L (woman fwd on R); with
     3 steps (R, L, R) maneuver man's back to LOD; dance two
     R-face turning waltz steps to end facing partner, man's
     back to COH, both hands joined.
          17-20     BAL APART; BAL TOGETHER (BUTTERFLY BANJO);
          AROUND, 2, 3; 4, 5, 6
     Step back (away) from partner on man's L, touch R to L;
     step twd partner on man's R, touch L to R and assume
     butterfly-banjo pos with arms wide-spread and R hips
     together; starting L (woman's R) walk half way around
     with 6 steps to end with man facing COH (woman facing
     wall).
     21-24     STAR-TWIRL, 2, 3; 4, 5, 6; (MANEUVER) WALTZ;
          WALTZ
     Drop man's L and woman's R hands (retain man's R and
     woman's L hand hold), starting man's L walk on around
     woman with 6 steps to end with man's back to LOD - while
     woman does a 1 1/4 L-face spot twirl under the joined
     hands in 6 steps, starting on her R; man step back in LOD
     on L and dance two R-face turning waltz steps.
     25-28     Repeat meas 17-20.
     29-32     Repeat meas 21-24, end in open pos.

Repeat dance three more times. On fourth time through, omit steps
for meas 25-32 and substitute ENDING.

ENDING:
          25-28     BAL APART; BAL TOGETHER; BAL APART;
          MANEUVER
     Meas 25-26 same as meas 17-18; step back from partner
     once more; on man's R (woman's L) maneuver man's back
     to LOD and assume closed pos.
          29-32      WALTZ; WALTZ; TWIRL; BOW
     Man step back in LOD on L and dance two R-face turning
     waltzes; twirl woman in usual way; bow

Carlyle      

Music: Rustic Dance by Fred Bergin

LS 144 

Please note that this music is very useful for a variety of things. The elementary dance "Partner Skip" for 1^st and 2^nd grades can be done to this music. 

Position: Regular round dance CP, M*s back to COH.

Footwork: Opposite throughout. 

During the introduction: Bow to your partner, come to CP. 

Measures:

1-4 STEP, CUT, CUT, TOUCH; STEP, CUT, CUT, TOUCH; TWO-STEP; TWO-STEP; (Practice the "CUT" first. Stand on the L foot and "cut" under it with the R, placing the R exactly where theL was, and freeing the L to swing sidewise into the air. Cut back with the L, placing it where the R was, thus freeing the R to swing into the air. Keep on doing it: STEP LEFT, STEP RIGHT-SWING LEFT, STEP LEFT-SWING RIGHT, STEP RIGHT - until you feel sure of this delightful simple step.) After the two meas of Step, Cut, Cut, Touch do two meas of sidewise two-step, first to the L, then to the R.

5-8 SLIDE-CLOSE; SLIDE-CLOSE; SLIDE; CROSS; Slide to M*s L and close the R to it; and repeat; slide to the L; cross the R over in front of L (XIF), read to step on the L and begin over again. 

Teaching suggestions: You will find many ways of using this lively and charming music to make dancers familiar with the feeling of the basic two-step. Young people love the Carlyle step, however, and it can be an introduction to round dancing at this level. It will do for a one-night stand for teenagers. The step, cut, cut, touch, is exciting and they have the breath for it!

Champagne Valzer (Waltz)      

A waltz by Dena M. Fresh, of Wichita, Kansas.

Position: Butterfly pos. Starting in open pos, facing LOD, during
introduction, woman steps around in front of man and faces him in
butterfly pos at start of dance. Man facing LOD. Directions given
for the man. 

Introduction: During the four measures of introduction, the dancers
wait for the first two meas. Then, in open pos, facing LOD, they
bal away from partner; bal twd partner, and at the same time
assume butterfly pos (woman steps around in front of man to face
him).

Measures
     1-4  WALTZ OUT; WALTZ IN; STEP,  , CLOSE; DIP BACK,
      ,  
     In butterfly pos, waltz diagonally fwd on L (woman back on
     R); waltz diagonally in to center on R; step fwd on L, hold,
     close R to L (canter rhythm   woman's R and man's L
     hands still joined), while woman at the same time turns R-
     face by stepping R, hold, close L to R under man's L and
     her R arm. Assume closed pos, and man dip back on L in
     RLOD bending knee slightly (woman dip fwd on R).
     5-8  WALTZ; WALTZ; WALTZ; TWIRL
     Two R-face turning waltz steps; one waltz step in LOD;
     twirl woman R-face under man's L and her R arm. End in
     closed pos.
     9-12 TWINKLE; TWINKLE; BACK-TO-BACK; FACE-TO-
     FACE
     Twinkle cross LOD   man steps R across L (woman steps L
     across R), step to side on L, step R in place; step L across
     R, step to side on R, step L in place. Man steps R across L
     and at the same time pivot « L-face (woman opp) to end
     back-to-back with partner, man facing RLOD, woman
     facing LOD, touch L to R; step to side on L and at the same
     time pivot « L-face to end facing partner and LOD in
     closed pos, touch R to L.
          13-16     WALTZ FWD; WRAP, 2, 3; BAL FWD; BAL BACK
     In closed pos, waltz fwd on R; quickly join man's R and
     woman's L hands, raising them between couple, and high
     overhead, and at the same time woman turn R-face to
     man's L side, keeping man's L and woman's R hands
     joined, and place on woman's R hands joined, and place on
     woman's L hip, using 3 steps, L, R, L (woman's R arm is
     crossed over in front of her, and man's L arm is crossed
     behind her. They are joined at her L hip. His R and her L
     are also joined and arched overhead. They both still face
     fwd with woman on man's L side). Step fwd on R
     (woman's L), touch L to R, and hold; step back on L, touch
     R to L, and hold.
          21-24     FWD, 2, 3; STEP, SWING,  ; FWD, 2, 3; UN-WRAP, 2, 3
     Still in pos described for meas 18, man steps fwd in LOD,
     R, L, R (woman steps L, R, L); step fwd on L, swing R
     fwd, hold; step fwd on R, L, R; keep hands joined while M
     steps in place, L, R, L, and woman turn L-face (R, L, R) to
     end in banjo pos with arms wide spread.
          25-28      TWINKLE; TWINKLE; TWINKLE; DIP BACK  ,  
     Moving in LOD, man cross R over L (woman cross L in
     back), step to side on L, step R in place; cross L over R,
     step to side on R, step L in place. Repeat meas 25. Assume
     closed pos and dip back on L in RLOD bending knee
     slightly.
          29-32      WALTZ; WALTZ; TWIRL; STEP,  , CLOSE
     Two R-face turning waltz steps; twirl woman under man's
     L and her R arm. Assume butterfly pos and step fwd on L
     (woman back on R), hold, close R to L.

Repeat the dance two more times, and end with a bow on meas 32.

Chimes of Pimavera      

A waltz by Sally and Gus Pipkin of Kansas City, Missouri.

Music: "Chimes of Spring"

Position: Open, facing LOD.

Footwork: Opposite throughout, instructions for man, woman does
counterpart.

Introduction: 4 meas, wait 2 meas, bal away, bal together.

Measures
     1-4  WALTZ FWD; CHANGE SIDES; WALTZ BWD;
     MANEUVER
     In open pos, inside hands joined, one fwd waltz (L, R, L);
     change sides (R, L, R), crossing each other under man's R
     and woman's L hands to end facing RLOD with woman on
     man's R; one bwd waltz in LOD; man turns « R-face to
     face LOD in butterfly pos (R, L, R) while woman does one
     more bwd waltz.
     5-8  TWINKLE OUT; TWINKLE IN; TWINKLE OUT; OPEN
     OUT
     Traveling diagonally twd wall in LOD, step L across in
     front of R, step to side on R, close L to R (woman crosses
     behind); step R across in front of L, step to side on L, close
     R to L; repeat the twinkle out; repeat the twinkle in, and, as
     man twinkles in, woman makes a « R-face turn to end in
     open pos.
     9-12 REPEAT MEAS 1-4, but woman makes a « L-face turn to
     face partner in closed pos, man's back to LOD on the last
     meas.
          13-16      WALTZ; WALTZ; WALTZ; TWIRL TO OPEN POS
     Three R-face turning waltzes, making 1 « complete
     revolutions to end with man facing LOD; man does one
     fwd waltz, while woman twirls R-face under her R
     and man's L hands to finish in open pos.
          17-20     WALTZ FWD; MAN CROSSES; WHEEL, 2, 3; STEP,
          SWING,  
     Waltz fwd in open pos; man crosses to the outside (R, L, R)
     while woman makes a « L-face spot turn (L, R, L) both end
     facing RLOD; wheel to face LOD, man moving fwd; step
     fwd R, swing L,  .
          21-24     TURN AWAY; AND ON AROUND; WALTZ FWD
          (SEMI-CLOSED); STEP, TOUCH,  
     Release hand-holds and, progressing in LOD, roll away
     from partners in two solo waltz steps (one complete turn) to
     end in semi-closed pos facing LOD; step fwd R, touch L,
     hold, to end facing partner, man's back to COH.
          25-28     WALTZ FWD; MAN CROSSES; WHEEL, 2, 3; PIVOT,
          TOUCH,  
     Repeat meas 17-19; on the last meas pivot and touch to face
     partner, man's back to COH (man makes a 1/4 pivot R-
     face, woman L-face).
          29-32     DIP BACK,  ,  ; WALTZ; WALTZ; TWIRL
     Man dips back on L and hold two counts (woman fwd on
     R); two R-face turning waltzes, making 3/4 of a complete
     revolution to end with man facing LOD; man waltzes fwd
     in LOD while woman twirls R-face under his L and her R
     to end in open pos.

Routine is danced three times. End with a twirl and bow.

Chopsticks      

A waltz written by Dena M. Fresh of Wichita, Kansas.

Music: "Chopsticks"

Position: Open, couples facing COH, to start the dance all hands
joined in a single circle.

Footwork: Opposite throughout. Instructions for man.

Introduction: Wait through the little run   then acknowledge your
partner.

Measures
     1-4  CIRCLE LEFT;  ;  ; TURN
     With all hands joined and facing COH, begin with man's L
     (woman's R) and circle to the L for 3 waltz meas (9 steps);
     turn on the 4th meas to move LOD.
     5-8  CIRCLE RIGHT;  ;  ; FACE (partner)
     With all hands still joined, begin on man's L (woman's R)
     and circle to the R for 3 meas; while man does 3 steps in
     place (R, L, R) woman turn L-face to face him and join R
     hands.
     9-12 GRAND RIGHT; AND LEFT; STAR RIGHT; HALF
     AROUND
     Give R hand to your partner and beginning with man's L
     (woman's R) walk fwd L, R, L; give L hand to the next and
     beginning with man's R (woman's L) walk fwd R, L, R;
     give R hand to the next person and star R half around with
     6 steps, beginning man's L, to end with man facing RLOD
     and woman facing LOD.
          13-16     THEN LEFT; STAR RIGHT; WITH YOUR PARTNER;
          AND FACE
     Give L hand to next person and beginning with man's L
     (woman's R) walk fwd L, R, L; give R hand to your own
     partner and star around to end with man's back to COH and
     facing partner.
          17-20      BALANCE BACK (twd COH); MANEUVER; WALTZ
          (RF); OPEN OUT
     Assuming closed pos, bal back twd COH on man's L;
     maneuver man's back to LOD; step back on man's L in
     LOD and dance one R-face turning waltz; open out to face
     LOD in open pos.
          21-24     WALTZ APART; WALTZ TOGETHER (semi-closed);
          WALTZ FWD; THROUGH, SIDE, CLOSE
     On man's L (woman's R) and moving in LOD, waltz away
     from partner at arms length; waltz together and assume
     semi-closed pos, facing LOD; waltz fwd in LOD starting
     man's L; step through, or between the couple, on man's R
     (woman's L) and at the same time face partner, step to side
     in LOD on L, close R to L.
          25-28      BALANCE BACK (twd COH); MANEUVER; WALTZ
          (RF); OPEN OUT
     Repeat meas 17-20.
          29-32     WALTZ APART; WALTZ TOGETHER (semi-closed);
          TWIRL;  
     Repeat meas 21-22; twirl woman R-face under man's L and
     her R arm and maneuver to reform the single circle all
     facing COH.

Repeat three times more. End with a bow.

Note: If you should want to use this dance as a mixer, make a
variation in meas 13-16. On meas 14, instead of starring R with
partner, take your partner by the R, pass on to take the next by the
L, and twirl that one to face.

Chulita Two Step      

A two-step written by Carlotta Hegemann, of San Antonio.

Music: "La Borrachita"

Note: The rhythm is 4/4 with a definite Latin-American flavor. The
very simple steps consist mostly of an alternation of two walking
steps (slow, slow) with two-steps (quick, quick, quick).

Position: Semi-closed, facing LOD.

Footwork: Opposite throughout. Steps described for man.

Introduction: Four measures of 4/4 time. Standard
acknowledgment.

Measures
     1-4  WALK,  , WALK,  ; STEP-CLOSE-STEP,  ; WALK,  ,
     FACE,  ; BEHIND,  , SIDE,  
     After the little run of melody at the end of the intro, starting
     on man's L, take two long gliding steps in LOD in semi-
     closed pos; followed by one two-step starting man's L; step
     fwd R, pivoting to face partner, and, with only the lead
     hands joined, start a half grapevine in LOD, stepping to the
     side on man's L; cross R behind L, step to side on L (on
     this last step, woman pivots on her R foot, letting go hands
     and turning « R-face twd wall); assume Varsouvianna pos.
     5-8  STEP,  , THROUGH,  ; SIDE-CLOSE-SIDE,  ; WALK,
      , WALK,  ; SIDE-CLOSE-SIDE,  
     Couple is facing wall in Varsouvianna pos. Man steps R
     across in front of L in LOD (woman steps L to side L in
     LOD); (Because of the way some of the notes hold over to
     another measure, there appear to be only two counts for this
     meas 5. Just dance it to the music. It comes out perfectly
     solidly.) Still in Varsouvianna pos, do a twp-step apart in
     opp directions, man moving L in LOD stepping L, R, L
     while woman starts on her R twd RLOD, R, L, R (woman
     is now to the R of man); use tiny steps in this stepping,
     almost in place. Still in Varsouvianna, couple takes two
     slow gliding steps twd the wall, starting man's R; man does
     a quick sideways two-step twd RLOD, on his R, while
     woman does a two-step twd LOD, crossing in front of man
     so she is now on his L. (Keep those two-steps very tiny.)
     9-12 STEP,  , STEP,  ; STEP-CLOSE-STEP,  ; STEP-CLOSE-
     STEP,  ; STEP-CLOSE-STEP, STEP
     Let go hands. Man takes two slow steps in place, L, R,
     maneuvering L-face to face LOD (woman makes 3/4 R-face
     turn in place, R, L, to LOD); join hands in open pos, and,
     starting man's L, do three two-steps, progressing in LOD;
     at this point woman turns to face man in butterfly pos, her
     back to LOD. She pivots as she steps on her L to face him
     on the last count of meas 12. Man simply steps in place on
     this count, taking wt on his R.
          13-16     STEP,   , DRAW-CLOSE,  ; STEP,  , DRAW-CLOSE,  ;
          STEP,  , STEP,  ; STEP,   , STEP,  
     Step to side on man's L twd COH, close R to L, taking wt;
     repeat; step fwd in LOD on man's L (bwd on woman's R)
     then man steps fwd on his R; and continues to move fwd
     for two more steps; (meanwhile woman turns L-face slowly
     under her L and man's R hands, L, R, L, to semi-closed pos
     ready to repeat the dance.

Dance is done four times. At the end, step away from each other
and bow.

Colorado Valzer (Waltz)      

A waltz by Russ and Leah Hendrickson of Denver, Colorado.

Music: "Moonlight on the River Colorado"

Position: Open, inside hands joined, facing LOD.

Footwork: Opposite throughout, instructions for man.

Introduction: 4 measures. Standard acknowledgment.

Measures
     1-4  WALTZ AWAY; WALTZ TOGETHER (maneuver);
     WALTZ; WALTZ
     Starting on outside feet, waltz fwd and diagonally away
     from each other; waltz fwd and twd each other man
     maneuvering to closed dance pos; starting man's L, do two-
     R-face turning waltzes, making one complete turn, and
     opening out at the end of the second waltz meas to face
     LOD in open pos.
     5-8  STEP, SWING,  ; GRAPEVINE BACK-TO-BACK;
     GRAPEVINE FACE-TO-FACE; TURN AWAY, 2, 3
     With inside hands joined, step fwd on man's L, swing R
     fwd (holding swing through count 3), pivoting into back-to-
     back pos; with inside hands still joined, man steps on R twd
     LOD, steps on L behind R, steps again on R, pivoting to
     face partner (woman opp); man steps on L twd LOD, steps
     on R behind L, steps on L; releasing hands, partners turn
     out and away from each other (man to L, woman to R) man
     stepping R, L, R, and making one complete turn in 3 steps,
     to face LOD in open pos.
     9-16 REPEAT MEASURES 1-8, taking skaters' pos, facing
     LOD, at the end.
          17-20     WALTZ FWD; WALTZ FWD; STEP, SWING,  ; STEP,
          TOUCH,  
     In skaters' pos, waltz together diagonally fwd to the R;
     waltz together diagonally fwd to the L; step on man's L and
     swing R fwd and hold; step on R and touch L beside R
     instep (woman does the step-swing with the man, then she
     steps on L and pivots L-face « around to face man and with
     her back to LOD, and touches R to L), and partners assume
     closed pos.
          21-24     WALTZ FWD; WALTZ FWD; TWIRL, 2, 3; DIP,
          TOUCH,  
     Dance two waltzes in LOD, man going fwd, woman bwd;
     while man does one waltz step almost in place, woman
     does a R-face 3-step twirl (R, L, R) under her own R and
     man's L arm; man dips slightly fwd on his R and touches L
     by R instep, as woman dips slightly bwd on her L and
     touches R.
          25-28      WALTZ; WALTZ; WALTZ; WALTZ
     In closed pos, man starting back on his L, partners dance 4
     R-face turning waltzes, opening out on the last meas to face
     LOD in open pos.
          29-32     STEP, SWING,  ; STEP, TOUCH,  ; TWIRL, 2, 3; STEP,
          TOUCH,  
     Step on man's L, swing R fwd to back-to-back pos, and
     hold through count 3; step twd LOD on R, and touch L to
     R; man steps on L in RLOD, pivoting R to face partner,
     steps on R, and steps on L across in front of R, while
     woman is doing one L-face twirl in 3 steps (L, R, L); man
     steps on R in RLOD, and touches L beside R turning
     slightly to face LOD, while woman does counterpart,
     stepping on L in RLOD and touching R to L.

Entire dance is done three times. End with a bow.

Cruising Down the Fiume      

A waltz couple dance.

Position: Couples in Varsouvianna pos, facing LOD, identical
footwork to begin.

     1-4  CROSS; SWING; SWING; STEP, STEP,  . They both step
     fwd on the L foot after crossing it over beyond the R. Then
     they swing the R foot fwd and back in a free swing. They
     then step on the R behind the L and quickly step on the L,
     turning slightly to the L at the same time.
     5-16 REPEAT (four times in all). They now repeat to the other
     side crossing over with the R, swinging the L, and stepping
     behind with a L, R. Then the same thing to the R once more
     and finish with the same steps to the L.
          17-20     DRAW; AND DRAW; DRAW; AND TURN. The man
          extending the L arm fwd and moving the R hands in twd
          his L shoulder, she backs up in the curve of his L arm. They
          both step bwd (swd to LOD) on the L and draw the R to it.
          They step again and draw.
     Now, extending the R hands fwd and pulling the L hands in
twds his R shoulder they do an almost L about face, so she is now
backed into the curve of his R arm. They step back on the R and
draw the L to the R. As they repeat this step-draw, he lets go with
his R, and pushing their L hands farther between them, he turns her
to a waltz pos (closed).
          21-24      WALTZ; TWO; THREE; RIGHT HIPS TOGETHER.
          They waltz four meas rotating to the R and finishing with
          their R hips together and his R hand extended over in front
          of her. (His back should be twd the COH if they have been
          progressing around the room in the regular manner.)
          25-26     STEP,   , CLOSE; STEP,  , SWING. He steps bwd on his
          L, closes his R to his L, steps again on his L and swings his
          R foot back. She steps fwd on her R with a close step and
          swings the L fwd.
          27-28     STEP,   , CLOSE; STEP,  , FLIP. They back up 
retracing
          their steps, he going fwd this time while she backs up. After
          this second step-close-step, instead of taking another swing
          with the free foot, they both do a quick R-face flip so she
          will be facing LOD, their L hips will be together, and he
          will be facing RLOD. They continue holding on with the
          modified holds of the waltz (closed) pos.
     29   STEP, STEP, FLIP. While she walks fwd with a R and L,
     he walks bwd with a L and R, and suddenly flips around
     fwd pivoting L-face around on his R foot.
     30   STEP, STEP. She continues walking fwd, uninterrupted by
     his flip, stepping on her R and L again. He walks two steps
     fwd with her, on his L and R.
          31-34      WALTZ; TWO; THREE; VARSOUVIANNA POS. They
          waltz three measures rotation R-face and on the fourth meas,
          turn side by side in the Varsouvianna pos and facing fwd
          again.
          35-36     STEP, GLIDE; STEP, SWING. They both step diagonally
          fwd on the L and instead of closing the R to the L, they let
          it glide on beyond in a little dipping motion and step
          beyond. Then stepping fwd again on the L, they swing the
          R foot fwd.
          37-38     STEP, GLIDE, STEP. They now back up, by stepping bwd
          on their R, gliding past with the L and stepping again on the R.

Repeat the entire dance.

Dancing Tambourine      

A two-step written by Marguerite Clapp of Palm Springs,
California.

Formation: Start in closed pos, men's back to the center, and the
dance described for the men throughout. Man begins with L foot,
woman with R, opposite footwork throughout.

Part A (Staccato, closed pos)
Measures
     1-2  STEP, CLOSE, STEP, TOUCH; BACK, CLOSE, CROSS,
      
     Step left in LOD (1), close R to L (2), step left again (3),
     touch R toe to L instep (4); step on the R to the rear, RLOD
     (1), close L to the R (2), step R across in front of L and
     hold one count while turning partner so both face LOD in
     semi-closed pos. (The woman also steps across in front)
     3-4  POINT FRONT,  , STEP BACK,  ; STEP BACK,
     CLOSE, STEP FRONT,  
     Point L foot fwd (1-2), step bwd on L (3-4), step bwd on R
     (1), close L to R (2), step fwd on R (3-4), and end facing
     partner.
     5-8  REPEAT 1-4
     9-12 TWO-STEP; TWO-STEP; PIVOT, 2; 3, 4
     Turning CW with 2 two-steps, keep on turning 4 slow
     pivots progressing down the floor (avoid a spot pivot). The
     woman steps with the R between her partners feet on count
     1, while the man steps with his L around his partner.
          13-16      TWO-STEP; TWO-STEP; SIDE,  , BACK,  ; SIDE,
          FRONT, SIDE BACK
     One CW turn with 2 two-steps, ending with the man's back
     to the center. Then, still in closed pos, do a grapevine of
     two slow and four quick steps. Stepping to the side (1-2),
     back (3-4), then side (1), front (2), side (3), and back (4).
          17-32      Repeat all of 1-16. Staccato.

Part B (Legato, semi-closed pos)
     1-2  WALK, 2, TURN, DRAW; WALK, 2, TURN, DRAW
     Twd joined hands walk three steps, turning back on count
     3, and drawing R foot to the L instep on count 4. Repeat,
     moving RLOD twd encircling arms, turn fwd on count 3,
     and draw L to R.
     3-4  TWIRL, 2, 3, SWING; UNWIND, 2, 3, DRAW
     With lead hands joined (man's L and woman's R), twirl the
     woman slowly in place to finish with a slow swing across
     with the free foot. The man steps L, R, L, and swings the R,
     the woman turns R, L, R, and swings the L. Unwind by
     twirling the woman L face L, R, L, to original pos, both
     draw the free foot to dancing instep, while changing hands
     to man's R and woman's L in open pos facing LOD.
     5-6  WALK, 2, 3, SWING; ROLL, 2, 3, SWING
     Starting on the outside foot (man's L and woman's R),
     walk fwd three steps, and swing the free foot diagonally
     across to the outside on the fourth count. Release hands,
     and with swinging foot (man's R and woman's L), start a
     three step roll across to partner's place. The woman turning
     CCW in front of man. The man rolls CW, passing behind
     her to the outside of the circle. Touch free foot to instep,
     and join hands again, (man's L, and woman's R).
     7-8  CHANGE BACK, 2, 3, TOUCH; UNWIND, 2, 3, DRAW
     As in the Glowworm, cross back in 3 steps (L, R, L) to
     original pos by raising joined hands with woman going
     under the arch. Touch free foot to the instep of the dancing
     foot. Man steps in place R, L, R, as the woman unwinds L,
     R, L, under the joined hands. Man draws the L to R, while
     the woman draws the R to the L on the 4th count.
     9-16 REPEAT all of 1-8, Legato
     Repeat the entire dance (a total of two times). Finish the
     dance after the last repeat with a "turn the lady and bow,"
     instead of a draw.

The joy of this dance is in the change of tempo, starting with a
staccato for 32 meas, and then suddenly slowing down to a legato
for the last 16 meas. Be prepared for this. There is no change in
tempo in the music, but there is a change in the mood, and the
dancer half-times his steps accordingly.

Dancing the Blues      

A two-step written by Jerry and Charlie Tuffield, Denver,Colorado.

Music: "Birth of the Blues"

Position: For introduction, begin in open pos, facing LOD, inside
hands joined. Wait two meas, then each rolls around in one meas,
man rolls L making one complete turn L, R. (woman rolls R) Walk
fwd in LOD, L, R, (woman walks R, L) ending in closed pos,
man's back to COH.

Measures
     1-2  STEP-CLOSE, STEP; STEP-CLOSE, STEP;
     Two turning two-steps turning once around to R, ending in
     open pos facing LOD.
     3-5  SIDE-CLOSE, SIDE (touch); CROSS OVER; STEP-
     CLOSE, STEP
     With man's R and woman's L hands joined, man does one
     two-step to side and touches R by L. Man then crosses over
     with « R-face turn in two steps, R, L. Woman turns « L-
     face turn under the joined hands, L, R, and ends facing
     partner. Man's back to wall. Man does one two-step to his
     R in LOD.
     6-8  SIDE-CLOSE, SIDE (touch); CROSS BACK; STEP-
     CLOSE, STEP
     Opening out to face RLOD, they repeat meas 3; then repeat
     meas 4; then facing partner, man does one two-step to his R
     in RLOD and ending in closed pos, man's back to COH.
     9-16 REPEAT MEAS 1-8, end in closed pos, man facing LOD.
          17-20     WALK, WALK; STEP-CLOSE, STEP; WALK, WALK;
          STEP-CLOSE, STEP
     Starting on man's L, walk fwd (woman bwd) two steps, L,
     R; then do one fwd two-step. Repeat again, beginning on
     man's R; and end facing partner, man's back to COH.
          21-22     ROLL AWAY; STEP-CLOSE, STEP (touch)
     Man rolls L (woman R) making one complete turn in two
     steps, L, R; facing partners join man's L and woman's R
     hands, do one complete two-step in LOD & touch R.
          23-24     ROLL BACK; STEP-CLOSE, STEP (touch)
     Man rolls R (woman L), making one complete turn in
     reverse direction, R, L, and end facing partner; do one two-
     step to side in RLOD and touch L by R.
          25-28      SIDE-BEHIND, SIDE-BEHIND; WALK, WALK; SIDE-
          BEHIND, SIDE-BEHIND; WALK, WALK
     In closed dance pos, man's back to COH, starting with
     man's L, step to side in LOD on L, behind on R, side on L,
     behind on R; opening to semi-closed pos walk two steps
     fwd, L, R. Repeat 25-26, ending in closed pos.
          29-32      TWO-STEP; TWO-STEP; TWIRL; TWIRL
     Two turning two-steps making one complete turn. Then as
     man takes four steps in LOD (L, R, L, R), the woman twirls
     under her own R and the man's L arm, doing two complete
     turns in the four steps.

Repeat two more times, ending with a bow.

Darling Valzer (Waltz)      

A waltz composed by Art Erwin, Detroit, Michigan.

Position: Varsouvianna, facing LOD. Both start on L foot in part
A, the lady doing the counter part for the remainder.

Introduction: Four meas.

Part A
     1-4  STEP SWING; PIVOT SWING; BACK, SIDE, FRONT;
     STEP DRAW
     Step fwd L, swing R fwd, swing R bwd, turning R about to
     face RLOD (as in Irish Waltz). Modified grapevine in
     LOD, both facing out (step back R, side L, cross in front
     R), step L and draw R.
     5-8  STEP SWING; PIVOT SWING; STEP, TURN, STEP;
     STEP DRAW
     Gent repeats 1-4 starting R in RLOD. Lady repeats 1-2
     starting R in RLOD, steps bwd L, turn R, step fwd R in
     RLOD, ending facing in, step L and draw R. End in closed
     dance pos, with gent facing out.

Part B
     9-10 STEP SWING; STEP, FACE, CLOSE
     Open slightly facing LOD, step swing fwd L, step fwd R,
     face partner and step sideward L and close R.
          11-12     STEP SWING; TWIST, 2, 3
     Repeat step swing fwd L, gent cross R over L unwind 1/4
     turn L to face in, at the same time the lady glides fwd 3
     steps around gent L, R, L, ending in closed pos.
          13-16      BALANCE FWD; WALTZ; WALTZ; WALTZ
     In closed dance pos, gent balances fwd L twd center
     pivoting so that back is in LOD, starting back R, does 3
     waltzes turning L, progressing in LOD to end facing LOD
     in closed pos (completing 2 full turns).

Part C
          17-20     STEP TOUCH; STEP, TURN, STEP; LADY PIVOT;
          STEP, FACE, CLOSE
     Step fwd L in LOD, touch R to L and hold; step fwd R, step
     fwd L turning so that gent is facing in, lady out, R hips
     adjacent (banjo pos), gent steps back R, lady fwd L; gent
     steps back L; away from center, allowing R to remain fwd.
     Lady steps fwd R, swings L fwd, and pivots R about to face
     center, ending in semi-closed pos; gent steps R twd center,
     face partner and steps sideward L, close R to L, ending in
     closed pos facing LOD (lady does counterpart).
          21-24     STEP TOUCH; STEP, TURN, STEP; LADY PIVOT;
          STEP, FACE, CLOSE
     Repeat 17-20.

Part D
          25-28     DIP, 2, 3; LADY TWIRL; STEP, SWING; RETWIRL
     Gent bal bwd L; moves fwd marking time R, L, R; while
     Lady twirls full R turn under gent's L arm L, R, L; both
     step swing twd center; gent again marks time L, R, L, while
     lady retwirls L, R, L, back to closed dance pos, gent facing
     LOD.
          29-32     DIP, 2, 3; STEP TOUCH; LADY TWIRL; STEP TOUCH
     Gent bal back on L; step touch fwd R; gent marks time L,
     R, L as lady twirls R 1 « under gent's L arm, stepping R
     hold L; (canter rhythm) back to Varsouvianna pos; both
     step touch fwd R; and hold, ready to repeat the dance.

Repeat the sequence three times. The fourth time, repeat through
measure 13 (bal fwd) then bal back R; twirl the lady under the
gent's L arm. End with bow and curtsey; R hand in R.

Another dance which can be done to this same music is
"Capistrano Waltz."

Crawdad Blues      

A simple dance in 2/4 time by Don and Marie Armstrong of Port
Richey, Florida.

Music: "Doodad Blues"

Position: For intro, open, facing LOD; for dance, closed, man's
back to COH.

Footwork: Opposite throughout.

Note: To enjoy this dance the most, relax and interpret the rhythm
of the blues. The "side-back" steps in the first part can be dipped
slightly, creating a "slinky motion" which carries into the rock step
that follows. (Don't overdo it; keep it light and graceful) Very
slight exaggeration of the second part will produce an action
similar to that found in most rhythm and blues dancing. Blues
music is essentially simple, but played with great feeling and
expression. A dance set to the blues should follow this theme.
Enjoy it.

Intro: Wait 4 meas, then:
     1-4  ROCK FWD, TOUCH; BACK, TOUCH; FWD, TOUCH;
     CLOSE-UP, TOUCH
     Starting in open pos, on outside foot, facing LOD, inside
     hands joined, rock fwd on L, touch R; back on R, touch L;
     fwd on L, touch R; back on R, pivoting to face partner and
     assuming closed pos, touch L.

Measures
     1-4  SIDE, BEHIND; SIDE, BEHIND; SIDE, BEHIND; SIDE,
     BEHIND
     In closed pos, man's back to COH, move sideward in LOD
     with 8 short steps, first to the side with the L, then cross in
     back with the R; each time, slightly dipping and lifting as
     the music seems to tell you to.
     5-8  ROCK FWD, TOUCH; BACK, TOUCH; FWD TOUCH;
     BACK, TOUCH
     In closed pos, man's back to COH, rock fwd twd wall and
     touch (L, R); back and touch; fwd and touch; back and
     touch; (If you like, a quarter-turn may be made each time
     you rock fwd or back, thereby rotating once R-face CW,
     ending with man's back to COH.)
     9-12 SIDE, BEHIND; SIDE, BEHIND; SIDE, BEHIND; SIDE,
     BEHIND
     Repeat meas 1-4.
          13-16     LADY TWIRL, 2; 3, TOUCH; REVERSE TWIRL, 2; 3,
          TOUCH
     Move in LOD 3 steps and touch, woman twirling under
     man's L and her R hand, as man moves swd to his L (side,
     behind; side, touch); then, reverse, moving in RLOD,
     woman twirling L-face still under same joined hands
     (man's L, woman's R) with 3 steps, and touch, as man
     moves swd to his R (sice, behind; side, touch;) ending with
     partners facing, momentarily touching both hands.
          17-20     FWD, POINT; FACE, TOUCH; APART, TOUCH;
          TOGETHER, TOUCH
     With inside hands joined (man's R, woman's L) step fwd in
     LOD with outside foot, turning slightly away from partner,
     and point inside foot fwd; with inside foot again step fwd
     while pivoting to face partner, then touch (man's L,
     woman's R) and join both hands as in butterfly pos, but
     with elbows lower and hands a little closer to the body at
     woman's shoulder height; back away from partner (L, R)
     man twd COH, woman twd wall, until joined hands are
     almost fully extended   but comfortably so    and touch;
     step together and touch, ending in semi-butterfly position as
     above.
          21-24     SIDE, CLOSE; SIDE, TOUCH; SIDE, CLOSE; SIDE,
          TOUCH
     Move swd in LOD with a slow two-step and touch; and
     then swd in RLOD with a slow two-step and touch,
     swaying naturally and retaining the semi-butterfly hand-
     hold throughout.
          25-28     FWD, POINT; FACE, TOUCH; APART, TOUCH;
          TOGETHER, TOUCH
     Repeat meas 17-20.
          29-32     ROLL AWAY, 2; 3, TOUCH; ROLL BACK, 2; 3, TOUCH
     Moving in LOD, roll away with 3 steps and touch (man
     rolls L-face, woman rolls R-face, and, on the touch count,
     snap your fingers or clap your hands, or clap both hands
     with partner, etc.); then reverse the action (man rolls R,
     woman rolls L) moving in RLOD, and omit the finger-snap
     or other interpretive hand-action. End in closed pos to
     begin the routine again.

Repeat the entire dance 3 more times (4 in all) and end as follows:

Ending
     1-4  In open pos, facing LOD, repeat intro, except, on the last
     meas, partners back away from each other and bow.

Doris Valzer (Waltz)      

Position: Side by side in the Varsouvianna pos, with their R hands
joined in front of her R shoulder, and their L hands joined in front
of his L shoulder. They both start on the L foot and use the same
footwork throughout, except for the waltzing when she changes to
her opposite foot. Four measures of introduction.

Measure
     1-2  FORWARD AND BACK
     Swaying slightly they rock fwd on the L, swinging the R as
     much as they please; and back on the R, with a slight swing
     of the L foot.
     3-4  FORWARD AND CHANGE
     They rock fwd again on the L, and on the third beat of the
     meas, turning lightly on the toe of the L foot, they put down
     the R foot close to it, and a little more than at R angles with
     it. And on the next beat of the meas, step firmly behind on
     the L foot, having turned completely around and now facing
     in the other direction with the lady on the man's L.
     5-6  FORWARD AND BACK
     They now rock fwd and back again as in the first two meas,
     but this time fwd on the R foot and back on the L.
     7-8  FORWARD AND TURN
     They rock fwd again on the R foot, and on the third beat
     close the L to it, the man turning twd the lady, and pulling
     with his L hand and crossing completely over her head with
     his R, turning her around twd him. Then, on the next beat,
     he steps R again, and holds this beat, while he continues
     turning with his hands until she is completely face to face
     with him, with their hands crossed between them. She in
     the meantime has finished her turning, and is facing him,
     but she is standing on her R foot.
     9-12 AWAY, TOGETHER, AWAY, TOGETHER
     Dropping L hands and holding each other only with their R,
     they both rock bwd for a meas on their L feet, fwd on their
     R, bwd on their L, and fwd on their R, turning slightly
     around the circle between them in a CW dir.
          13-16     WALTZ FOR FOUR MEASURES
     They waltz for four meas, turning R-face. They begin on
     the man's L foot and the lady's R, which means that she
     must put in an extra little step on her L before the waltz in
     order to be ready. At the end of the four measures of the
     waltz she must slip in another little step to be ready to start
     in step with her partner on the repetition of the dance.

Variation of the first verse.
     For the first eight measures, whenever desired, it is possible
to put in a little variation of the first verse. It goes as follows:

Measures
     1-2  FORWARD AND BACK
     The same as above.
     3-4  VARSOUVIANNA STEPS TO THE LEFT
     In a regular Varsouvianna step they both step L, R, L, on
     the first measure, changing the woman from the man's R to
     his L side; and point the R to the floor on the second meas,
     but do not take wt on it. (They are facing in the same dir)
     5-6  The same as Meas 1-2 but beginning with the R foot this
     time.
     7-8  VARSOUVIANNA AND FACE EACH OTHER
     They do a Varsouvianna to the R (by stepping R, L, R, and
     changing the woman from the man's L to his R side, and on
     the second meas pointing with the L), and the man turns the
     woman L face during this, by raising his R hand over her
     head, and they finish facing each other, pointing with their
     L, and ready to start with this L on the next passage.

Or some couples do just the first verse without the rocking section,
simply going directly into the waltz for the next eight measures.
Some put the rocking section (away, together, away, together) on
one verse and not on the other. In other words, dance it exactly as it
pleases you best.

Down the Bohreen      

Position: Open, facing LOD, inside hands joined.

Footwork: Opposite throughout, directions for man.

Measures
     1-4  ROCK FWD; AND BACK; FWD; AND BACK. Rock fwd
     on the outside foot (man's L), and back on the inside foot.
     Repeat.
     5-8  STEP-SCUFF (three times); AND STEP TURN. The man
     steps on his L and scuffs the R foot over in front of it (as
     though he were kicking a stone out of the path). The
     woman does the same, using opp feet. (They both kick out,
     then in, then out.) Stepping on the near foot (his R) and,
     facing each other, they continue the turn around until they
     are facing directly bwd to their original line of motion.
     9-16 REPEAT. They rock fwd and back again twice (he rocks
     fwd on his L, she on her R) and do three step-scuffs (in,
     out, in). Then pivoting toward each other they face fwd
     again and take semi-closed dance pos.
          17-18     WALK, TWO; THREE, DIP. In semi-closed dance pos,
          they take three steps fwd (his L, R, L) and turning quickly
          toward each other (without letting go) point the free foot
          bwd (his R) and bend or dip their bodies twd it. (This is not
          a standard dip.)
          19-20     WALK, TWO; THREE, DIP. They now walk three steps
          bwd to their original line of motion (RLOD, his R, L, R)
          and turning twd each other so as to face fwd again they dip
          their joined hands down twd their extended feet (his L).
          21-32      TWO-STEP; TWO-STEP; TWIRL; TWIRL. Beginning
          with his L foot they do two meas of two-step (one complete
          revolution). Raising his R hand (which holds her L) above
          her head, she does two R-face twirls. They repeat the two-
          steps and twirls two more times, ending up side by side.
          33-34     WALK, TWO; THREE, KICK. Putting his R hand around
          her waist he takes her R hand, and they join L hands in
          front (skirt skaters' pos). Keeping step with each other they
          walk diagonally fwd and to the R, stepping L, R, L, and
          then swinging the R foot fwd in a sort of kick.
          35-36     BACK, TWO; THREE, FOUR. They retrace their steps,
          walking bwd along the same line (R, L, R, L).
          37-38      CHANGE, TWO; THREE, KICK. They quickly change
          direction, turning at R angles to their former path, and walk
          fwd diagonally to the L. They walk R, L, R, and swing the
          L foot fwd in a kick.
          39-40     BACK, TWO; THREE, FOUR. They back up on the same
          line with four bwd steps.
          41-44      CROSS; CROSS; CROSS; CROSS. Crossing the L foot
          over in front of the R, they step on the L. Then crossing the
          R over in front, they step on it in a sort of rolling motion
          like the Drunken Schottische. They step L, R, L, R.
          45-48     WALK AROUND IN A TINY RING. In a sort of pivot, he
          sweeps her full around him with his R arm, but actually
          they do a tiny circle in order to use up the eight small 
steps
          to get around.

Repeat the entire dance.

Coda. At the end, the music changes during the last pair of two-
steps and twirls. Then add two more two-steps, and a single twirl
and a balance, taking her L hand in his R. The man then kneels on
his R knee and raises their hands over his head, while the music
lets her walk around him and sit on his upright knee for a playful
finish.

Dreamers' Two Step      

A round dance by Jerry and Charlie Tuffield, Denver, Colorado.

Music: "My Dreams are Getting Better all the Time"

Position: Open, inside hands joined, both facing LOD.

Footwork: Opposite throughout, directions for man.

Introduction: 4 meas of 4/4 time.
     1-4  WAIT TWO MEAS; BAL APART, TOUCH; BAL
     TOGETHER TOUCH.
     Wait two meas (8 counts); bal apart with a step,  , touch,   ;
     tog the same.

Measures
     1-4  WALK, 2, 3, SWING; BACK, 2, 3, TOUCH; FACE-TO-
     FACE, BACK-TO-BACK; FACE-TO-FACE, FWD TWO-
     STEP
     In open pos, starting man's L, walk fwd 3 steps and swing
     inside foot fwd; starting on inside foot, walk bwd 3 steps,
     pivot to face partner and touch L to R; do one two-step in
     two counts face-to-face (L, R, L), then man turns to his L
     (woman to her R), taking back-to-back pos by stepping to
     side in LOD on R, close L to R, step on R, turning 1/4 L-
     face to face RLOD; continue turn to face partner, man
     stepping to side in LOD on L (face-to-face); close R to L,
     step on L pivoting 1/4 L-face to face LOD, take one fwd
     two-step starting on man's R (woman's L).
     4-8  GRAPEVINE AWAY; GRAPEVINE TOGETHER
     (CLAP); TURN AWAY TWO-STEP, TWO-STEP; TWO-
     STEP, TWO-STEP
     In open pos, man steps to side twd COH on L (woman
     opp), behind on R, to side on L, touch R; grapevine back
     twd partner by stepping to side on R, behind on L, to side
     on R, pivot to face partner on count 4 and clap hands with
     partner (man's L and woman's R, man's R and woman's
     L); starting man's L, man turning L and woman, R, turn
     away from each other in four two-steps (8 counts), ending
     facing partner again, man's back to COH, both hands
     joined.
     9-12 SIDE, BEHIND, SIDE, FRONT; SLIDE, 2, 3, TOUCH;
     STEP, TOUCH, STEP, TOUCH; ROLL, 2, 3, TOUCH
     Step to the side on L in LOD, behind on R, to side on L, in
     front on R (woman steps to side on R, behind on L, to side
     on R, in front on L); still facing partner, man's back to
     COH, do 3 slides in LOD with 3 L-foot leads, and touch R
     to L; step R in RLOD, touch L beside R, step L in LOD,
     touch R beside L; starting man's R, roll twd RLOD, man
     rolling to R, woman to L, (R, L, R, touch L), making one
     complete turn to end facing partner in loose closed pos.
          13-16     SIDE, BEHIND, SIDE, SWING; BACK, 2, 3, TOUCH
          (FACE); TWO-STEP, TWO-STEP; TWIRL, TWIRL
     Step to side in LOD on L, behind on R, to side on L, swing
     inside foot fwd in LOD, ending in semi-closed pos, facing
     LOD; walk bwd 3 steps, starting on inside foot, on 4th count
     pivot to face partner and touch L to R; take closed pos, and,
     starting on man's L, do two R-face turning two-steps; twirl
     woman twice and open out to open pos.

The routine is danced a total of four times.

ENDING: On the last time through, on meas 16, twirl woman only
once, step away, change hands to man's R and woman's L, and
bow.

Due (Two)      

A waltz written by Bryce and Elner Reay of Dayton, Ohio.

Music: "If You Were the Only Girl in the World"

Position: Partners facing in butterfly pos, man's back to COH.

Footwork: Opposite throughout, directions for man.

Introduction: 4 meas of 3/4 rhythm. 
     WAIT TWO MEAS; RF TWIRL TO LOD; STEP TOUCH
     Wait two meas in butterfly, man's back to COH; twirl
     woman 3/4 RF under her R and man's L hands (while man
     steps back on his L and touches R), ending in closed pos,
     man facing LOD; step touch in place, R, L (woman L, R).

Measures
     1-4  BAL BACK, 2, 3; BAL FWD (TWIRL); STEP-SWING,  ;
     STEP-TOUCH, (REVERSE TWIRL)
     In closed pos, bal back twd RLOD on man's L (fwd on
     woman's R); bal fwd on man's R while woman twirls L, R,
     L under her R and man's L hands, making a full spot turn to
     face man, leaving some space between them; step-swing,
     man's R foot (woman's L) slightly twd COH and between
     them; step-touch in place (R-L) while woman does reverse
     twirl under her R and man's L hands to face man.
     5-8  GRAPEVINE, 2, 3; CROSS, FLARE,  ; GRAPEVINE, 2,
     3; STEP TOUCH,  
     In closed pos, man facing LOD, starting man's L, grapevine
     (side, behind, side) in twd COH; cross R in front and flare
     L, 2, 3 (woman opp); on L, start grapevine back twd wall
     (behind, side, front) turning to face partner on counts 2, 3;
     step on R (woman L) touch with L and assume closed pos.
     9-12 WALTZ FWD, 2, 3; WALTZ FWD (TWIRL); WALTZ
     FWD 2, 3; WALTZ FWD (TWIRL)
     In closed pos, waltz fwd (l, R, L); man waltzes fwd (R, L,
     R) taking small steps while twirling woman in a full RF
     turn to closed pos again; waltz fwd (L, R, L); man waltzes
     fwd (R, L, R) while twirling woman in a full RF turn to
     face each other again, man facing LOD, and holding both
     hands.
          13-16      STEP-SWING,  ; STEP-SWING,  ; SIDECAR AROUND,
          2, 3; ON AROUND, 2, 3
     Holding hands, and slightly apart   step, swing, man
     stepping on L and swing R across in front (woman step R
     and swing L); step, swing, stepping on man's R and swing
     L across in front; assume butterfly sidecar pos, and walk
     around turning L (CCW) for 3 steps; continue around (4, 5,
     6) to end with man facing wall (this makes a 3/4 L turn for
     meas 15-16.
          17-20      Repeat meas 1-4 with man facing wall, and balancing 
back
          twd COH.
          21-24      Repeat meas 5-8, with man facing wall and moving L 
in
          LOD, start the grapevine to man's L (side, behind, side),
          etc.; on meas 24, step R, touch L, opening out to open pos.
          25-28     WALTZ FWD, 2, 3; STEP-TOUCH,  ; CROSS OVER, 2,
          3; FACE-TOUCH,  
     In open pos, inside hands joined, starting on man's L, waltz
     fwd in LOD; step R, touch L, - (woman L-R); man reaches
     across and takes woman's R hand in his L and turns her
     across under his L arm to change sides, keeping well apart;
     turn to face partner with a step-touch (man is facing COH,
     woman facing wall).
          29-32     BAL TOGETHER,  ; BAL APART,  ; TWINKLE;
          TWINKLE
     On man's L, bal together, touching both hands; on man's R,
     bal apart, keeping man's L and woman's R hands joined;
     moving R in LOD, man crosses L over in front of R, step R
     with R, and close L to R (woman crosses in front also);
     change hands (man's R and woman's L) and twinkle twd
     RLOD, crossing man's R over in front of L, step to L with
     L, close R to L (open out twd LOD).
          33-36     WALTZ FWD, 2, 3; STEP-TOUCH,  ; CROSS OVER, 2,
          3; FACE-TOUCH,  
     In open pos, waltz fwd in LOD (L, R, L); step-touch,  ;
     man reaches across and takes woman's L hand in his R and
     turns her across under his R arm, to change sides, keeping
     well apart; turn to face partner with a step-touch (man is
     facing wall, woman facing COH).
          37-40     BAL TOGETHER,  ; BAL APART,  ; TWINKLE;
          TWINKLE-MANEUVER
     On man's L bal together, touching both hands; bal apart,
     keeping man's L and woman's R hands joined; moving R
     in RLOD, man crosses L over in front of R, steps to R on
     R, closes L to R; change hands   man crosses R over in
     front of L, steps to L with L, closes R to L while pivoting to
     face LOD (woman crosses L over in front of R, steps to R
     with r, and closes L to R while turning in front of partner to
     face him in closed pos to start over).

Ending: Entire dance is done twice. At the end of the second time
through, complete twinkle in the normal manner on meas 40, and
bow.

Edelweiss      

A waltz written by Dena M. Fresh of Wichita, Kansas

Music: "Edelweiss"

Position: Open and facing for introduction, open for the dance.

Footwork: Opposite throughout.

Introduction: Wait 2 measures, Apart, Point, Together, Touch,  

Part A
Measures
     1-4  WALTZ AWAY; WALTZ TOGETHER, BACK UP (IN
     LOD); TURN IN (to face LOD)
     With inside hands joined, waltz away from each other;
     waltz back twd each other, turn in, change hands (man's L
     and woman's R) and face RLOD; in open pos, facing
     RLOD, do one waltz step backward twd LOD; turn in twd
     each other, changing hands again and facing LOD.
     5-8  SOLO WALTZ TURN;  ,  ,  ; STEP, SWING,   ; STEP,
     SWING, 
     Do a solo waltz turn in two measures   out and away from
     each other, and full around (man turning L-face and woman
     R-face); facing LOD in open pos   step, swing,  ; step,
     swing,  .
     9-16 Repeat measures 1-8, except on measure 8 step and face
     partner, joining both hands, man's back to COH.

Part B
     1-4  BALANCE TOGETHER; BALANCE APART; CHANGE
     PLACES; 
     With man's back to COH, balance together into butterfly
     sidecar pos, with L hips almost touching; balance apart;
     change places in two measures, woman passing under her R
     and man's L arms to end facing each other.
     5-8  Repeat measures 1-4 back to original positions. Use the
     same hands as before.
     9-12 BALANCE LEFT; BALANCE RIGHT; VINE, 2, 3;
     THROUGH, TOUCH,  
     Waltz balance L; waltz balance R; step twd LOD on man's
     L, behind on R, to L on L; step through cross in front on R,
     touch L,  .
     13-16 BALANCE BACK; MANEUVER; WALTZ (R-FACE); TWIRL
     Taking closed pos, balance back on man's L; maneuver
     man's back to LOD; do one R-face turning waltz; twirl the
     woman.

Dance is done three times.

Ending: Facing, man's back to COH: Balance L; Balance R; Twirl
the lady; bow.

NOTE: In the first instructions issued, it was indicated for
measures 5-8, Part B, that the woman change back to place under
the lead hands again, her L and man's R. This would necessitate
butterfly banjo pos. Most people have preferred a simple repeat
instead of a reverse and we have written it this way. If you prefer
changing hands on the repeat, it will not bother anyone else, but we
recommend the instructions, above.

Five Foot Two      

Position: Promenade pos, facing CCW (can use Varsouvianna pos,
if desired).

Footwork: Identical, both start on L foot.

Measures:
     1-4  TWO-STEP LEFT; TWO-STEP RIGHT; WALK, 2, 3, 4
     With a bounce and a snap, all couples advance in LOD with
     two fwd two-steps and walk four.
     5-8  Repeat meas 1-3 but on meas four, partners release L hands
     and retain R hands, woman turns RF out and around to face
     COH while man steps back into the circle facing wall,
     rejoin hands with adjacent people, an "alamo style" circle,
     all women facing in all men facing out.
     9-12 BAL IN; BAL OUT; TURN WITH THE RIGHT; HAND
     HALF ABOUT
     All do a two-step bal fwd; a two-step bal bwd; release L
     hand and turn R hand half with partner, men are now facing
     in, women out, rejoin L hands with adjacent dancers.
          13-16     BAL IN; BAL OUT; AND TAKE THAT GIRL BEHIND
          YOU
     Repeat the two-step bal fwd and back, letting go R hands,
     each man turns back so he is side-by-side with the woman
     with whom he is holding L hands, take promenade pos and
     be ready to repeat the dance.

It is the bounce and zip that you put into this dance that makes it
fun.

Flea Market      

A waltz mixer by Mary and Bill Lynn, Brentwood Missouri

LS E-36, Side B. Track 3.

Music: "I Wonder Who's Kissing Her Now"

Formation: Circle of couples in promenade position, facing LOD.

Footwork: Opposite throughout, directions are for the man.

INTRO: Standard acknowledgment.

Meas. (3 counts per meas.)

1- 4 WALK, 2, 3; TURN; BACKUP, 2, 3; 4, 5, STOP; Stop on last count ready to start travel in the opposite direction.

5- 8 WALK, 2, 3; TURN; BACKUP, 2, 3, 4, TURN, FACE; Traveling RLOD with M still on inside and hands still joined, walk 12 steps as in Meas. 1-4, turning on count 6 to face LOD and hold promenade position; the last six steps are backup steps along RLOD but partners turn to face on the last two counts, drop right hands but hold left hands.

9-12 BOX THE FLEA, 2, 3; SIDE, TOUCH, -; BOX IT BACK, 2, 3; SIDE, TOUCH, -;

5- 8 STAR LEFT TO A NEW PARTNER, STAR RIGHT WITH HER AND BOTH TURN TO FACE LOD IN PROMENADE POSITION TO START THE DANCE AGAIN

Glow Worm Gavotte      

Position: Open, woman standing to man's R with near hands held

high.

Footwork: Opposite, directions for man with woman doing the

counterpart.

Measures

1-2 WALK, 2, 3, POINT; WALK, 2, 3, POINT

Starting on outside feet, take three steps forward in LOD

(L, R, L) and point the inside foot (R). Just touch the

extended toe to the floor with a little pat, and raise it again

to continue the walk. Continue in the same direction (R, L,

R, point L). Dancers can add some style by turning slightly

toward the pointed foot, which would be first toward each

other then away from each other.

3-4 VINE, 2, 3, POINT; VINE, 2, 3, POINT

Turning to face and joining both hands, step to the side in

LOD on L, behind on the R, to the side again on L, and

point R toward partner in front of L. Repeat in RLOD

starting on R.

5-6 CROSS, 2, 3, POINT; CROSS, 2, 3, POINT TRADING

PLACES

Keeping just the man's R hand and woman's L joined,

trade places in three steps. The man walks over to her place

with L, R, L, holding his hand high so the woman can pass

under it. He turns R-face and ends facing her. The woman

steps R, L, R, passing under the joined hands and turning L-

face to end facing the man. On the fourth count they point

the free foot (man's R and woman's L) toward each other,

bending the supporting leg slightly. They return to their

original sides in the same way, man turning R-face (R, L,

R, point L) and woman turning L-face (L, R, L, point R).

7-8 FOUR TURNING TWO-STEPS

Maneuvering into closed position, dance four turning R-

face two-steps and end in open position.

VERSE 2

1-2 WALK, 2, 3, POINT; SLIDE, SLIDE, STEP-TURN, DIP

Starting on outside feet, walk 3 steps in LOD and point.

Turning to face, take both hands and slide in RLOD twice

(R, close L, R, close L). Step once more in RLOD on R,

turning one quarter to face RLOD; dip back toward LOD

on L, extending R straight forward toward RLOD.

3-4 REPEAT 1-2 IN THE OPPOSITE DIRECTION

Starting on man's R, walk three steps and point in RLOD,

face and slide twice in LOD, step and turn to face LOD,

and dip back toward RLOD.

5-6 WALK-TWIRL, WALK-TWIRL, WALK-TWIRL, DIP

Man walks forward in LOD six steps beginning on L while

woman twirls three times (R, L, R, L, R, L) under her R

hand and his L (lead hands). They then take closed position

and dip toward the center of the hall, man stepping back on

L and woman forward on R. On the last count man steps

forward on R and woman back on L toward the wall.

7-8 FOUR TURNING TWO-STEPS

Repeat 7-8 of Verse 1.

Go with God      

A waltz written by Carlotta W. Hegemann of San Antonio, Texas.

Music: "Vaya con Dios"

Position: Semi-closed, facing LOD.

Footwork: Opposite throughout unless otherwise indicated.

Introduction: Wait two meas, bal apart, bal together.

Part A
Measures
     1-4  WALTZ FWD, 2, 3; WALTZ FWD, 2, 3; BAL FWD, 2, 3;
     BAL BACK, 2, 3
     Waltz fwd in LOD two meas, starting man's L; bal fwd, L,
     R, L; bal back, R, L, R.
     5-8  SOLO TURN, 2, 3; TURN TO FACE, 2, 3; WALTZ BAL,
     2, 3; MANEUVER, 2, 3
     Starting man's L, do 2 solo travel turns (one revolution)
     progressing in LOD in 6 steps, man turning LF (woman
     RF), end with partners facing, man's back to COH; with
     man's L and woman's R hands joined and held high, pas de
     basque bal   man steps side to L (LOD) on L, cross R
     slightly behind L, step in place on L (woman cross L behind
     R); release hand holds as man maneuvers LF (R, L, R) to
     face LOD (woman maneuvers RF, L, R, L), to assume
     Varsouvianna pos, facing LOD.
     9-12 POINT, POINT, POINT; TURN AWAY, 2, 3; STEP,
     DRAW,  ; STEP, DRAW, CLOSE
     In one meas, man points L toe twice to L side, then once
     across in front of R (woman opp); releasing hands and
     starting L, to one LF spot turn away from partner in 3 steps
     (woman turns RF) taking semi-closed pos, facing LOD;
     step back on R twd RLOD, draw L; step back again on R,
     draw L and close L to R on last count.
          13-16     WALTZ FWD, 2, 3; DIP, STEP, STEP; STEP, DRAW,  ;
          STEP, TOUCH,  
     Still in semi-closed pos, waltz fwd one meas, starting
     man's R; step fwd L, bending knee in slight dip, and step in
     place R, L; step back on R, draw L,  ; step back again on R
     and touch L.
          17-32      Repeat meas 1-16. On meas 32, maneuver man's back 
to
          COH and end in closed pos.

Part B
     1-4  WALTZ 2, 3; WALTZ, 2, 3; WALTZ, 2, 3; WALTZ, 2, 3
     Man steps back twd COH on L to begin 2 RF waltz turns in
     four meas, ending with man's back to COH, still in closed
     pos.
     5-8  GRAPEVINE, 2, 3; 4, 5, 6; STEP, DRAW,  ;
     MANEUVER (woman reverse twirl)
     Man steps on L to L (LOD), crosses R behind L (woman
     also crosses behind), step to side on L; cross R in front of
     L, step to side on L, cross R behind L; step to side on L,
     draw R twd L (do not change wt); man steps in place R, L,
     R while woman twirls LF, stepping L, R, L under her R and
     man's L hands, to end facing in closed pos.
     9-16 Repeat meas 1-8, ending in closed pos, man's back to
     COH.
          17-20     BACK,   , CLOSE; BACK (dip),  ,  ; FWD,  , CLOSE;
          FWD,  , MANEUVER (to Varsouvianna)
     Moving twd COH in canter rhythm, man steps back on L,
     hold, and close R; step back L in dip and hold 2 counts;
     step fwd twd wall on R and close L; step twd wall on R,
     hold, and touch L (on the last two counts, woman steps
     quickly on R, pivoting RF to Varsouvianna pos, touch L),
     ending with partners both facing the wall.
          21-24      GRAPEVINE, 2, 3; 4, 5, 6; STEP, DRAW,  ;
          MANEUVER (woman to banjo)
     Using the same footwork for both as for the man in meas 5-
     6, Part B, both starting with L, and moving twd LOD, do
     grapevine in six steps in Varsouvianna pos; both step to
     side twd LOD on L, draw R to L (keep wt on L),  ; man
     steps R, L, R in place, while woman (releasing hands) turns
     RF in canter rhythm (step on R, hold, close L to R) to end
     with woman facing COH in banjo pos.
          25-28     BANJO AROUND, 2, 3; AROUND, 2, 3; TWINKLE, 2, 3;
          TWINKLE-MANEUVER, 2, 3
     With R hips adjacent , starting man's L (woman's R), make
     a 3/4 CW turn in six steps for man to face LOD, pivot
     quickly to sidecar pos; man crosses L in front of R, steps to
     side on R, steps in place on L (woman opp); pivoting to
      banjo, repeat footwork starting man's R and progressing
     LOD as man maneuvers to closed pos, his back to COH.
          29-32      WALTZ, 2, 3; WALTZ, 2, 3; WALTZ, 2, 3; STEP,
          TOUCH,  
     Man steps back on L to start one and a half waltz turns (3/4
     revolution) in 3 meas. On the last meas, step R, touch L,  ;
     thus maneuvering into semi-closed pos, man's back to
     COH, ready to repeat the dance.

Entire routine is dances twice. On the last two meas on the second
time through, woman twirls RF to open pos, under her R and
man's L hands. Man takes her L hand in his R as they
acknowledge.

Styling Notes: Do not fail to enjoy the styling opportunities in this
lovely dance. The draws should be done deliberately, not glossed
over. The changes of wt and of foot lead should be noticed and
enjoyed. Let the pos of the head and arms follow the draws. In
meas 9 of Part A, the three points should be done with precision
and soundlessly.

Home on the Range      

Music: "Home on the Range"

Position: Couples facing each other in a circle, man's back to
COH.

Footwork: Opposite throughout, instructions for man.

Introduction: Wait 2 meas, bal apart, bal together into butterfly pos.

Measures
     1-4  BACK,  , CLOSE; BACK,  ,  ; FWD,  , CLOSE;
     CROSS, 2, 3
     Letting go hands, partners back away from each other, man
     stepping back L,  , close R; step back L and hold; partners
     progress twd each other, man stepping fwd R,  , close L;
     join R hands and exchange places in 3 steps, R, L, R,
     crossing past R shoulders (as in box the gnat) to end with
     couple facing each other, man's back to wall.
     5-8  Repeat action of meas 1-4 except that on the last meas,
     partners join R hands and step R, L, R (woman L, R, L)
     into Varsouvianna pos, facing LOD.
     9-12 WALTZ; WALTZ; WALTZ; WALTZ
     In Varsouvianna pos, starting man's L, waltz fwd 4 meas in
     LOD.
          13-16     LADY OUT; STAR; AROUND; FACE
     Man steps in place, L, R, L (woman lets go L hands and
     turns RF twd wall in 3 steps R, L, R into R-hand star pos);
     starting man's R, couple makes one complete CW turn in 3
     waltz meas, to end with man facing LOD (woman faces
     man and RLOD, R hands still joined).
          17-20      TOGETHER; APART; WALTZ; WALTZ
     Partners bal twd each other, man stepping fwd L; partners
     bal apart, man stepping back R; (let go hands) man
     progresses LOD in two meas of waltz to meet new partner
     (join R hands) (woman progresses RLOD to new partner).
          21-24      Repeat meas 17-20, joining R hands with second new
          partner.
          25-28      Repeat meas 17-20, joining hands with third new 
partner.
          29-32      TOGETHER; APART; TWIRL TO SEMI-CLOSED;
          STEP, HOLD,  
     Repeat meas 17-18 with this fourth partner (third new
     partner); man steps in place L, R, L while woman twirls LF
     under their raised R hands to semi-closed pos with man's
     back to COH; step R in place (woman, L) and hold.
          33-36     RUN, 2, 3; POINT,  ,  ; RUN, 2, 3; POINT,  ,  
     Starting L (woman R) progress 3 steps in LOD in semi-
     closed pos, pivoting twd each other on the third step to face
     RLOD still in semi-closed pos; point free foot RLOD and
     hold; repeat meas 33-34 in RLOD, starting R; point free
     foot in LOD.
          37-40      WALTZ; WALTZ; WALTZ; WALTZ
     Taking closed pos, man steps back L to start 4 meas of RF
     turning waltz, making one complete revolution to end with
     man's back to COH in semi-closed pos.
          41-44      Repeat meas 33-36.
          45-48      WALTZ; WALTZ; TWIRL OUT; FACE
     Repeat meas 37-38; man steps in place maneuvering to face
     wall, while woman twirls RF under his L and her R hands,
     to end facing man and COH; step R, touch L (woman step
     L, touch R) letting go hands to commence at beginning of
     routine.

At the end of the dance   the last time through   let go hands, as
both bow.

Remember women, whenever you assume Varsouvianna pos, hold
your hands quite high, so the gentleman can stand straight and need
not lean on you!

Honeymoon Valzer (Waltz)      

A waltz by Jerry and Charlie Tuffield of Denver, Colorado.

The Tuffields have gotten into the habit of teaching three of their
waltzes as a medley. It makes a beautiful exhibition. To dance
"Jerry's Medley," simply dance each of these dances through once
in the following order: "Lovers' Waltz," "Honeymoon," and then
"Happy Waltz." At the end of each single sequence twirl and
maneuver into position for the next dance. The music will tell you
what to do. Here are the instructions for "Honeymoon Waltz."

Position: Closed, man's back to COH.

Footwork: Opposite throughout, directions for man.

Introduction: 4 meas. Wait two meas and acknowledge.

Measures
     1-4  WALTZ BAL LEFT; WALTZ BAL RIGHT; ROLL
     AWAY,  ,  ; STEP, DRAW,  
     Starting on L, step to the side in LOD, stepping briefly
     on R, cross in back of L, and stepping in place on L;
     repeat, starting with R; both roll away (man to L, woman
     to R); facing partner, step on R to the side in RLOD, draw
     L to R, keeping wt on R.
     5-8  Repeat action of meas 1-4.
     9-12 STEP, SWING,  ; REVERSE TWIRL; DIP,  ,  ;
     MANEUVER WALTZ
     Step fwd in LOD on L and swing R fwd; woman does a
     reverse twirl, turning L, while man steps bwd 3 steps
     ending facing wall in order to: dip back on L twd COH;
     maneuver waltz to end with man's back to LOD.
          13-16      WALTZ; WALTZ; WALTZ; TWIRL
     Three RF turning waltzes and twirl woman to
     Varsouvianna pos.
          17-20     FWD WALTZ; FWD WALTZ; TURN-TO-FACE; STEP,
          TOUCH,  
     Starting on man's L and woman's R, do 2 fwd waltzes in
     Varsouvianna pos; retaining the holds of both hands, man
     raises his R and woman's R hand over her head, and
     woman turns one quarter LF to face man in 3 steps (man
     turns one quarter R to face woman) arms are crossed; step
     to side on R, slightly in RLOD and touch L to R.
          21-24     CROSS OVER,  ,  ; STEP, TOUCH,  ; CROSS OVER,  ,
           ; STEP, TOUCH,  
     Change places in 3 steps, crossing woman in front, still
     holding hands (woman turns half RF under joined R hands
     while M turns half LF, ending with man's back to wall,
     woman's back to COH, still holding hands, arms are
     crossed); step on R to side, slightly in LOD; touch L to R;
     repeat the cross-over, still crossing woman in front of man
     (woman turns half LF under joined R hands); step, touch,
     ending in closed pos with man's back to COH.
          25-28     DIP,   ,  ; MANEUVER WALTZ; WALTZ; WALTZ
     Dip back on man's L, touch R beside L; maneuver waltz in
     3 steps to end with man's back to LOD; starting bwd on L
     do 2 RF turning waltzes, making one full turn.
          29-32      WALTZ; WALTZ; WALTZ; TWIRL
     Three more RF turning waltzes, ending with man facing
     LOD; twirl the woman into starting pos.

Ending: After the third time through, twirl the lady and bow.

Ida      

A syncopated two-step written by Dena M. Fresh.

Music: "Ida"

Position: Facing, both hands joined, man's back to COH.

Footwork: Opposite. Instructions for men; woman does
counterpart.

Introduction: There are five meas of introduction (4/4 time). Wait
three meas, in open position; on meas 4-5, bal away,  , touch,  ;
bal to face,  , touch,  .

Measures
     1-2  SIDE, CLOSE, SIDE, TOUCH; SIDE, CLOSE, CROSS,   
     Step to side in LOD on L (woman's R), close R to L, step L
     to side again, touch R beside L; step to side in RLOD on R,
     close L to R, cross R over L, and hold.
     3-4  TURN AWAY, 2, 3, BRUSH; ON AROUND, 2, 3,
     BRUSH
     release hands and turn solo away from partner (man to L,
     woman to R) L, R, L, brush R; complete the turn R, L, R,
     brush L, to face partner and rejoin both hands.
     5-8  SIDE, CLOSE, SIDE, TOUCH; SIDE, CLOSE, CROSS,  ;
     TURN AWAY, 2, 3, BRUSH; ON AROUND, 2, 3,
     BRUSH
     Repeat meas 1-4, ending in closed pos, man's back to
     COH.
     9-10 TWO,  , STEP,  ; TWO,  , STEP,   
     In closed pos, do two slow R-face turning two-steps, once
     around. Release man's L and woman's R hands, leave
     man's R arm around woman's waist, woman's L arm on
     man's shoulder. Face LOD.
     11-12 STEP, CLOSE, STEP, BRUSH; STEP, CLOSE, STEP, BRUSH
     Step fwd L, close R to L, step fwd L, brush R fwd (woman
     opp); repeat, starting on R.
     13-16 TWO-STEP; TWO-STEP; STEP, CLOSE, STEP, BRUSH;STEP, CLOSE, 
           STEP, BRUSH
     Repeat meas 9-12.
     17-18 HEEL, STEP, TOE, TOUCH; HEEL,STEP,POINT,POINT
     Touch L heel (toe up) in front (woman touch R heel),
     leaning back, step on L beside R, touch R toe in back,
     leaning well fwd, touch R toe beside L; touch R heel in
     front and lean back, step on R, point L diagonally fwd,
     point L fwd.
     19-20 STEP, CLOSE, STEP, BRUSH; STEP, CLOSE, STEP,BRUSH
     Repeat meas 11-12.
     21-24 HEEL, STEP, TOE, TOUCH; HEEL, STEP, POINT,POINT; 
          STEP, CLOSE, STEP, BRUSH; STEP, CLOSE,STEP, BRUSH
     Repeat meas 17-20.
     25-28 SIDE, BEHIND, SIDE, BRUSH; SIDE, BEHIND, SIDE,BRUSH (PIVOT); 
          SIDE, BEHIND, SIDE, BRUSH; SIDE, BEHIND, SIDE, BRUSH
     Release hands and vine twd COH (woman twd wall)
     starting to L on man's L, step behind L on R, step to side on
     L, brush R; repeat in opp direction, starting man's R and
     moving twd partner, pivoting to face on the "brush;" in
     butterfuly pos, vine twd LOD, step to side on L, step R
     behind L, step to side on L, brush R; repeat, starting man's
     R and moving RLOD.
     29-32 TWO-STEP; TWO-STEP; TWIRL, , 2, ; 3, , 4,   
     In closed position do 2 R-face turning two-steps, making
     one complete revolution; as man takes four slow steps (L,
     , R,  , L, , R, ) in LOD, woman twirls under her own R
     and man's L arm. Maneuver into starting pos and repeat
     dance. End with a bow.

Joy Joy      

A waltz by Dena M. Fresh of Wichita, Kansas.

Music: "Joy!"

Position: Open, facing LOD, inside hands joined.

Footwork: Opposite throughout, instructions for man.

Introduction: Wait 2 meas, bal apart, bal together.

Measures
     1-4  WALTZ AWAY, 2, 3; TOGETHER, 2, 3; AWAY, 2, 3, LF
     ONE QUARTER WHEEL, 2, 3
     Starting man's L (woman's R) waltz slightly away and fwd;
     waltz together and fwd; waltz away; wheel as a couple LF
     one quarter turn so as to face COH and all couples join
     hands in a large circle.
     5-8  INTO CENTER, 2, 3; STEP, LIFT,  ; BACK OUT, 2, 3;
     STEP, TOUCH,  
     With all hands joined, starting man's L (woman's R) waltz
     into the center, L, R, L; step R, swing L and rise onto R toe
     (lift) swinging joined hands high; back out to place, L, R,
     L; step R, touch L to R.
     9-12 LADIES SOLO RF WALTZ INTO CENTER;  ; BACK
     STRAIGHT OUT,  
     Dropping all hands, women turn RF and solo waltz one
     complete revolution into the center using 6 counts; back
     straight out to place in 6 counts (meanwhile men waltz bal
     L; R; L; R).
          13-16     MEN INTO CENTER; TURN RF HALF; MOVE OUT TO
          PARTNER,  
     Beginning on man's L take 3 steps into center L, R, L; turn
     RF R, L, R to face wall; move out twd partner with 6 steps
     beginning on L, ending in closed pos, man's back to COH
     (meanwhile women bal R, L, R, L).
          17-20     VINE IN LOD, 2, 3; 4, 5, 6; BAL L; BAL R
     Starting man's L (side, behind, side, front, etc.), dance a
     grapevine in LOD for 6 counts; waltz bal L; waltz bal R.
          21-24     VINE IN LOD,  ; CROSS OVER; STEP, TOUCH,  
     Repeat the vine; change places, woman turning in front of
     man under her R an dhis L arm; step R, touch L.
          25-28     VINE IN RLOD;  ; CROSS OVER; FACE, TOUCH,  
     Repeat the vine in RLOD for 6 counts; cross back so man's
     back is to COH; face partner and take closed pos while
     doing step, touch.
          29-32     BAL BACK; MANEUVER; WALTZ; TWIRL
     Bal back on man's L and hold for the meas; step fwd on
     man's R to a waltz maneuver; do one RF turning waltz;
     twirl woman to open pos.

Sequence: Music is played four times. At the end of the fourth
time, on the last meas, twirl the woman into closed or butterfly pos,
man's back to COH and dance the four meas tag as follows: Bal L;
bal R; twirl the lady; and bow.

For a delightful mixer: On meas 15 instead of the man moving out
to his partner, he may move out diag to the lady on his L.

Just Foolin' Around      

A two-step written by Ann and Andy Handy of Cleveland, Ohio.

Position: Semi-closed, facing LOD.

Footwork: Opposite throughout, directions for man.

Introduction: Facing partner, wait 2 meas, bal apart, bal together.

Measures
     1-4  TWO-STEP FWD; TWO-STEP FWD; SIDE, BEHIND;
     SIDE, FRONT
     Starting semi-closed pos, do two fwd two-steps in LOD;
     with leading hands joined (man's L, woman's R) step L to
     side in LOD, step R behind L, opening to face RLOD; step
     L to side, pivoting to face partner, step R in front, to face
     LOD in semi-closed pos.
     5-8  Repeat meas 1-4, ending in closed pos, progressing LOD.
     9-12 TWO-STEP TURN; TWO-STEP TURN; TWO-STEP
     TURN; TWO-STEP TURN
     Four turning two-steps in closed pos, progressing LOD.
          13-16      TWIRL,  ; 2,  ; TWO-STEPS TURN; TWO-STEP TURN
     Starting L foot, man takes four walking steps fwd in LOD,
     while woman twirls twice RF under man's L arm to closed
     pos; do two turning two-steps, ending in butterfly pos,
     man's back to COH.
          17-20     BAL LEFT; BAL RIGHT; ROLL, 2; 3, TOUCH
     Step L to side, close R to L and step L in place (two-step
     bal step); step R to side, close L to R and step R in place;
     starting L, both roll in LOD (man turning LF, woman
     turning RF), L, R; L, touch R.
          21-24      Repeat meas 17-20 in opp direction, starting with R 
and
          rolling RLOD, to end in open pos, facing LOD.
          25-28     WALK 2; 3, TOUCH; WALK 2; 3, TOUCH
     Starting L, walk L, R; L, touch R to L; walk R, L; R, touch
     L to R, to end in butterfly pos, man's back to COH.
          29-32     BAL LEFT; BAL RIGHT; TWIRL,  ; 2,  
     Repeat meas 17-18 (two-step bal to L and again to R);
     starting L foot, man takes four walking steps fwd in LOD,
     while woman twirls twice RF, under man's L arm, ending
     in semi-closed pos, facing LOD.

Repeat dance four and one-half times, ending with a twirl and bow.

Keepsake      

A waltz by Dena M. Fresh of Wichita, Kansas.

Position: Closed, man facing LOD. Directions for man, woman
opp except where noted.

Introduction: Wait 2 meas, bal away, bal to closed pos.

Measures
     1-4  BAL BACK,  ,  ; WALTZ (RF); WALTZ; FWD WALTZ
     Bal back in RLOD on man's L; two RF turning waltz steps;
     one fwd waltz in LOD to end with L hips tog, man facing
     diag to wall and LOD.
     5-8  TWINKLE; TWINKLE; FWD, BACK, SIDE; AROUND,
     2, 3
     Moving in LOD, man step L across R (woman step R
     behind L), step to side on R, step L in place; step R across
     L, step to side on L, step R in place (man face wall, woman
     COH); step fwd on L twd wall, back on R, and to side on L
     (woman step back on R, to side on L, fwd on R); man still
     facing wall, walk fwd R, L, R to do a 3/4 CW spot-turn
     with woman pivoting on third count, to open pos, couple
     facing LOD.
     9-12 STEP, SWING,  ; TURN, 2,  ; STEP, SWING,  ; TURN,
     2, FACE
     Step to side on L, swing R across in front of L (woman
     opp); partners exchange places with man crossing behind
     woman in a RF turn with 2 steps R, L   while woman
     crosses in front of man with a LF turn in 2 steps L, R to end
     facing LOD in open pos (man on outside); repeat the
     action, beginning on man's R; end with man on inside
     facing partner and wall, both hands joined.
          13-16     AWAY, TOUCH,  ; TOGETHER, TOUCH (to banjo),  ;
          WALTZ AROUND, 2, 3; LADY TURN, 2, 3
     Step away from partner on L, touch R beside L; step twd
     partner on R to banjo pos, touch L beside R (woman take 2
     steps L, R, hold to banjo); with 2 waltz steps, spot-turn CW
     3/4 around, both beginning on L   woman turn RF R, L, R
     on second waltz to end facing LOD on man's R side in
     Varsouvianna pos.
          17-20     CROSS WALTZ; CROSS WALTZ; CROSS, SIDE,
          BACK; POINT,  ,  
     Moving in LOD, both cross L over R, step to side on R,
     close L to R; cross R over L, step to side on L, close R to L;
     cross L over R, step to side on R, step L behind R; point r
     to side and hold.
          21-24      Repeat meas 17-20, starting by both crossing R over 
L, etc.
          25-28     FWD WALTZ (woman turns); FWD WALTZ; WHEEL, 2,
          3; MANEUVER
     Still in Varsouvianna pos, as man does one waltz fwd in
     LOD, woman turn RF under the joined R hands with 2
     steps L, R to end in skirt skaters' pos; waltz fwd on man's
     R (woman's L); couple wheel RF one complete turn with 2
     waltz steps, man maneuvering on last count to closed pos,
     man's back to LOD.
          29-32     WALTZ (RF); WALTZ; BAL APART; BAL TO CLOSED
          POS
     Man step back in LOD on L and take 2 RF turning waltz
     steps, to end in open pos facing LOD; bal to side and away
     from partner on L, touch R beside L; bal to side and twd
     partner on R (woman step in front of man on L), touch L
     beside R and assume closed pos.

Repeat dance two more times. End with a twirl and a bow.

Laces and Graces      

Position: Open, woman on man's R, near hands joined, facing in
LOD

Footwork: Opposite, steps described for the man, woman doing the
counterpart.

Measures
     1-2  POINT ACROSS, SIDE, BEHIND, PIVOT
     Man points L foot across R, then points the L diagonally
     forward to the L, then points directly behind R, and then
     pivots on both feet, turning away from partner 3/4 to end
     facing partner. Man turns L-face and woman R-face. They
     end the pivot with crossed legs, man's L across in front of
     R, and man's back to the center of the hall.
     3-4  BALANCE RIGHT, BALANCE LEFT
     Partners facing with both hands joined, they do a pas de bas
     balance in RLOD and then LOD. (Man steps to the side on
     R, closes with L, steps in place on R in two-step rhythm;
     then he steps to the side on L, closes with R, and steps in
     place on L).
     5-8  SLIDE, SLIDE, SLIDE, STEP, WALK 2, 3, 4
     Still facing, both hands joined, take three slides (side-
     closes) in RLOD plus one more step to the side (man steps
     R, close L, R, close L, R, close L, R); then they turn a
     quarter to face LOD and walk four steps in LOD in open
     position, starting on man's L.
     9-16 REPEAT 1-8
     17-24     EIGHT OPEN POSITION TWO-STEPS
     Starting on outside feet, two-step back-to-back and face-to-
     face for a total of 8 two-steps, swinging the joined hands
     first forward and then backward.
     25-32     EIGHT TURNING TWO-STEPS
     Take closed dance position and do 8 right-face turning two-
     steps.

There is a variation for the second half of the dance:
          17-20      REPEAT 17-20 ABOVE
     Four open position two-steps
          21-24     SOLO TURN AWAY IN 2 TWO-STEPS, TWO-STEP
          APART, TWO-STEP TOGETHER
     Starting on outside feet, turn away from each other and
     circle around to face in 2 two-steps; then two-step away
     from each other, and two-step together to take closed dance
     position.
          25-32     SEVEN TURNING TWO-STEPS, TWIRL WOMAN ON
          THE LAST MEASURE
     Moving in LOD, do 7 R-face turning two-steps and twirl
     the woman to open position to begin again.

STYLING: This is a light, bouncy dance. Since it moves quickly,
take small steps. Remember to point the toes.

Left Footers' One Step      

Formation: A circle of couples in semi-closed position.

Footwork: Opposite throughout; M's L, W's R. 

Measures:

1 - 2  WALK, 2, 3, 4 (face); SIDE, CLOSE, SIDE, CLOSE; Start L ft and walk fwd in LOD 4 steps turning to face partner during the 4^th step and taking closed dance position; step to L side in LOD on L ft, close R ft to L taking wt on R ft, step again to L side in LOD on L ft, close R ft to L taking wt on R ft while turning to face in LOD in semi-closed dance position.

3 - 4   Repeat action of Meas. l and 2, except to end in closed pos. M's back to COH;

5 - 6  BACK IN, 2, 3, 4; SIDE, CLOSE, SIDE, CLOSE; Start L ft and walk bwd twd COH 4 short steps; do two side-close steps in LOD starting L ft as in Meas. 2.

7 - 8  WALK OUT, 2, 3, 4; SIDE, CLOSE, SIDE, CLOSE (to sidecar); Start L ft and walk fwd twd wall 4 short steps; do two side-close steps in LOD starting L ft as in Meas. 2 except to end with L hips adjacent (sidecar pos.), M facing RLOD and W facing LOD.

9 -10  BACKWARD, 2, 3, 4 (face); SIDE, CLOSE, SIDE, CLOSE (to banjo); Start L ft and walk bwd 4 steps in LOD turning to face partner in closed position during the 4^th step; do two side-close steps in LOD starting L ft as in Meas. 2 except to end with R hips adjacent (banjo pos,), M facing LOD and W facing RLOD.

11-12  FORWARD, 2, 3, 4 (face); SIDE, CLOSE, SIDE, CLOSE (to semi-closed); Start L ft and walk fwd in LOD 4 steps turning to face partner during the 4^th step and taking closed position; do two side-close steps in LOD starting L ft as in Meas. 2, ending in semi-closed position facing in LOD.

13 -14  WALK, 2, TURN, POINT; WALK, 2, TURN, POINT; Start L ft and walk fwd in LOD 3 steps, L, R, L, turning in twd partner to face RLOD during the 3^rd step, point R toe fwd to floor; start R ft and walk fwd in RLOD 3 steps, R, L, R, turning in twd partner to face LOD during the 3^rd step, point L toe fwd to floor.

15 – 16  BALANCE FORWARD, AND BACK; TWIRL, 2, 3, 4 (to semi-closed); Start L ft and do a two-step balance fwd in LOD, start R ft and do a two-step balance bwd in RLOD; as M walks alongside with 4 steps starting on L ft, W makes a R face twirl with 4 steps while progressing in LOD, to end with partners taking semi-closed position facing LOD, ready to repeat the dance.

Light in the Window      

by Dorothy Stott Shaw 

Track 7, LS CD-1007  "Terpsichore's Delight"

Formation: Circle of couples, varsouvianna position, facing LOD. 

2 meas. Forward six steps;

2 meas. Turn, back up six (in LOD);

2 meas. Do not turn, go forward six;

2 meas. Turn, back up six and face;

2 meas. Drift apart, box the gnat;

2 meas. Drift apart, box it back;

2 meas.  Star right;

2 meas. Lady forward to a new man and begin . 

Dance goes through 14 times.  

Little Coquette      

A two-step written by Muriel Curd Smith of Wichita, Kansas.

Music: "Coquette"

Position: Open, facing LOD.

Footwork: Opposite throughout, instructions for man.

Introduction: Wait two meas, bal fwd, bal back, bal away, bal
together.

Measures
     1-4  TWO-STEP, TWO-STEP; GRAPEVINE TO L; TWO-
     STEP, TWO-STEP; GRAPEVINE L
     In open pos, inside hands joined, starting man's L, 2 two-
     steps fwd in LOD; partners facing, butterfly pos, man's
     back to COH, grapevine to man's L   side, behind, side,
     step on man's R; 2 two-steps fwd in open pos; grapevine in
     butterfly   side, behind, side, touch man's R.
     5-8  Repeat meas 1-4 in RLOD, starting on man's R, ending in
     butterfly pos, man's back to COH.
     9-12 TWO-STEP, TWO-STEP; HALF AROUND, 2, 3, 4;
     TWO-STEP, TWO-STEP; HALF AROUND, 2, 3, 4
     In butterfly pos, man's back to COH, 2 two-steps in place,
     first to man's L (L, R, L), then to man's R (R, L, R); in
     banjo pos (R hips together), do a half CW turn in 4 walking
     steps (man's back is now to the wall); two-step to man's L,
     two-step to man's R; 4 walking steps in banjo (half CW
     turn), ending with man's back to COH.
          13-16      TWO-STEP, TWO-STEP; BACK AWAY, 2, 3, 4; TWO-
          STEP, TWO-STEP; COME TOGETHER, 2, 3, 4
     Still in butterfly pos, 2 two-steps in place, first to man's L,
     then to his R; releasing handholds, partners back away from
     each other in 4 walking steps; repeat the 2 two-steps in
     place, solo; partners come together again in 4 walking
     steps, to end in open pos, facing LOD.
          17-18     STEP, BEHIND, STEP, STEP-THROUGH; BEHIND,
          STEP, STEP, TOUCH
     (A twisting grapevine) in open pos, near hands joined, step
     fwd in LOD on man's L, step R behind L, pivoting twd
     partner, step in LOD on L, step through (beyond L) on R
     (pivoting back-to-back, near hands still joined); step L
     behind R, step in LOD on R, pivoting to face partner, step
     to L on L, touch R slightly behind L.
          19-20      TWO-STEP, TWO-STEP; BUZZ TURN, 2, 3, 4
     Partners facing in butterfly pos, man's back to COH, do 2
     two-steps in place, first to man's R (R, L, R), then to his L;
     do one complete solo turn with a buzz step (step-push, step-
     push, step-push, step-touch) man turning RF, woman LF, to
     end in open pos, near hands joined (man steps on his R and
     pivots on it, pushing with his L   woman steps on L, pushes
     with R).
          21-24      Repeat meas 17-20.
          25-28      TWO-STEP OUT, TWO-STEP IN; STEP, BRUSH,
          BRUSH, BRUSH; TWO-STEP IN; TWO-STEP OUT;
          STEP, BRUSH, BRUSH, BRUSH
     In open pos, partners two-step diag away from each other,
     and then twd each other, starting man's L; step fwd on
     man's L, brush R fwd, brush R across L, brush R fwd;
     starting man's R (woman's L) partners two-step diag twd
     and away from each other; step fwd on man's R, brush L
     fwd, brush L across R, brush L fwd.
          29-32      TWO-STEP, TWO-STEP; WALK, 2, 3, 4; TWO-STEP,
          TWO-STEP; TWO-STEP, TWO-STEP
     In open pos, 2 two-steps in LOD, starting man's L; 4
     walking steps in LOD (L, R, L, R); maneuvering into
     closed pos and starting man's L do 4 RF turning two-steps
     to end in open pos, facing LOD.

Ending: Routine is dances 3 times. On the third time through, do
only two turning two-steps at the end, then twirl the lady and bow.

Lovers' Valzer (Waltz)      

A waltz by Jerry and Charlie Tuffield of Denver, Colorado.

Music: "Valse Amoreuse"

The Tuffields have gotten into the habit of teaching three of their
waltzes as a medley. It makes a beautiful exhibition. To dance
"Jerry's Medley," simply dance each of these dances through once
in the following order: "Lovers' Waltz," "Honeymoon," and then
"Happy Waltz." At the end of each single sequence twirl and
maneuver into position for the next dance. The music will tell you
what to do. Here are the instructions for "Lovers' Waltz."

Position: Closed with man's back to COH. 

Footwork: Opposite throughout.

Introduction: Four meas, choose your own acknowledgment.

Measures
     1-4  SIDE, BEHIND, SIDE; FRONT, SIDE, BEHIND; BANJO
     AROUND, 2, 3; 4, 5, 6
     Grapevine swd in LOD for 6 steps; in banjo pos (R hips
     adjacent), walk around for one full R or CW turn, to end
     again in closed pos.
     5-8  FRONT, SIDE, BEHIND; SIDE, FRONT, SIDE; BANJO
     AROUND, 2, 3; 4, 5, 6
     Grapevine swd in RLOD starting with man stepping to R,
     crossing in front with L (woman crosses in back); repeat
     banjo; end in open pos, facing LOD.
     9-12 STEP, SWING,  ; CHANGE SIDES, 2, 3; CROSS,
     SWING,  ; CROSS, TOUCH,  
     Step on man's L, swinging R across; partners exchange
     pos, man crossing twd wall in front of woman with 3 steps
     (R, L, R) turning RF to face COH, while woman crosses
     over twd center with 3 steps (L, R, L) turning LF under her
     own and man's R hand (California twirl) to end in butterfly
     pos, man's back twd wall; man crosses L over R twd LOD
     and swings fwd in LOD while woman crosses in front with
     her R and swings her L (note that both cross in front
     between self and partner); man steps across on r in front of
     L as he pivots L to face RLOD and touches L beside R.
     Woman crosses in front with L and pivots to face RLOD in
     open pos.
          13-16     STEP, SWING,  ; CHANGE SIDES, 2, 3; CROSS,
          SWING,  ; CROSS, TOUCH,  
     Starting facing RLOD, repeat the action of meas 9-12
     except that meas 16 finds partners shifting pos with man
     facing LOD in butterfly pos. (The originators of the dance
     sanction either butterfly or loose closed pos for meas 17-
     20.)
          17-20      TWINKLE (CROSS, STEP, STEP); TWINKLE,
          TWINKLE; STEP, TOUCH,  
     (Man moves diag fwd in LOD, woman bwd, man's foot
     crossed over in front on first count of each meas, woman's
     foot crossed in back) Cross L foot over R, step on R beside
     L, step on L beside R; cross R foot over L, step L beside R,
     step on R beside L; repeat meas 1; step on R, touch L.
          21-24     DIP; RIGHT TURNING WALTZ; WALTZ; WALTZ
     Bal bwd in RLOD on man's L and hold 2 counts; starting
     on man's R do 3 meas of RF turning waltz to end facing
     LOD (optional twirl on meas 24).
          25-28      Repeat meas 17-20.
          29-32      Repeat meas 21-24.

Love's Old Sweet Chansan ------ Check spelling      

A waltz by Dena M. and Elwyn Fresh of Wichita, Kansas.

Music: "Love's Old Sweet Song"

Position: Open, facing LOD, instructions for man.

Footwork: Opposite throughout.

Introduction: Wait 2 meas, bal apart, bal together.

Measures
     1-4  FWD WALTZ; ROLL/CHANGE (places); TWINKLE;
     MANEUVER
     In open pos facing LOD, waltz fwd on man's L turning
     slightly away from partner; release hands and roll RF twd
     wall and behind woman, stepping R, L, R turning once
     around (woman roll LF and in front of man stepping L, R,
     L turning once around) to end with man on outside (woman
     on inside) facing LOD with man's L and woman's R hands
     joined; twinkle in LOD   step through twd LOD on man's
     L, step to side in LOD on R turning to face partner, close L
     to R; keeping handhold, man maneuver his back to LOD
     and at the same time twirl woman R-face under the joined
     hands and slightly to RLOD to end in closed pos.
     5-8  WALTZ (RF); WALTZ; WALTZ; OPEN OUT
     In closed pos, starting with man's back to LOD, dance 3 RF
     turning waltz steps and open out to face LOD in open pos.
     9-12 Repeat meas 1-4.
          13-16      Repeat meas 5-8, except end in closed pos, man's 
back to
          COH.
          17-20     VINE (LOD); THROUGH, POINT,  ; BACK, POINT,  ;
          THROUGH, SIDE, CLOSE (turn)
     In LOD, step to side on L, step behind L on R, step to side
     again on L (woman opp); loosen pos to semi-closed and
     step through twd LOD on man's R (woman's L), point L
     fwd in LOD; step back in RLOD on L, point R in back twd
     RLOD with a straight knee and looking over own shoulder;
     step through again in LOD on R, step to side in LOD on L,
     close R to L and turn to face RLOD, joining man's L and
     woman's R hand.
          21-24      TWINKLE (RLOD); TWINKLE (LOD); THROUGH,
          SPOT/TURN, AROUND; STEP, TOUCH,  
     Twinkle in RLOD   step through twd RLOD in L, step to
     side in RLOD on R, close L to R and turn to face LOD
     joining man's R and woman's L hand; twinkle LOD   step
     through twd LOD on man's R, step to side in LOD on L,
     close R to L and turn to face RLOD briefly joining man's L
     and woman's R hand; step through twd RLOD on man's L
     (woman's R), and spot turn away from partner (man RF,
     woman LF) releasing hands and stepping R, L; step to side
     in RLOD on man's R, touch L to R and join both hands
     with partner, man's back to COH.
          25-28     BAL AWAY; BAL TOGETHER; BAL AWAY; BAL TO
          BANJO
     With both hands joined, bal away from partner, stepping
     back on L twd COH (woman twd wall) at arms' length, step
     R, L in place; step twd partner on R, step L, R in place; step
     back again on L step R, L in place; step twd partner R, L, R
     and assume butterfly banjo pos.
          29-32      AROUND, 2, 3; MANEUVER; WALTZ (RF); WALTZ
     On man's L (woman's R) walk fwd making a one-and-a-
     quarter CW turn and maneuvering man's back to LOD; in
     closed pos step back on man's L in LOD and dance two RF
     turning waltzes, ending with man's back to COH.
          33-36     BAL LEFT; BAL RIGHT; BAL FWD (woman start slow
          turn); BAL BACK (woman complete turn)
     Bal to man's L side L, R, L (woman opp); bal to R side R,
     L, R; man bal twd wall L, R, L as woman starts a slow 6-
     count RF turn under man's L and her R hand, beginning
     with her R; man bal back twd COH R, L, R as woman
     completes her turn and both face LOD in open pos.

Sequence: Entire dance is done three times. End with a bow on the
last time.

Mananitas      

A waltz mixer written by Carlotta W. Hegemann of San Antonio,
Texas.

Music: "Las Mananitas"

Formation: Couples in a large circle, facing LOD (CCW) in open
pos, inside hands joined.

Footwork: Opposite in part A, identical in part B, starting on R
foot.

Introduction: 4 meas of 3/4 time. Wait two meas and acknowledge
partner.

Part A
Measures
     1-4  WALTZ OUT; WALTZ IN; WALTZ OUT; FACE IN
     BUTTERFLY
     Starting on man's L, swing joined hands alternately fwd
     and back as partners turn slightly away and together and
     away in three meas of pursuit waltz; on meas 4 turn to face
     each other in butterfly pos, man's back to COH.
     4-8  BACK AWAY;  ,  ,  ; ON TO NEW PARTNER; OPEN
     POS
     (Let go hands) Man, starting on L, moves bwd in 6 steps
     (woman bwd on R); man progresses diagonally in RLOD
     (woman LOD) to join inside hands with new partner, facing
     LOD in open pos.
     9-12 WALTZ OUT; WALTZ IN; WALTZ OUT; FACE IN
     BUTTERFLY
     Repeat meas 1-4.
          13-16     BACK AWAY,  ,  ,  ; ON TO NEW PARTNER; JOIN
          HANDS IN A CIRCLE
     Repeat the action of meas 5-8, except that, in the last meas,
     man turns L-face, sweeping the woman around by their
     joined inside hands so that they face COH, and all join
     hands in a large circle. (Man steps R, L, touch on meas 16,
     ready for a R-foot lead)

Part B
          17-20      SIDE-CLOSE; SIDE-CLOSE; SIDE-CLOSE; SIDE-
          CLOSE
     Moving CCW, all step to the side on R, close L in canter
     rhythm; repeat three more times.
          21-24      BALANCE FWD; BALANCE BACK; CHANGE
          PLACES; FACE INTO A CIRCLE
     All bal fwd twd COH on R, swinging joined hands fwd; bal
     back on L; let go hands, turning to face new partner, man
     turning L-face to woman on his L (woman R-face); man
     takes woman's L hand in his R to exchange places, passing
     R shoulders as in "star through;" all join hands in a circle.
          25-28      SIDE-CLOSE; SIDE-CLOSE; SIDE-CLOSE; SIDE-
          CLOSE
     Repeat meas 17-20.
          29-32      BALANCE FWD; BALANCE BACK; TWIRL THE
          LADY OUT; OPEN POS
     Repeat meas 21-22; on meas 31, man turns L-face twirling
     woman R-face under his L and her R hands to the outside
     of the circle; drop hands and take open pos with inside
     hands joined, and facing LOD, ready to begin Part A.

Sequence: The entire dance is done 3 times, during which there are
12 changes of partner. Las Mananitas is a very popular Mexican
song. The word implies a festive or very happy occasion, and the
song is often used in connection with birthdays.

Manning's Mixer      

Formation: Circle of couples facing LOD, open position

Meas.

1- 4 WALK, 2, 3, 4; VINE, 2, 3, 4; WALK, 2, 3, 4; VINE, 2, 3, 4; In open position facing LOD with inside hands joined and starting M's L foot and W's R foot walk forward 4 steps; face partner and step to the side in LOD on L foot, cross R behind L, step to L on L in LOD, cross R in front of L to end in open position facing LOD. Repeat meas 1; and 2.

5- 8 WALK, 2, 3, 4; BACK AWAY, 2, 3, 4; DO SA DO, 2, 3, 4; 5, 6, 7, 8; In open position walk forward four steps turning on the fourth step to face partner; back away from partner, M twd center of hall and W twd wall; in eight steps do sa do with the lady on the RIGHT;

9-12 ALAMO FWD, CLOSE, BACK, CLOSE; STAR LEFT, 2, 3, 4; ALAMO FWD, CLOSE, BACK, CLOSE, STAR LEFT, 2, 3, 4; Take ocean wave position, joining L hands with original partner and R hands with the next person, completing the circle as in Alamo style, step fwd on L, close R to L, step back on L, close R to L; with original partner turn a L hand star half way around in four steps and again complete the circle by joining R hands (M are now facing COH and W are facing the wall; repeat Meas. 9; and 10, again turning L hand star with original partner;

13-16 RIGHT AND LEFT GRAND, 2, 3, 4; 5, 6, 7, 8; SWING THE 5^TH GAL YOU MEET. Beginning with the R hand do a right and left grand in the WRONG DIRECTION (clockwise for men, counterclockwise for women). Swing with the 5^th girl you meet, put her your right side in open position and face LOD to repeat the dance.

Ending: In open position walk forward four steps turning to face partner on fourth step; back away three steps and bow.

Mazurka      

Arranged by Carlotta Hegemann

Music: LS 1010, Side B, Strauss waltzes, arranged and played by Fred Bergin

Position: Open, facing LOD, with inside hands joined. Opposite footwork throughout; instructions for men.

Meas.

SWEEP;

1- 4 GLIDE, CLOSE, STEP; POINT, -, SWEEP;

GLIDE, CLOSE, STEP; POINT, -,

"Sweep" the L foot back over the R on the beginning note (and at the same time hop or raise on the R). Then glide forward on this L and close the R to it, and step forward again on the L. Then point forward with the R, hold a beat, and on the 3^rd beat sweep the R back over the L instep (a slight hop on the L). Then glide forward on the R, close the L to it, step forward again on the R. Then point forward with the L and hold one beat.

SWEEP;

5- 8 WALTZ, OUT, -; WALTZ, IN, -;

TURN, AWAY, -; POINT, -,

After another preliminary "sweep," waltz away from each other, and then back together again, in LOD, near hands joined. On the next waltz step both turn away from each other, the M turning L face, with a L-R-L, and the W turning R face, with a R-L-R. Make a complete turn to LOD and point.

SWEEP;

9-12 GLIDE, CLOSE, STEP; POINT, -, SWEEP; GLIDE, CLOSE, STEP; STEP, POINT, -,

Repeat Meas. 1-4, using opposite feet, M starting with his R.

SWEEP;

13-16 WALTZ, IN, -; WALTZ, OUT, -; WOMAN, TWIRLS, -; POINT, -,

After sweeping the inside feet again, waltz in, going forward; then waltz out, in LOD, still holding near hands joined. M waltzes straight forward, L-R-L; dropping hands W twirls with a ľ R face turn in front of him, facing him (W faces RLOD), and each holding their hands in butterfly position. SWEEP;

17-20 PAS-DE-BAS LEFT; PAS-DE-BAS RIGHT; DRAW, -, -; DRAW, -, SWEEP;

21-24 PAS-DE-BAS RIGHT; PAS-DE-BAS LEFT; LADY, TURNS, -; POINT, -, 

M steps in place, R-L-R, while the W turns R face to his side and takes varsouvianna pos and points with her R, facing LOD. 

SWEEP;

25-28 WALTZ; WALTZ; WALTZ; POINT, -, Waltz fwd 3 meas, then point with inside foot. 

SWEEP;

29-32 WALTZ FORWARD; WOMAN TURNS; RIGHT FACE TURN; POINT, -, 

Waltz fwd one meas. During the 2^nd meas. the W starts to turn R face and finishes the turn on the next meas. so she is side by side with partner. Both point outside feet, assuming open position.

Merry Widow Valzer (Waltz)      

Music: "The Merry Widow Waltz" by Franz Lehar.

Position: Closed, man's back to COH.

Footwork: Opposite throughout. Instructions for man, woman does
counterpart.

Introduction: 4 measures. Wait two meas in open pos, facing LOD.
Then bal apart; and bal tog into closed pos, man's back to COH.

Measures
     1-4  ROCK BACK,  ,  ; AND FRONT,  ,  ; BACK,  ,  ; AND
     FRONT,  ,  
     In closed pos, man's back to COH, man rocks back on L
     foot, touching R lightly in place without moving it (woman
     rock fwd on R, touch L); rock fwd on R, touch L; back on
     L, touch R; fwd on R, at the same time pivoting L-face
     (woman R-face) to semi-closed pos, facing LOD and joined
     hands, touch L.
     5-8  STEP,  , SWING; STEP, (pivot to face, touch); STEP,  ,
     CLOSE; STEP, (pivot to RLOD, touch)
     Facing LOD and joined hands, step fwd on outside feet
     (man's L), hold one count and swing R foot fwd on count
     3; step fwd on inside feet (man's R, woman's L), pivot to
     face (man's back to COH), touch L; step to side in LOD on
     man's L, hold one count, and close with R on the 3rd count
     (canter); step again to L in LOD, at the same time pivoting
     to face RLOD (man turns R-face, woman L-face) and touch
     R on the 3rd count. (NOTE: Dancers are still in semi-closed
     pos. woman is at man's L side and they are looking twd
     RLOD over their encircling arms. Their joined hands
     (man's L, woman's R) are trailing)
     9-12 STEP,  , SWING; STEP,  ,  ; STEP, (pivot) FLARE,  ;
     DIP,  ,  
     Moving RLOD, looking over encircling arms, step fwd on
     outside foot, (man's R), hold one count, swing inside foot
     fwd on 3rd count; step fwd on inside foot (man's L) and
     hold 2 counts; step fwd on outside foot, immediately
     pivoting on this foot to face LOD, flare the inside foot
     around in almost a full circle on counts 2 and 3, man
     turning L-face, woman, R-face, as they come to face LOD;
     (They will drop their joined hands momentarily but still
     maintain the hold with the arms. The spoken cue calls for a
     "kick" on this flare, as the swinging foot is lifted quite high
     and swung full around to come in behind the pivoting foot)
     on meas 12 take wt on this swung foot, bending the knee in
     a little dip, which is held through counts 2 and 3, while the
     inside feet are held extended.
          13-16      WALTZ; WALTZ; WALTZ; WALTZ
     Starting with man's free and extended R foot, do three
     meas of R-face turning waltz; on the 4th meas, man steps L-
      while woman does a R-face turn under his L arm (R-L).
     End in closed pos, man's back to COH.
          17-20     ROCK BACK,  ,  ; ROCK FWD, STEP, CLOSE; BACK,
          STEP, CLOSE; FWD (pivot)
     The pattern is the same as in meas 1-4, but waltz steps are
     added in meas 2 and 3. Rock back on man's L (fwd on
     woman's R), holding for the measure; rock fwd on man's R
     and step, close (L, R); rock back on man's L, and step,
     close (R, L); on meas 20 step fwd on man's R (woman's L)
     and pivot into semi-closed pos, facing LOD as in meas 4.
          21-24     STEP, SWING, RISE; RUN, 2, 3; STEP, FLARE,  ; DIP,
           ,  
     Step fwd on outside foot (man's L), swing inside foot fwd,
     do a slight rise or hop on count 3 of the meas; starting on
     raised inside foot (man's R) run fwd 3 steps (R, L, R); step
     on outside foot (man's L), at the same time pivoting (man
     R-face, woman L-face) to face RLOD, still maintaining
     semi-closed pos, joined hands trailing, and on counts 2 and
     3, kick-flare the inside foot (man's R, woman's L) clear
     around and behind; on meas 24 dip back on these now
     outside feet, raising the inside feet off the floor, parallel.
          25-28     RUN, 2, 3; STEP, FLARE,  ; DIP,  ,  ; WALTZ, 2, 3
     Starting on inside feet, run fwd in RLOD 3 steps; repeat the
     step, kick-flare of meas 23 in reverse, stepping on outside
     feet and pivoting away from each other to face LOD,
     sweeping the inside foot clear around behind; take weight
     and dip on this sweeping foot, letting the free foot (man's
     R, woman's L) lift up from the floor on the third beat of the
     measure; on the last meas, step onto man's R (woman's L),
     maneuvering into closed pos, and do one R-face turning
     waltz.
     29-32     WALTZ WHIRL (for three measures); TWIRL THE
          LADY
     With R feet close together, couple makes a spot turn in
     place in 9 little steps; twirl the lady, and bow.

Military Schottische      

Variations (indented under Military):

Position: Open position, near hands joined.

Footwork: Opposite, footwork given for man, woman does the
opposite. Begin with outside feet (furthest from partner).

Measure
     1-2  STEP, STEP, STEP, HOP; STEP, STEP, STEP, HOP
     The M steps forward, L, R, L, and hops on his L, swinging
     his R forward. (W uses opposite foot) Then he repeats with
     R, L, R, hop, swinging the L forward.
     3-4  STEP-HOP, STEP-HOP, STEP-HOP, STEP
     Then closing with his partner into regular (closed) dance
     position, he does a L-hop, R-hop, L-hop, and then a R.
     (Most people turn around once in this series of hops, but
     the more strenuous turn twice completely around, so they
     are facing forward again at the finish)
Second Verse
     5-6  STEP, BACK, STEP, SWING; STEP, BACK STEP,
     SWING
     (This verse can be done with the M going to the L and the
     W to the R, letting go of each other as they separate. Or the
     W by putting in an extra step, can get in step with the M,
     and go in the same direction with him and back. Then she
     must put in an extra step before the next part) He steps L,
     then crosses the R in behind the L, then steps again to the
     L, and swings the R over in front. Then he steps to the R,
     crosses the L in behind it, steps again to the R, and swings
     the L over in front.
     7-8  STEP-HOP, STEP-HOP, STEP-HOP, STEP
     Taking (closed) dance position, they do the step-hop
     exactly as described for measures 3-4.
Third Verse
     9-10 STEP, STEP, STEP, HOP; STEP, STEP, STEP, HOP
     Done exactly the same as measures 1-2.
          11-12      STEP-HOP, STEP-HOP, STEP-HOP, STEP
     Done as in measures 3-4 except that the M and the W let go
     of each other and turn separately, the M turning L face, and
     the W turning R face. (Once or twice around as they prefer)
Fourth Verse
          13-14     STEP, STEP, STEP, HOP; STEP, STEP, STEP, HOP
     The first half is done exactly as in measure 1. Then they
     turn away from each other (ML, WR). The M turns R, L, R,
     hop, while the W turns L, R, L, hop. They are facing
     forward again at the finish and retake holds.
          15-16     ROCK FORWARD, BACK, FORWARD, BACK
     Taking holds again, they both rock forward on the outside
     foot, then back on the inside foot, then forward again on the
     outside, and back again on the inside. The rocking action is
     with the whole body, leaning forward and back.

Other variations: In the first part, beside making the running steps
either forward or sidewards, the couple can separate and run off
diagonally away from each other and come back, or they can face
each other and back away from each other and come back, or
anything else they please, as long as they return to each other.
     In the second part, they can dos-a-dos around each other,
passing back to back (sometimes with arms folded over the chest),
or they can hook elbows while they hop around, or the man can
kneel and take the lady's hand while she hops around him, or
anything else they can think of.

Texas Schottische      

Measure
     1-4  CROSS, CROSS, CROSS-STEP, CLOSE; CROSS,
     CROSS, CROSS-STEP, CLOSE
     Cross the L over in front and touch the floor, cross it out to
     the side diagonally front and touch the floor (2 counts
     each). Then cross it slightly behind the R (2 counts) and
     then close the L to the R, taking weight on the L (2 counts).
     Then do the same, leading with the R.
     5-8  STEP, STEP, STEP-STEP, STEP; STEP, STEP, STEP-
     STEP, STEP
     Then moving forward, take a step on the L and then on the
     R (2 counts each), and then step forward L (1 count),
     forward R (1 count), and then forward and hold on the L,
     closing the R to it (2 counts). Then repeat all leading with
     the R.

Drunken Schottische      

Measure
     1-2  STEP-CLOSE, STEP-CLOSE, STEP SWING RIGHT
     OVER LEFT; STEP-CLOSE, STEP-CLOSE, STEP
     SWING LEFT OVER RIGHT
     Step to the L and close the R to it on the 1st count, step
     again to the L and close the R to it on the 2nd count, step to
     the L and swing the R over in front on the 3rd and 4th counts.
     Do the same to the other side.
     3-4  CROSS LEFT-SWING RIGHT, CROSS RIGHT-SWING
     LEFT, CROSS LEFT-SWING RIGHT, CROSS RIGHT-
     SWING LEFT
     Walk forward with a pronounced drunken roll, stepping L
     and swinging R out, then crossing right over the L and
     swinging the L out, etc. It is not quite dancing but it is fun.

Double Drunk Schottische      

Measure
     1-2  The same as for Drunken Schottische, above.
     3-4  CROSS LEFT-SWING RIGHT, CROSS RIGHT-SWING
     LEFT, CROSS LEFT, CROSS RIGHT, CROSS LEFT,
     CROSS RIGHT
     The Drunken Schottische, when it is doubled is done
     exactly the same as the "single" except for the last measure
     when four furious drunken schottisches are put in, in place
     of two regular roll over. A drunk man would have difficulty
     doing it, but it looks quite drunk.

Peter Pan Schottische      

Measure
     1-2  STEP, STEP, TURN AROUND AND KICK
     Step fwd on the L, then on the R (2 cts to each for the first
     meas); then fwd on the L turning completely around (R
     face) so you are backwards to your original position and
     kicking with the R. (Some folks prefer a slight bounce on
     the first two steps, and slight swinging of the free foot fwd)
     3-4  STEP BWD, STEP BWD, TURN FWD AGAIN AND
     KICK
     Continuing in the same direction, by stepping bwds for two
     steps, they turn L face this time and face fwd with a final
     kick. (As they move bwd, some prefer a decided kick or
     lifting of the foot after each step) It is well for some
     beginning couples to practice by standing in Varsouvianna
     position, facing CCS with the wall directly on their right,
     and turn backward, facing the wall as they turn, and turn
     forward again, facing the wall, without changing their holds
     in the least, and without changing their position on the
     floor. Do it until you get fully familiar with it, then try it
     with the music and the rhythm.

Belen Schottische      

Measure
     1-4  STEP, STEP, STEP, REVERSE; STEP, STEP, STEP,
     REVERSE
     Running fwd three steps (beginning on the outside foot),
     swing the inside foot forward, carry it back between you,
     each turning, so that the swinging foot is now in a bwd
     direction. Now run backward three steps (beginning with
     the outside foot) and swing the inside foot forward,
     between you, and around to a starting position.
     5-8  STEP-HOP, STEP-HOP, STEP-HOP, STEP-HOP
     Turning once around in (closed) dance pos, (R-face), do
     four step-hops.

Silver City Schottische      

Measure
     1-2  STEP-CLOSE, STEP-CLOSE, STEP-CLOSE, STEP AND
     KICK
     The man steps to the L and closes (the W to the R), and
     again L and close; then he does two quick little "left-
     closes," and jumps into the air with his left foot held just as
      high in the air as he can hold it, and kicks up with his right
     foot, kicking the heels together, and lands on his right.
     (Some prefer to do the two quick "step-closes" followed by
     a quick step-across with the right foot, swinging the L into
     the air and, jumping into the air from the R foot, quickly
     bringing the L up to meet it   a "bell" kick)
     5-8  STEP-HOP, STEP-HOP, STEP-HOP, STEP-HOP
     Turning once around in (closed) dance position (R-face), do
     four step-hops.

Milwaukee Schottische      

Introduced by Dale and Florence Wagner of Milwaukee,
Wisconsin. It has long been traditional in that area.

Formation: Circle of couples in semi-closed dance pos. Directions
for the man. There are as many ways of handling the "hop" of a
schottische as there are dancers. Do not think that you have to leap
into the air when it says hop. Young and athletic dancers may
really leave the floor, but conservative dancers can do any
schottische with pleasure, and make a pleasant spectacle to watch,
by simply lifting the heel from the floor, and putting the springy
appearance into the action of the ankle. However you do it, it
should be light, light, light! Don't jump up and down with a clump.
During the four introductory measures, acknowledge your partner.

Measures
     1-2  STEP, STEP, STEP, HOP; STEP, STEP, STEP, HOP
     Starting with the outside feet, do two schottische steps
     straight fwd in LOD.
     3-4  HOP LEFT, HOP RIGHT; BACK, SIDE, CLOSE, HOLD
     Hop fwd on the outside foot and bwd on the inside foot on
     meas 3; while continuing to hop on the inside foot, point
     back with the outside foot, then to the side with the same
     foot, and then close it to the inside foot on the third and
     fourth beats.
     5-8  Repeat meas 1-4.
     9-10 STEP-DRAW, STEP-DRAW; BACK, SIDE, CLOSE,
     HOLD
     Still in LOD drop hands, and step out to the side with the
     outside foot, draw the inside foot to it, and repeat once
     more. Then face each other and repeat the back, side, close
     of meas 4.
          11-12     COME TOGETHER IN TWO SKIPPING STEPS; BANJO
          AROUND IN TWO SKIPPING STEPS
     Facing each other, come tog in two skipping steps. (This is
     exactly the same as the "hippety hop" of your childhood,
     left-hop, right-hop, etc., starting on man's L and woman's
     R) Coming tog you take a "peasant banjo" pos, that is you
     put your R arm around the front of each other's waist, and
     hold the L hands high and free above the L shoulders. In
     this pos do two more skipping steps ending with man
     facing LOD. But the woman has to continue turning until
     she too is facing LOD.
          13-14      Repeat meas 9-12.

Do the entire dance five times.

Minuet      

By Dena M. Fresh 

Music: Minuet from "Gods Go A-Begging" by Handel

LS 4567 

Position: Open, facing LOD with heads held high. Footwork opposite throughout.

Intro: 4 meas. You may bow slightly to your partner if you wish on third meas. 

Measures:

1-4 STEP, POINT, -; STEP POINT, -; TURN AWAY, 2, 3; DIP, 2, 3; With the dignity and light carriage of the Minuet, step fwd in LOD on L, and point R fwd, hold; step fwd on R, point L fwd, hold; turn away from your partner with 3 steps (beginning on M's L and W's R, and making a 3/4 turn until you are facing your partner); step back away from partner on R (W's L) with a slight dip, and continue LF turn by stepping L and R, to end facing LOD again, with inside hands joined. (Remembering that the waltz rhythm preceded the waltz step by a long time, let there be marked parallelism of steps on the waltz measures.)

5-8 REPEAT MEAS 1-4

9-12 PIVOT, SIDE, BACK; PIVOT, SIDE BACK; SLIDE, DRAW (LOD), -; SLIDE DRAW, (RLOD), -; Release hands (M put backs of hands on hip pockets). Step fwd in LOD on L and at same time pivot back-to-back, step side on R, step L behind R with a slight dip; step side on R in LOD and at same time pivot RF (W pivot LF) to face partner, step to side on L, step behind L with a slight dip; step L to side in LOD, draw R toe to L instep using 2 cts. - while W does a complete solo LF turn R, L, R; M step side on R in RLOD, draw L toe to R instep using 2 cts. (W step L in RLOD, draw R toe to L instep).

13-16 REPEAT MEAS 9-12. End facing partner, R hands joined.

17-20 BAL APART, -, -; BAL TOGETHER, -, -; STAR AROUND, 2, 3; 4, 5, 6; Begin on M's L, bal apart (M twd COH, W twd wall); bal tog on M's R (hands held high with elbows almost touching); star around in 6 steps begin M's L (turn heads slightly twd partner and joined hands).

21-24 BAL APART, -, -; BAL TOGETHER, -, -; PAS DE BASQUE (front); PAS DE BASQUE (front); Keeping R hands joined, repeat bal as in meas 17 & 18; pas de basque to L (both XIF) - step swd on L, cross R over L and take wt on it, step L in place; pas de basque to R. W turn head to R as pas de basque, and then to L as pas de basque.

25-28 SIDE, BACK, SIDE; FRONT, SIDE, BACK; AWAY, 2, DIP; TOGETHER, 2, 3; With R hands still joined, take 6 step grapevine in LOD both stepping to side and crossing in back; release handholds and step back from partner on M's L and R, dip slightly on L, leaving R leg extended (W opp); step twd partner on extended foot (M's R), then L, R (W opp) to a R-hand star pos.

29-32 AROUND, POINT, -; AROUND, POINT, -; AROUND, 2, 3; OPEN OUT, 2, 3; Moving around in the R-hand star pos, M step L, point R, hold (W opp); step R, point L, hold; on around, L, R, L; slight bow to W as she turns gently R-face with a slight bow to break and change handhold ready to repeat the dance in open pos. Deep bow at the end.

Moonbeams      

A waltz by Rosemarie and Elmer Elias.

Music: "Moonbeams Shining Soft Above" from "The Red Mill" by
Victor Herbert.

Note about tempo: This is a slow waltz and the music has been
recorded at a speed much slower than average, about 116 beats per
minute. However, Rosemarie and Elmer Elias do this dance even
slower than that, and make it very beautiful. We suggest that you
try slowing it down and see if you like it better that way. Find the
speed that feels best. Many will dance it just as it is, but for
exhibition, it is especially beautiful danced quite slowly.

Position: Open, facing LOD, opposite footwork throughout.

Introduction:
Measures
     1-8  WAIT; WAIT; BAL APART; BAL TOGETHER; BAL L;
     BAL R; SWEEP;  
     Wait 2 meas. Bal apart on man's L and woman's R and
     acknowledge; bal tog to butterfly pos and touch; waltz bal by
     stepping to side on L, behind on R, in place on L; waltz bal
     R by stepping to side on R, behind on L, in place on R;
     while man takes 6 steps in place, woman does a slow RF
     sweeping twirl in 6 steps under man's L and woman's R
     arm, ending in open pos, facing LOD, inside hands joined.

Part A
     1-4  WALTZ AWAY, 2, 3; WALTZ TOG, 2, 3; WALTZ FWD,
     2, 3 (woman spin); MANEUVER, TOUCH,  
     Starting on man's L, waltz fwd and diag away from partner;
     continuing on man's R, waltz fwd and diag tog; while man
     waltzes directly fwd L, R, L, woman does a solo RF spin in
     place R, L, R, to end facing LOD; man maneuvers by
     stepping fwd R, pivot half RF, touch L to R and hold, as
     woman steps fwd L, touch R to L and hold, ending in
     closed pos, man's back to LOD.
     5-8  WALTZ; WALTZ; WALTZ; TWIRL
     Starting on man's L, do 3 RF turning waltzes, progressing
     in LOD; twirl woman RF under man's L and woman's R
     hands as man does one fwd waltz R, L, R, to end in open
     pos, facing LOD.
     9-6  Repeat meas 1-8, to end in closed pos, man facing LOD.

Part B
          17-20     WALTZ FWD; WALTZ FWD; TWIRL IN; WALTZ FWD
          (RLOD)
     Starting man's L, do 2 pursuit waltzes in LOD; as man
     makes a half LF turn (L, R, L) to end facing RLOD, woman
     makes a RF twirl (R, L, R) under man's L and woman's R
     arms twd COH, to end on man's R side, both facing RLOD,
     join man's R and woman's L hands and release other
     hands; waltz fwd in RLOD (R, L, R).
          21-24     WALTZ FWD; CHANGE SIDES; TWINKLE; STEP,
          THROUGH, TOUCH,  
     In open pos, waltz fwd in RLOD (L, R, L); California twirl
     to change sides in 3 steps (R, L, R); retaining man's R and
     woman's L handhold, twinkle twd RLOD by crossing L
     over R, step to side on R, close L to R (woman also cross in
     front); cross R over L in LOD (woman cross in front),
     turning to face partner, touch L to R and hold, taking
     butterfly pos, man facing wall.
          25-28     STEP, SWING,  ; TAMARA POS; WHEEL; WHEEL
     Retaining both handholds, step L, swing R across L
     (woman swing L) and hold; as man steps L, R, L in place
     he turns slightly R to face RLOD, retaining handholds,
     lowering man's L and woman's R hands to woman's waist,
     and raising joined man's R and woman's L hands, woman
     does a LF turn in 3 steps (L, R, L) to form "window," to
     end with woman's R arm behind her back in a L shoulder
     Tamara pos, man facing RLOD and woman facing LOD;
     wheel CCW once around in 6 steps to end with man still
     facing RLOD and woman facing LOD.
          29-32      UNWIND; REWIND; WHEEL; UNWIND
     Without releasing hands, as man turns one quarter LF,
     taking 3 steps in place (L, R, L), woman makes a 3/4 RF
     turn (R, L, R) under man's R and woman's L hands to
     unwind, ending in facing pos, both hands still joined; as
     man turns one quarter LF in 3 steps (R, L, R) to end facing
     LOD, woman makes another 3/4 RF turn in 3 steps (L, R,
     L) under man's L and woman's R hands to end in R
     shoulder Tamara pos, man facing LOD, woman facing
     RLOD; starting man's L, wheel half CW around in 3 steps
     to end with man facing RLOD and woman facing LOD;
     without releasing hands, woman unwinds half LF turn in 3
     steps under man's L and woman's R hands as man turns
     one quarter RF in place (R, L, R) to end in butterfly pos,
     man facing LOD.

Part C
     1-4  TWINKLE OUT; TWINKLE IN; TWINKLE OUT;
     CHANGE SIDES
     Starting man's L and turning to side-car pos, twinkle diag
     twd wall by crossing L in front of R, step to side on R,
     close L to R, turning to banjo butterfly, (woman is crossing
     in back); repeat twinkle, starting on man's R, moving diag
     twd COH; repeat twinkle starting on man's L, moving diag
     twd wall; retain man's R and woman's L hand hold, and, as
     woman makes a half LF twirl under man's R and woman's
     L hands, man makes a half RF circle around woman to end
     facing partner in butterfly pos, with man's back to LOD.
     5-8  TWINKLE IN; TWINKLE OUT; TWINKLE IN; TURN
     UNDER
     Starting man's L and turning to banjo pos, twinkle diag
     bwd in LOD twd COH, man crossing in back (woman in
     front), turning on last count to side-car pos; repeat, moving
     diag bwd twd wall; repeat, moving diag bwd twd COH; as
     man continues moving diag bwd twd wall with a step L,
     touch R, to end in open pos facing RLOD, woman on
     man's R side.
     9-12 STEP, SWING,  ; SIDE, TOUCH,  ; SWEEP AROUND;
     WOMAN TWIRL
     Bringing joined hands fwd, step fwd in RLOD on L, swing
     R through in RLOD, turning back-to-back, and hold; step to
     side in RLOD on R, touch with L, and hold; drop joined
     hands and join man's L and woman's R and, in 3 steps (L,
     R, L), sweep around in half circle moving in LOD; as man
     continues sweep for another quarter circle, turning to end
     with his back to COH, woman does a half RF twirl in 3
     steps to end facing partner and take closed pos.
          13-16     DIP,   ,  ; MANEUVER; WALTZ; TWIRL
     Dip back on man's L (fwd on woman's R) twd COH and
     hold 2 counts; in 3 steps (R, L, R) maneuver one quarter RF
     to end with man's back to LOD. Starting back on L, do one
     RF waltz turn; as man takes one fwd waltz in LOD, woman
     twirls RF under her R and his L hands to end in open pos,
     facing LOD.

Sequence: Part A, Part B, Part C, Part A, Part B, . . . at the end of
the dance, the wheel in meas 31 is 3/4 around in 3 steps, and
woman releases her R from man's L to turn half LF to face partner
and bow.

Moonwinks      

Also known as "The Three Step," a traditional slow waltz.

Music: "Moonwinks"

Position: Closed pos, man facing LOD, woman facing RLOD.

Footwork: Opposite throughout, steps described for man.

Introduction: 4 meas. Wait 2 meas, bow to partner.

Measures
     1-4  SLIDE, SLIDE, SLIDE; SLIDE, SLIDE, SLIDE; WALK,
     2, DIP; BACK, 2, DIP
     Starting man's L, take 3 slides to man's L and twd COH (L-
     close R, L-close R, L-touch R); repeat 3 slides to R twd
     wall; walk straight fwd in LOD for 3 steps, L, R, L (woman
     bwd), dipping the L knee distinctly on the third count while
     raising the R slightly behind (woman opp); walk straight
     bwd in RLOD for 3 steps (woman fwd), dipping the R knee
     on the last count (woman opp).
     5-8  Repeat meas 1 & 2; then beginning man's L, walk straight
     fwd 6 steps in closed pos (woman bwd).
     9-12 STEP, SWING,  ; STEP, SWING,  ; BACK, 2, 3; TWIRL,
     2, 3
     Letting go with his L hand, man slips to the L beside
     woman, holding only her L hand in his R, steps on his L
     and swings R fwd in LOD, while woman steps on her R
     and swings L fwd in LOD (it is necessary for woman to
     pivot RF twd LOD as she takes the step); letting go hands,
     man steps on R and pivots on it twd partner and on around
     into back-to-back pos, facing RLOD, and swings L twd
     RLOD, as they join his L and her R hand, while woman
     steps on L, pivoting twd man and back-to-back to swing R
     in RLOD; in this pos, facing RLOD, inside hands joined
     and almost back-to-back, partners back up 3 steps in LOD
     (L, R, L for man), turning to face each other on the third
     step, with man's back twd COH; man steps in place while
     twirling woman RF under her R and his L hands and they
     assume closed pos.
          13-16      SLIDE, SLIDE, TURN; SLIDE, SLIDE, TURN; WHIRL,
          2, 3; DIP, STEP, STEP
     In closed pos, while turning RF, partners repeat the slide
     steps of meas 1 & 2 (man sliding L-close R, L-close R, L-
     touch R), doing a half RF revolution each meas while doing
     this; complete a full 1 « turn by whirling vigorously (L, R,
     L) in closed pos and opening out to face LOD in semi-
     closed pos. Dip bwd on inside feet, with outside feet
     pointing fwd, and then take 2 little steps in place, L, R, for
     man, while woman steps R, L, as she pivots LF to face man
     with her back to LOD, ready to repeat the dance.

Note: The old dance originally consisted of only the first 8 meas.
The second part was added later to make the dance interesting and
more meaningful for modern round dancers, and is now standard.
Beginners sometimes use only the first part. The pattern was
invented to make use of very slow waltz music. Notice that there is
no turning waltz. Routine is done 3 times.

Muskrat Ramble      

A dance by Jerry and Charlie Tuffield of Denver, Colorado.

Position: Open with inside hands joined, opposite footwork
throughout, directions for man.

Measures
     1-2  WALK, WALK; STEP-CLOSE, TURN-SWING
     Walk fwd two steps (L, R); then two-step fwd, pivoting
     half RF turn on second step, swinging R fwd in RLOD
     (woman turns L).
     3-4  WALK, WALK; STEP-CLOSE, STEP-TOUCH
     Repeat meas 1, moving RLOD (R, L); then two-step,
     pivoting quarter turn to face partner, touch L ending with
     man's back to COH.
     5-8  STEP, POINT; STEP, POINT; TWO-STEP; TWO-STEP
     Step bwd on L, point R bwd (woman fwd R, point L fwd);
     man steps fwd R, point L fwd; then two turning two-steps
     almost full around, ending closed pos, man facing LOD.
     9-12 STEP, POINT; STEP, POINT; TWO-STEP; TWO-STEP
     Step fwd on L, point R fwd; step bwd on R, point L bwd;
     two fwd two-steps ending in open pos, inside hands joined.
          13-16      TWO-STEP; TWO-STEP; TURN; AWAY
     Two two-steps fwd beginning man's L; turn away from
     each other 4 walking steps, L, R, L, R (man turning to L,
     woman to R), ending in semi-closed pos facing LOD.
          17-18     WALK, WALK; POINT FWD, STEP BACK
     Walk two steps fwd, L, R; point L fwd, step back on L.
     (Point fwd abt 10 inches in front, then step back, not beside
      R, but about 10 inches behind R)
          19-20     WALK, WALK; POINT BACK, STEP FWD
     Walk bwd two steps, R, L; point R back, step fwd R. End
     in closed pos.
          21-24      TWO-STEP; TWO-STEP; TWIRL; TWIRL
     Two turning two-steps, turning once to R; then as man
     takes 4 steps LOD, L, R, L, R, woman twirls under her own
     R and man's L arm, doing two complete turns in 4 steps.
          25-26      Repeat meas 17-18.
          27-28      Repeat meas 19-20.
          29-32      Repeat meas 21-24.

Maneuver into starting pos and repeat the dance 3 times. At the
finish of the dance, end with a bow.

Measures 17-20 and 25-28 can be danced with a Charleston style,
and a decided Charleston kick-up is preferred. In fact, this whole
dance is tremendously loved by those who once danced the
"Charleston." Try to get into the mood by holding the seat back
and the knees well forward on meas 17-20 and 25-28. Keep the
knees almost locked together, toe-in a little and brush with the ball
of the foot as you fling the heels outward in characteristic
Charleston abandon. Real "Charleston experts" will cut loose a
little on a few other measures as well.

Nights Of Gladness      

Music: "Nights of Gladness" by Ancliffe.

This is possibly the very simplest of waltzes in Viennese tempo. It
is a joyous little dance, and has a winsome quality that has
endeared it to both expert waltzers and casual square dancers. It is
discussed on p 216 of "The Round Dance Book."

Position: Open, near hands joined, facing LOD.

Footwork: Opposite throughout. Instructions for man, woman does
opposite steps.

Introduction: 8 meas of fast waltz. Standard acknowledgment on
the last meas.

Measures
     1-4  STEP, SWING,  ; STEP, SWING,  ; STEP, SWING,   ;
     (BACK-TO-BACK) STEP, SWING-TOUCH
     Man steps twd LOD on his L foot, and, pivoting outward,
     swings R foot fwd (also swinging joined hands fwd); man
     steps fwd on his R and, pivoting slightly inward, swings his
     L foot fwd (swinging joined hands bwd); man steps fwd on
     his L and swings his R foot (and joined hands) fwd,
     pivoting so partners are almost back-to-back; man steps on
     R completing the pivot so he is completely back-to-back
     with his partner and lets L foot swing into a "touch" pos,
     next to the supporting R foot.
     5-8  STEP,  , DRAW; STEP,  , DRAW; STEP, SWING
     AROUND,  ; STEP, TOUCH,  
     In back-to-back pos, man steps twd RLOD on L, holds, and
     draws R to L; repeat; man steps on L and letting go with his
     R hand, swings his R foot out and around, doing a L-face
     pivot on his L foot so he is again facing his partner (woman
     opp); face-to-face, partners join both hands, as man step on
     R and touches L to R.
     9-12 STEP, SWING,  ; STEP, SWING,  ; SIDE,  , BEHIND;
     SIDE, SWING,  
     Partners face-to-face, both hands joined, man steps twd
     LOD on L and swings R across; man steps twd RLOD on R
     and swings L across R; steps twd LOD on L, holds one
     count, steps behind L on R; (These two meas make a
     cantered grapevine) man steps twd LOD on L again and
     swings R across L.
          13-16     STEP, SWING,  ; STEP, SWING,  ; SIDE,  , BEHIND;
          SIDE, SWING,  
     Repeat meas 9-12 in reverse, starting twd RLOD on man's
     R foot. On the last meas, open out to face LOD in open pos.
          17-24      REPEAT MEAS 1-8
     On the last meas, close up into closed dance pos, pivoting
     so that man is facing LOD or nearly so.
          25-32     DIP,   ,  ; PAT,  ,  ; WALTZ FOR 6 MEASURES
     Partners in closed pos, man facing approx LOD, man steps
     bwd twd RLOD on his L foot and holds 2 counts (woman
     dips fwd on her R with L leg arched behind her) while he
     keeps his R foot off the floor and held with a straight leg;
     man pats R foot lightly straight in front of him and lifts it
     again and holds 2 counts; stepping fwd in LOD on man's R,
     do 6 meas of R-face turning waltz, ending with a "step,
     step" on the last meas, twirling the woman into pos to
     repeat the dance.

Sequence: The entire dance is done 4 times. On the last time
through, twirl the woman on the 5th meas of waltz, and end with a
bow and curtsey.

Variation: Dancers may omit the DIP and PAT on meas 25 and 26,
if they prefer and go directly into 8 meas of turning waltz. The dip
and pat is much more fun.

Oggi (Today)      

A waltz by Dena M. Fresh, Wichita, Kansas

Music: "Today," 120 beats per minute tempo.

Position: Open for introduction, closed for dance.

Footwork: Opposite throughout, instructions for man.

Introduction: Wait 2 measures, balance apart; balance together and
to closed pos, man's back to COH.

Part A
Measures
     1-4  BALANCE BACK; MANEUVER; WALTZ (R-FACE);
     WALTZ (to open pos)
     On man's L, balance back twd COH; maneuver man's back
     to LOD, starting R; step back on man's L in LOD and
     dance one R-face turning waltz; open out to face LOD in
     open pos.
     5-8  WALTZ OUT; WALTZ IN; SOLO TURN; TO SIDECAR
     (butterfly)
     In open pos, and starting on man's L, waltz slightly away
     from partner, swinging joined inside hands forward; waltz
     slightly twd partner, swinging joined hands bwd; release
     handhold and solo turn away from partner, men starting on
     L (woman's R) and taking one waltz step, moving in LOD;
     continue turning with 1 more waltz step starting R, end
     facing diagonally fwd and twd wall in butterfly sidecar pos
     (woman facing RLOD & diag twd COH).
     9-12 TWINKLE OUT; TWINKLE IN; TWINKLE OUT; MANEUVER
     Moving in LOD, man step L across R (woman cross in
     back), step to side on R, close L to R; step R across L, step
     to side on L, close R to L; repeat measure 9; man
     maneuver, starting R to closed pos with his back to LOD.
     13-16 WALTZ; WALTZ; WALTZ; WALTZ
     Step back on man's L in LOD and dance four R-face
     turning waltz steps, easing comfortably apart on the last one
     and joining both hands, man's back to COH.

INTERLUDE: STEP, SWING,  ; STEP, SWING,   
     Step to side in LOD on man's L (woman's R), swing R
     across L, rise slightly on L; repeat to R side.

Part B
     1-4  VINE, 2, 3; 4, 5, 6 (in LOD); STEP, DRAW,  ; STEP,
     TOUCH,   
     In butterfly pos, man's back to COH, begin on man's L and
     vine 6 steps in LOD; step L and draw R to L (put weight
     briefly on R); step L to side in LOD and touch R to L.
     5-8  VINE, 2, 3; 4, 5, 6 (in RLOD); STEP, DRAW,  ; STEP,
     TOUCH,   
     Beginning on man's R (woman's L), repeat meas 1-4 of
     Part B in RLOD.
     9-12 STEP, SWING, PIVOT; BALANCE,  ,  ; STEP, DRAW,
      ; STEP, TOUCH,   
     Drop man's L and woman's R hands and step fwd in LOD
     on man's L (woman's R), swing R fwd and pivot back-to-
     back, swinging joined hands fwd and high; balance to side
     on R, looking over shoulder at partner; step L to side in
     RLOD, draw R to L (put weight on R); step L, draw R to L
     (put weight on R).
     13-16 ROLL (RLOD) FACE-TO-FACE; BACK-TO-BACK;FACE-TO-FACE; STEP, TOUCH,   
     Briefly touching hands begin on man's L (woman's R)
     and moving in RLOD, waltz roll face-to-face; on around to
     back-to-back; on around to face-to-face; step R to side in
     RLOD, touch L to R, take closed pos, man's back to COH.

The recorded music takes the dancers through three sequences as
above. After the third time, there is an 8-measure tag, as follows:

Ending
     1-4  BALANCE BACK; MANEUVER; WALTZ (R-FACE);
     WALTZ
     Repeat measures 1-4 of Part A, but ending with man's back
     to COH, and easing apart to join both hands.
     5-8  STEP, SWING,  ; STEP, SWING,  ; TWIRL; BOW
     Repeat Interlude; twirl woman under man's L and her R
     hands; change hands and bow, pointing man's R (woman's
     L).

Suggestions: In measures 9-16 of Part B, maintain the touching or
holding of hands where it is comfortably possible. Inside handhold
is maintained through the step-draws of measures 11 & 12, and
dropped with the final draw on measure 12. Touch hands as you
come face-to-face on the rolls in measures 13 and 15.

Second note: In doing the final four measures of Part B (the RLOD
waltz rolls), it is very romantic to do a U-shaped waltz away from
partner (man twd COH, woman twd wall) and return in 6 steps,
touching hands and lingering with a look, and repeat once again,
finally returning to take closed pos to begin the dance again. Both
U-shaped actions progress in RLOD.

Oklahoma Mixer      

Formation: Circle of couples in varsouvianna position, facing LOD. Footwork: Identical throughout, both start with L.

Meas.

l- 2 STEP, CLOSE, STEP,-; STEP, CLOSE, STEP, -; Two-step with left foot, then with right foot.

3- 4 WALK, 2; 3, 4; Do four walking steps forward, starting with L foot.

5- 6 HEEL, TOE; WOMAN WALKS TO THE CENTER; Both do a left heel-toe, releasing right hands, W walksL, R, L toward center of hall and M walks L, R, L toward the wall;

7- 8 HEEL, TOE; WALK TO MEET A NEW PARTNER; Both do a right heel-toe; releasing left hands, W takes 3 steps R, L, R diagonally to outside of circle, makes a L-face turn to face LOD, M walks three steps forward to assume varsouvianna position with a new partner.

Overflowin' Cup      

Music: "My Cup Runneth Over"

Introduction: 8 meas. Wait 2 meas; BAL APART; BAL TOG;
WALTZ AWAY; SPIN/MANEUVER; WALTZ RF; WALTZ RF,
adjusting here to butterfly, man facing LOD. (Spin/maneuver: man
maneuvers his back to LOD while woman does solo turn.)

Part A
Measures
     1-4  TWINKLE OUT; TWINKLE IN; TWINKLE OUT;
     MANEUVER
     In butterfly pos, man facing LOD, twinkle diag twd wall on
     man's L; repeat on R diag twd COH; repeat twd wall; man
     maneuver his back to LOD stepping R, L, R, and assume
     closed pos.
     5-8  WALTZ; WALTZ; WALTZ; WALTZ
     Dance 4 RF turning waltzes to end in semi-closed pos,
     facing LOD.
     9-12 FWD WALTZ; TWINKLE (fwd); TWINKLE (reverse);
     MANEUVER
     Waltz fwd in LOD on man's L (woman's R); step fwd on
     R, step to side on L (LOD), close R, at the same time
     turning to reverse open pos, facing RLOD; step fwd in
     RLOD on man's L (woman's R); step to side (RLOD) on
     R, close L to R and assume closed pos; maneuver man's
     back to LOD, stepping R, L, R.
          13-16      WALTZ; WALTZ; WALTZ; WALTZ (to open pos)
     Dance 4 RF turning waltzes, adjusting to open pos on last.
     Face LOD.
          17-20     WALTZ APART; WALTZ TOGETHER; WALTZ
          APART; SPIN/MANEUVER
     In open pos, facing LOD, waltz apart to arms' length, at
     same time moving in LOD (start man's L); waltz together
     on R; waltz apart on L; man maneuver his back to LOD,
     stepping R, L, R, while woman does a solo LF turn,
     stepping L, R, L, and assume closed pos.
          21-22      WALTZ; WALTZ
     Dance one RF turning waltz stepping back on man's L in
     LOD, and turning half to face LOD; dance another waltz
     step in place on R   adjust to butterfly.
     1-22 Repeat Part A, meas 1-22.

Part B
     1-4  Repeat meas 1-4 of Part A.
     5-8  Repeat meas 5-8 of Part A, ending in skirt-skaters' pos,
     facing LOD.
     9-12 FWD WALTZ; TURN & FACE WALL; FWD WALTZ;
     TURN & FACE RLOD
     On man's L (woman's R) waltz fwd in LOD (skirt-skaters'
     pos); release handhold and man turn RF to face wall (R, L,
     R) as woman moves slightly RLOD in a LF 3/4 turn to
     man's R side (L, R, L) to end both facing wall in skirt-
     skaters' pos; repeat this action by waltzing first twd wall;
     turn to face RLOD in skirt-skaters' pos.
          13-16     FWD WALTZ (RLOD); BACK-UP; WALTZ; WALTZ (to
          open pos)
     Waltz fwd in RLOD on man's L (woman's R); waltz
     slightly bwd in LOD on man's R as woman turns LF (L, R,
     L) to face him in closed pos; man step back in LOD on L,
     and dance 2 RF turning waltzes, adjusting to open pos on
     the last one. Face LOD.
          17-20      Repeat meas 17-20 of Part A. Assume closed pos.
          21-24      WALTZ; WALTZ; WALTZ; WALTZ (to open pos)
     Dance 4 RF turning waltzes, adjusting to open pos on last
     one. Face LOD.
          25-28      Repeat meas 17-20.
          29-30      WALTZ; WALTZ
     Dance one RF turning waltz stepping back on man's L in
     LOD and turning half to face LOD; take another waltz step
     in place, adjusting to butterfly pos, facing LOD. Second
     time through the dance, man's back to COH, and bow.

Sequence: The music allows you to do the whole dance twice. If
you want a short dance (1 min 45 sec) just bow when you have
done the routine once.

Papa's Little Girl      

A waltz by Jerry and Charlie Tuffield.

Music: "Daddy's Little Girl"

Position: Open, facing LOD, inside hands joined.

Footwork: Opposite throughout. Instructions for man.

Introduction: WAIT; WAIT; APART, POINT,  ; TOGETHER,
TOUCH,  ; Wait for two measures, in open position, inside hands
joined; step to side on L foot, facing partner, point R foot twd
partner and hold 1 count; step twd partner on R foot, touch L to R,
assuming open position, facing LOD, and hold 1 count.

Measures
     1-4  WALTZ AWAY, 2, 3; WALTZ FWD (to banjo), 2, 3;
     WALTZ FWD, 2, 3; TURN TO SIDECAR, 2, 3
     Waltz away from each other with inside hands joined (L, R,
     L); man waltz fwd while woman turns L-face to banjo in 3
     steps; man does one waltz fwd (woman waltzes bwd); both
     turn R-face to sidecar pos in 3 steps, man facing RLOD
     (woman LOD)
     5-8  WALTZ BWD, 2, 3; MANEUVER, 2, 3; L-FACE
     WALTZ, 2, 3; 4, 5, 6
     In sidecar pos, man waltzes bwd 1 meas, while woman
     waltzes fwd; both L-face turn to closed pos, man facing
     LOD (woman facing RLOD); dance two L-face turning
     waltzes, ending with both facing LOD.
     9-12 WALTZ FWD, 2, 3 (woman twirl); WALTZ FWD, 2, 3
     (woman twirl); WHEEL, 2, 3; 4, 5, 6
     Joining L hands only, man waltzes fwd for two meas, while
     woman does 2 twirls in front of man in 2 meas; end
     momentarily both facing LOD in skaters' pos (R hands
     joined at woman's R waist) wheel clockwise (man fwd,
     woman bwd) in 6 counts, end both facing LOD in skaters'
     pos.
          13-16     WALTZ FWD, 2, 3; WALTZ FWD 2, 3; STEP, SWING,
           ; STEP, TOUCH,  
     Man waltzes fwd while woman rolls out by dropping L
     hands and retaining R hands, making 1 full turn in 1 meas,
     ending in open pos, with inside hands joined; both waltz
     fwd; step L, swing R; woman turns « L-face turn to face
     partner and touch, to end in loose closed (or butterfly)
     sidecar, man facing LOD.
          17-20      TWINKLE OUT; TWINKLE IN; TWINKLE OUT;
          TWINKLE IN (woman twirls)
     Starting man's L do 2 traveling waltz twinkles, progressing
     LOD, man cross in front (woman in back), ending first
     twinkle in banjo, and the 2nd in sidecar; repeat; on the 4th
     twinkle woman makes 1 full R-face twirl under joined
     man's L and woman's R hands.
          21-24      TWINKLE OUT; TWINKLE IN; TWINKLE OUT;
          MANEUVER TOUCH;
     Repeat 3 twinkles; in meas 24, man turns 1/4 R (woman 1/4
     R), ending in loose closed position, man facing wall, and
     face, touch.
          25-28     SIDE, BEHIND, SIDE; FRONT, FLARE,  ; BEHIND,
          SIDE, FRONT; FACE, TOUCH
     In loose closed pos, start man's L step swd in LOD on L,
     cross R in back of L, (woman cross in back), to step to side
     on L; step R in front of L (woman cross in front), bring L
     fwd twd LOD and flare out and around twd RLOD; step L
     cross in back of R (woman cross in back), step swd in
     RLOD on R, step L cross in front of R (woman cross in
     front); step sideward in RLOD on R, touch L to R and hold 1
     count.
          29-32      BALANCE BACK; MANEUVER WALTZ; WALTZ
          TURN (R-face); TWIRL
     In closed pos, man's back to COH, balance bwd on L;
     maneuver in 3 steps ending with man's back twd LOD;
     man does 1 R-face turning waltz; then one fwd waltz while
     woman turns 1 R-face twirl down LOD ending in open pos.

Dance the sequence through 3 times. On meas 32, the woman
twirls one R-face twirl and acknowledge partner.

Oxford Minuet      

Position: Open, partners stand side by side, facing LOD, with the
woman on the man's R; man's R hand and woman's L are joined at
shoulder height.

Footwork: Opposite, beginning on man's L and woman's R;
directions given for the man, the woman doing the counterpart.

Measures
     1    WALK THREE STEPS AND POINT IN LOD
     man walks L, R, L, in LOD and points R.
     2    WALK THREE STEPS AND POINT IN RLOD 
     Partners turn toward each other to face in RLOD, dropping
     hands and taking woman's R in man's L hand; they step
     (for man) R, L, R, point L in RLOD.
     3    IN BUTTERFLY, STEP SWING, STEP SWING
     Facing with both hands joined out to the side, step in LOD
     on (man's) R and swing L across; then step in RLOD on L
     and swing R across.
     4    REPEAT 3
     5-8  REPEAT 1-4
     9-16 16 TURNING TWO-STEPS

Lloyd Shaw's variation to this basic dance is:
     1    WALK, 2, 3, POINT
     Repeat 1, above.
     2    WALK 2, 3, POINT CONTINUING IN LOD
     Staying in the same position, continue in LOD, beginning
     on man's R, step R, L, R, point L.
     3    2 STEP SWINGS
     Repeat 2, above.
     4    STEP, DRAW, STEP, TOUCH WHILE THE WOMAN
     TWIRLS
     Man steps to side in LOD L, closes R, steps to the side
     again on L, touches R while woman turns under her R and
     his L hands with a R-face turn (R, L, R, touch L).
     5-8  REPEAT 1-4 IN RLOD
     9-16 16 TURNING TWO-STEPS
     Experienced dancers can add pivot steps and twirls to vary
     the two-steps

Pace in la Valle      

Formation: Couples face in circle, M's back to COH, both hands joined.

Footwork: Opposite throughout

Introduction: 4 measures, wait 

Measures

1-4 STEP, SWING; STEP, SWING; CROSS; FACE;

Starting M's L step to side on L, swing R across (W steps R, swings L XIF); repeat action to R; partners change places in 2 meas of waltz (letting go W's L hand) passing L shoulders under M's L and W's R hand to face, and join both hands again.

5-8 STEP, SWING; STEP, SWING; CHANGE INTO VARSOUVIANNA; Repeat meas 1 & 2 and in 2 waltz meas maneuver into Varsouvianna pos facing LOD.

9-12 WALTZ; WALTZ; WALTZ; WALTZ; Start M's L (W's R), do 4 fwd waltzes progressing LOD.

13-16 STAR RIGHT; AROUND, -, -; JOIN HANDS IN CIRCLE; Letting go L hands couple turns CW in STAR pos in 3 meas of waltz. On 4^th meas let go R hands and W turns quickly R-face to join hands in circle, all facing COH, W on M's R.

17-20 STEP, SWING; STEP, SWING; GRAPEVINE (LADY ROLL); - - -; Repeat footwork of meas 1 & 2. In RLOD M does grapevine stepping side L, step R behind L, step side L, cross R in front, touch L. (As M does grapevine W makes one complete R-face turn progressing LOD as she rolls across in front of corner M to again face COH and join hands in the circle). This is the first of three partner changes.

21-24 STEP, SWING; STEP, SWING; GRAPEVINE (LADY ROLL); - - -; Repeat meas 17-20, (second of 3 partner changes).

25-28 INTO THE CENTER; STEP, SWING; BACK UP; STEP, HOLD; Hands still joined in circle, starting on M's L (W's R) move into COH in 4 steps, swing L. Back up to original place in 4 steps, touch L.

29-32 MEN TO CENTER; - - -; TURN BACK TO CORNER; - - -; Let go hands and W balances in place as M starting L moves twd COH in 6 steps, turns L-face to progress to his corner lady in 6 steps to face her, his back to COH ready to commence at beginning of dance. This is the 3^rd partner change. 

NOTE: In meas 1 & 2, 5 & 6, 17 & 18, 21 & 22, and 26 (all the step swings) opposite footwork is used and the swinging foot should never be more than a few inches above the floor with the sole of the foot parallel to the floor.

Phrase Craze      

Formation: Double circle of couples facing LOD, inside hands joined, girl on boy's right. Begin on outside foot.

DANCE

Meas. (2 counts per meas.; i.e., 1-4 = 8 counts)

1- 4 Walk 7 steps forward, turn to face partner on 8^th ct;

5- 8 Walk 4 steps backward, away from partner (boys moving toward the center of the center of the hall, girls moving toward the wall); clap hands three times fast; stamp feet three times fast;

9-12 Walk forward diagonally to the right to a new partner and do-sa-do;

13-16 Swing new partner with a two-hand swing. End facing in LOD, inside hands joined.

SUMMARY

1- 4 Forward;

5- 8 Away, clap and stamp;

9-12 To the right and do-sa-do;

13-16 Swing.

Note: The music has a "stop" phrase during which the claps and stamps occur. It is fun and a challenge to time the three claps on the first two beats and the three stamps on the second two beats so that on the musical phrase for the do-sa-do everyone is ready to go with the music.

Pink Champagne      

A waltz by Dena M. Fresh of Bella Vista, Arkansas.

Position: Open, facing LOD.

Footwork: Opposite throughout, directions for man.

Measures
1-4  WALTZ AWAY; CHANGE SIDES, BACK-UP (in LOD) CHANGE BACK

Face LOD in open pos. Waltz away L, R, L; change sides maintaining hand hold as woman passes under raised joined hands to end in open pos, facing RLOD, R, L, R; back-up waltz in LOD L, R, L; maintaining handhold, woman passes again under joined hands (man's R, woman's L) to end in butterfly pos, man facing partner and wall R, L, R.

5-8  BAL LEFT; BAL RIGHT; BAL (woman "circle" twirl), FWD; BACK

     On man's L (woman's R) in butterfly pos, bal L, R, L twd LOD; bal R, L, R twd RLOD; drop RLOD joined hands, keep LOD hands joined and man bal twd wall on L; and back, as woman makes a complete RF circle under the joined hands with 6 steps beginning on her R go out and back.

9-16 Repeat meas 1-8, end in skirt skaters' pos facing LOD.

17-18 WALTZ FWD IN LOD; QUARTER TURN TO FACE WALL (woman "curl")

     On man's L (woman's R), waltz fwd in LOD; release hands as man solo turns one quarter RF stepping R, L, R to face the wall and woman "curls" or turns LF L, R, L in place ending on man's R side both facing the wall in skirt skaters' pos.

19-20 WALTZ FWD TO WALL; QUARTER-TURN TO FACE RLOD (woman "curl")

Repeat meas 17-18 facing wall, and end facing RLOD in skirt skaters' pos.

21-24 WALTZ FWD IN RLOD; BACK-UP/MANEUVER; WALTZ RF; TO SIDECAR POS

     Waltz fwd in RLOD; man back-up as woman turns LF to assume closed pos; man step back in LOD on his L and do two turning waltz steps down LOD, end in loose sidecar pos.

25-28 TWINKLE; TWINKLE; TWINKLE; MANEUVER

     With L hips tog, begin on man's L (woman's R) and twinkle out; twinkle in; twinkle out; man maneuver his back to LOD.

29-32 RF TURNING WALTZ AND TWIRL TO OPEN POS

     In closed pos 3 RF turning waltzes and twirl to open pos, facing LOD.

Repeat entire dance two more times. Bow.

Polka      

Variations (indented after Polka):

A dance, perhaps invented by little Anna Slezak, about 1830, or
perhaps an ancient Scythian dance "known and practiced from time
immemorial."

Position: Closed dance position.

Footwork: Opposite throughout.

Measure
     1-4  HEEL-TOE, STEP-CLOSE-STEP; HEEL-TOE, STEP-
     CLOSE-STEP
     On the first measure, M puts foot to the side and in front on
     the first beat, and closes this foot with the toe touching the
     floor close to his R heel on the second. Then he does a step-
     lose-step, more or less ahead, on the second measure. (He
     steps L on "one," closing R to L on "and," steps L again on
     "two," and holds it through the "and.") Then he does the
     same thing to the R, using his opposite feet.
     5-8  HOP, STEP-CLOSE-STEP; HOP, STEP-CLOSE-STEP;
     HOP, STEP-CLOSE-STEP; HOP, STEP-CLOSE-STEP
     Four two-steps in (closed) dance pos, turning usually once
     around. The hop comes as a sort of little hic-cup before
     each two-step, a sort of grace note. (Some folks rise on the
     toe and back down again. Others do a brief hop, whether
     the music omits it or not. For instance a quick hop on the R,
     and a two-step beginning with the L)

Crossover Polka      

Measure
     1-8  HEEL-TOE; TWO-STEP LEFT, TWO-STEP RIGHT,
     TWO-STEP LEFT; (repeat to the R)
     Touch the L heel fwd, and the L toe back close to the R
     heel, on the first measure. Then on the next three measures
     do 3 two-steps straight forward, beginning with the L foot,
     and putting in a light sway or jiggle. Then do it leading with
     the other foot.
     9-16 HEEL-TOE; CROSS HER OVER; HEEL-TOE; BRING
     HER BACK (repeat once)
     Do a "heel-toe" with the L foot, and then cross the lady
     over from the R side to the L side of the man (simply slide
     sideways). They do another "heel-toe" and the lady crosses
     back under the man's L arm to place. (She faces directly
     backward, so their shoulders are in line on this cross-over)
     Then they cross her over to the L again, and back to the R.

Double Crossover Polka      

Done the same as above, but a "heel-toe; heel-toe" is put in at the
beginning, doubling the time. On the next three measures they do
"step-close-step-hop" for three times. Then they repeat it all to the
other side. Then on the 2nd part they do a "heel-toe; heel-toe" and
then a "cross her over" and hop. They double the "heel-toe" and
put a final hop in all four times.

Forward Cross Polka      

Measure
     1-8  HEEL-TOE, AND THREE TWO-STEPS FORWARD
     (repeat to the other side)
     9-16 HEEL-TOE, CROSS HER TO THE LEFT; HEEL-TOE,
     BRING HER BACK (repeat to the R side)
     After the regular "heel-toe," the man lets go with his R
     hand and takes a smallish two-step to his right, while he
     turns the lady across in front of him in three steps, so she is
     facing directly backward and is standing in line with him.
     Then do another "heel-toe," and she completes her turn,
     coming under his left arm. Then they do another "heel-toe,"
     and he turns her out to his R, holding only R hands until
     she is in line with him. Then they do a final "heel-toe," and
     she ducks under his arm and comes back to place.

Criss Cross Polka      

The same as above, except the girl is held with both hands. When
she goes out to the L, his L hand is on top, and they face each other
with crossed arms. (Don't go too far to the L. Put the girl just a
little to the L of you) She does a "heel-toe" and unwinds her arms
coming back. Then they do another "heel-toe," and send her to the
R, with his R hand on top. Then they repeat backing up to position.

Rollover Polka      

Measure
     1-8  Same as above
     9-16 HEEL-TOE, ROLL HER TO THE LEFT; HEEL-TOE,
     ROLL HER TO THE RIGHT (repeat)
     Do a "heel-toe" with the L feet, and then letting go with the
     R hands, roll her over in front of you, completely around L
     face, and to his L side, and face forward again. Then
     another "heel-toe" and letting go L hands, roll her over R
     face, completely around and facing forward on his R side
     again. Roll her over to the L again, and roll her back. (The
     roll over is done in three steps, and is a complete rotation)

Old Lady's Rollover Polka      

It is a little less strenuous if the lady rolls from the R to the L as
described above, and then slides back after the next "heel-toe" with
her back to the man. Then she rolls over once more and slides back
in the same way.


Roll And Roll Polka      

Or you can make it more strenuous by doing a "heel-toe, roll to the
left," then a "heel-toe, roll to the right." (These four measures only)
Then advance forward with the man holding the girl's R hand in
his R, and while he does four polka steps directly forward (one-
two-three, one-two-three, etc.), she does four R face twirls under
his R hand, directly forward. Then they do it once more, and
usually find that twice is enough for anybody's money.

Glide Polka      

Usually done in the waltz (closed) position. 
     1-8  STEP-CLOSE, ONE-TWO-THREE; STEP-CLOSE, ONE-
     TWO-THREE
     In the first measure do a "heel-toe" to the L, and then do a
     step-close-step directly to the man's L. Then another "heel-
     toe" and do a step-close-step to his R. It is very similar to
     the "heel and toe Polka;" do it for as long as you wish.

German (Berlin, Alsatian) Polka      

Measure
     1-4  STEP-CLOSE-STEP, POINT   SWING BACK; STEP-
     CLOSE-STEP, POINT   SWING FRONT
     Both starting with the outside foot do a step-close-step.
     Then point the inside foot fwd and swing it around so you
     are both facing bwd (swinging in toward each other) Then
     do a step-close-step in the reverse direction beginning on
     the man's R and the woman's L, and point the inside foot
     fwd as you swing it and as you pivot fwd again.
     5-8  Repeat once more
     9-16 Do the Glide Polka (Step-close, one-two-three), four times
     in all, and repeat from the beginning.


Polka Militaire (Coquette)      

Measure
     1-4  HEEL-TOE, STEP-CLOSE-STEP; HEEL-TOE, STEP-
     CLOSE-STEP
     Touch the outside foot (man's L, woman's R) fwd and then
     back close to the supporting foot, being a little coquettish as
     you return the front foot close to the other. Then do a step-
     lose-step fwd. Repeat the movement, beginning with the
     other foot (and don't forget to be coquettish), and ending
     with a step-close-step.
     5-8  SLIDE-CLOSE, ONE-TWO-THREE; SLIDE-CLOSE,
     ONE-TWO-THREE
     Taking (closed) dance pos, step to the man's L and close,
     then do a regular polka step while turning (R-face), and do
     another step (this time to the R) and close, and a step-close-
     step while turning. (Sometimes each part is doubled in
     length, or in some cases the short form and the long form
     are alternated. Sometimes children, and sometimes older
     persons, prefer holding hear hands only for the first part.
     Then they face each other and take hands straight across,
     rather wide-spread, for the second)
In the White River Valley, of Colorado, the old-timers were doing
the same dance as follows:   Touch fwd with the outside foot, then
face each other as they touched the same foot close to the
supporting foot (with a coquettish flirtation). Then face directly
bwd, as they did the step-close-step. Then touch bwd with their
outside feet, and face each other as they touched close again, and
then do a step-close-step directly fwd again. Then taking (closed)
dance pos, they did the three-slide Esmeralda for the second part
(see below).

Esmeralda Glide Polka      

Can be done in (closed) dance pos, using opposite feet, or side by
side using the same feet.

Essentially the Esmeralda is a "step-close, step-close, step-close,
step." Then in the other direction a "step-close, step-close, step-
close, step." It can be done straight ahead, or in turning as fast as
you please. There are many slight variations but they make no
difference. Essentially it is a "step-close" to one side, or leading
with one foot, and a final step on that foot. And then a "step-close"
three times with the other foot, and a final step on that foot. It
normally takes two measures to one side and then two measures to
the other, and go where you please.

Four Hundred Polka      

Four people (two couples) can face each other and join hands, and
work up any routine that they please in a four-handed figure. They
can "Bow and Circle," "Right Hand Star," "Left Hand Star,"
"Elbow Swing," "Ladies Chain," "Right and Left," "Dive for the
Oyster," "Do-si-do," or anything else they can think of. It is
important that they adopt a definite number of measures for each
figure (say sixteen) and hold to this for uniformity. Great fun can
be had!

Doodle Doodle Polka      

A two-step written by Gertrude and Russell Meyers of Springfield,
Illinois.

Music: "Metro Polka," 2/4 rhythm, 126 beats per minute.

Position: Semi-closed for dance, man's back to COH.

Footwork: Opposite throughout. A very light two-step. Do not
stamp. Although the music is in 2/4 time, the cues are written as if
in 4/4 time, according to custom of the time of this dance.

Introduction: 8 counts, wait in open pos, through the 1st 4 counts,
turning to face in butterfly, 2nd 4 counts - step L, point R diagonally
twd RLOD, step R, point L twd LOD, ready to two-step.

Part A
Measures
     1-4  TWO-STEP, TWO-STEP; TWO-STEP, TWO-STEP;
     VINE, 2, TWO-STEP; STEP, TOUCH, STEP, TOUCH
     In semi-closed pos, starting man's L, dance 4 two-steps in
     LOD, end partners facing, man's back to COH; vine in
     LOD   step to side on L, behind L on R, to side on L and
     complete a two-step with R, L (it is pretty to make this a
     pas-de-bas two-step); step to side in RLOD on R, touch L
     behind R, step twd LOD on L, touch R behind L (or you
     may make this a pas-de-bas too).
     4-8  VINE, 2, TWO-STEP (RLOD); STEP, TOUCH, STEP,
     TOUCH; WALK, 2, 3, KICK; BACK UP, 2, TWO-STEP
     Vine in RLOD, stepping to side on R, behind on L, and two-
     step R, L, R; step to side in LOD on L, touch R behind L,
     step to side in RLOD on R, touch L behind R; walk fwd in
     LOD L, R, L, kick R fwd; back up two steps, R, L, finish
     with a two-step, R, L, R.
     9-16 Repeat 1-8

Part B
(Orientation: Part B begins in the instrumental music with 4 claps
for the 2 slow steps of the solo turn, so you will know "this is Part
B." If you choose, you may clap with the claps in the music. No
claps with the cues.)

          17-20     SOLO TURN,  , 2,  ; 3,  , 4,  ; CHANGE SIDES, 2,
          TWO-STEP; CHANGE BACK, 2, TWO-STEP
     Releasing hands, partners turn away from each other (men
     L-face, women R-face) in 4 slow strutting steps, 2 counts to
     each step (toe-heel); coming back to face each other, join
     man's L and woman's R hands, and woman crosses under
     man's arm to change places (man passing behind woman)
     in two walking steps and a two-step; under the same joined
     hands, repeat this action back to the original pos, man's
     back to COH.
          21-24     BANJO HALF, 2, TWO-STEP; CONTINUE HALF, 2,
          TWO-STEP; ROLL AWAY, 2, TWO-STEP; ROLL
          BACK, 2, TWO-STEP
     In butterfly banjo position, circle halfway around, CW, with
     2 walking steps and a two-step, so that man is on the
     outside and woman on the inside (L, R, L-R-L); continue
     on around (R, L, R-L-R) back to original pos; roll away
     from each other, solo, down LOD, man rolling out L-face
     and woman R-face, in 2 walking steps and a two-step;
     touch hands briefly in butterfly as you come back to face,
     and roll back (STILL progressing in LOD), man rolling out
     R-face and woman L-face in 2 walking steps and a two-
     step, touch hands briefly, and ...
          25-32      REPEAT 17-24, coming into semi-closed position.

Sequence: Do the entire dance twice; then finish by repeating
measures 1-16, Part A, a third time. At the end you may stamp in
measure 16     Back up, 2, STAMP, stamp-stamp.

Reach for the Stars      

A waltz by Jerry and Charlie Tuffield of Denver, Colorado

Music: Reach for the Stars

Position: Introduction, open, facing LOD. Start dance in closed
position.

Footwork: Opposite through. Instructions for man, woman does
counterpart.

Measures
          Intro     WAIT 2 MEAS; WALTZ BAL AWAY: TOGETHER, 2, 3
          4 meas    In open position, M waltz balance twd COH (W twd
          wall), stepping L to side, R behind L, L in place;
          M waltzes in place (R, L, R) while W turns « L-
          face in 3 steps (L, R, L) to face partner and end in
          closed pos, M facing LOD.
     1-4  TWINKLE OUT; TWINKLE IN; DIP BACK,  ,  ;
     WALTZ FWD (W TWIRLS)
     In closed pos, M facing LOD, travel diag twd wall in LOD
       step L across R, step to side on R, close L to R (W
     crosses behind); Diag twd COH   step R across L, step to
     side on L, close R to L; M dips back on L in RLOD,
     bending knee slightly (W dips fwd on R) and hold 2 counts;
     M waltz fwd, starting R foot while W twirls 1 « R-face to
     end in open pos, face LOD.
     5-8  STEP, SWING,  ; STEP, TOUCH,  ; STEP, FLARE,   ;
     STEP, TOUCH,   
     In open pos, step on L, swing R, pivoting to back-to-back
     pos; step to side (LOD) on R, touch L beside R, change
     hands, joining M's L and W's R; step on L, flare R foot
     around, pivoting L-face twd RLOD to face partner and join
     both hands momentarily; step R, touch L,  .
     9-12 WALTZ OUT; WALTZ FWD (W turns to banjo); WALTZ
     FWD; MANEUVER
     In open pos, waltz fwd, turning slightly back-to-back; M
     waltz fwd while W turns (L, R, L) « L-face to end in banjo
     pos (R hips adjacent); waltz fwd in banjo pos (W bwd); M
     step fwd in LOD on R turning 1/4 R-face to face partner,
     step to L side in LOD on L, again turning 1/4 R-face, close
     R to L while assuming closed pos, M's back to LOD.
          13-16      WALTZ; WALTZ; WALTZ; TWIRL
     Dance 3 R-face turning waltzes; on meas 16 twirl W R-face
     under M's L and her R arm to end in open pos, facing LOD.
          17-20     STEP, SWING,  ; CHANGE SIDES, 2, 3; CROSS, SIDE,
          BEHIND; STEP, DRAW,   
     Step on M's L, swing R across; partners exchange
     positions, M crossing twd wall in front of W (R, L, R)
     turning R-face to face COH, while W crosses over twd
     COH (L, R, L) turning under her L and M's R hand
     (California twirl) to end in Butterfly pos, facing with arms
     extended, both hands shoulder high; grapevine twd LOD,
     M crossing M's L in front of R, step to side on R, behind
     on L (W crosses in front with R, to side on L, behind on R);
     step R in LOD and draw L to R.
          21-24     STEP, SWING,  ; CHANGE SIDES, 2, 3; CROSS, SIDE
          BEHIND; STEP, DRAW,   
     Repeat meas 17-20 in RLOD, ending in open pos, facing
     LOD.
          25-28     WALTZ FWD; WRAP, 2, 3; WALTZ FWD; UNWRAP-
          MANEUVER
     Starting M's L, waltz fwd 1 meas in LOD; as M waltzes
     fwd a 2nd meas, (R, L, R) W makes a full L-face turn inside
     M's R arm in 3 steps (L, R, L) to end in WRAP pos, with
     M's R and W's L hands joined around W's waist and M's L
     and W's R hands joined in front, both facing LOD; waltz
     one meas fwd in LOD; retaining handholds, M maneuvers
     in 3 steps (R, L, R) to end with back to LOD, while W does
     one full R-face turn (L, R, L) under her R and M's L hands
     to end in closed position (this last measure should be done
     while progressing in LOD).
          29-32      WALTZ; WALTZ; WALTZ; TWIRL
     Repeat action of meas 13-16, ending in closed pos, M
      facing LOD.

To the original music, the dance is done three times. On the last
time through, twirl the lady on meas 32, bow and curtsey.

Rose of Tralee      

Waltz, re-arranged from the "Old Tyme" dance "Pride of Erin."

Music: "The Rose of Tralee"

Position: Facing, man's back to COH, arms extended in loose
butterfly position.

Footwork: Opposite throughout. Steps described for man.

Introduction: 4 measures of 3/4. Wait two meas in open pos, facing
LOD; step-touch apart; step-touch together, maneuvering into
butterfly, man's back to COH.

Measures
     1-4  STEP,  ,  ; CROSS-STEP,  ,  ; SIDE, BEHIND, SIDE
     (TURN); POINT,  ,   
     Partners facing, man's back to COH, arms extended in
     loose butterfly pos, step fwd in LOD on man's L and hold 2
     counts; crossing R over L, step in LOD on R and hold 2
     counts; step to L in LOD on L, step R behind L, step L
     pivoting twd RLOD; point R twd RLOD and hold 2 counts
     (woman opp).
     5-8  Repeat meas 1-4 in reverse, starting man's R twd RLOD,
     and ending pointing man's L twd LOD.
     9-12 CROSS, SIDE, BEHIND; POINT,  ,  ; CROSS, SIDE,
     BEHIND; POINT,  ,   
     In butterfly pos, man's back to COH, cross L foot over R,
     step to side (twd RLOD) on R, step behind R on L; point R
     twd RLOD and hold 2 counts; repeat meas 9-10 in opp
     direction, M crossing R over L, step to side twd LOD on L,
     step R behind L; point L twd LOD and hold 2 counts.
          13-16      WALTZ, 2, 3; STEP, DRAW-TOUCH,  ; WALTZ, 2, 3;
          STEP, DRAW-TOUCH,   
     Release man's L and woman's R hands, going into open
     pos, inside hands joined, waltz fwd in LOD for 1 meas,
     maneuvering back-to-back; back-to-back, still holding
     inside hands, step to R (LOD) on man's R, draw L to R and
     hold for 1 count in touch pos; release man's R and
     woman's L hands, and, joining man's L and woman's R,
     waltz fwd in RLOD to end meas face-to-face; rejoining
     both hands, man steps to R on R in RLOD, draws L to R
     and holds L in touch position for one count.
          17-20      BALANCE, 2,  ; BALANCE, 2,  ; CHANGE, 2, 3;
          PLACES, TOUCH,   
     Facing, loose butterfly, man's back to COH, balance fwd
     on man's L (woman opp), touch R; balance back on man's
     R, touch L, ending meas with arms stretched almost full
     length between partners; turning woman L-face under her R
     and man's L hands, change places in 1 waltz meas (L, R,
     L); step R, touch L.
          21-24      Repeat meas 17-20 back to place with man's back to COH,
          this time woman turning under her L and man's R hands.
          25-28     SIDE, CLOSE,  ; SIDE, SWING,  ; SIDE, CLOSE,  ;
          SIDE, SWING (MAN),   
     Butterfly pos, step to side in LOD on man's L, close R to L,
     and hold; step L to L, swing R across L, and hold; starting
     man's R, repeat meas 25-26 to man's R (RLOD),
     maneuvering during last count into closed pos.
          29-32      WALTZ, 2, 3; WALTZ, 2, 3; WALTZ, 2, 3; WALTZ, 2, 3
     In closed pos, stepping bwd on man's free L foot, do four
     R-face turning waltzes (making progress in LOD) for two
     complete revolutions, back to original pos, man's back to
     COH, ready to repeat the dance.

At the end, twirl the lady and bow.

Rye Valzer (Waltz)      

Closed position, start M's L, W's R, anywhere in the hall!

Starts in two-step rhythm

8 Point L foot out and back, out and back, slide, 2, 3, 4;

8 Repeat with R foot the other way;

16 Repeat all above, then:

Music changes to waltz rhythm

12 Dip back, maneuver and waltz until music rhythm changes, then:

Music changes to two-step rhythm again

4 Three sliding steps to M's left (W's right) and pause.

St. Louis      

A square dance in 2/4 time written by Dr. W. S. Hollycross of St.
Louis, Missouri.

Formation: Normal four-couple square set.

Opener
Everybody swing with Louie, swing 'em high and low
Now bow to your partner, weave the ring, in and out you go
     (A right and left grand without touching hands)
When you meet your tootsy-wootsy, you'll dos-a-hootchy-kootchy
          (Dos-a-hotchy-kootchy is a normal dos-a-dos. At the finish,
     step up beside the woman, and the women turn R face to
     meet the man in a regular promenade pos. It is well to
     introduce, especially the women, as much hootchy-kootchy
     motion as possible.)
Take her to St. Louis, Louie, take her to the fair.
     (Do not bal at home. Ladies continue on, single file.)

Figure
Four little ladies promenade, go inside the ring
Home you go, swing your honey, everybody swing
Walk all around your corner, and back around your taw
     ("Walk around the corner" is like a gypsy)
See-saw 'round your partner, and settle down you all.

All four boys promenade, ladies twirl at home
     (Women R-face twirl with buzz step)
Swing 'em boys, swing your honey, swing her all alone
Walk all around your corner, then come back to your taw
See-saw 'round your partner, and settle down you all.

Four gents star across the set, and left hand swing that girl
Turn that star back home again, another left hand whirl
A right hand 'round your corner, give your own a left hand swing
Now by-the-right, grand right and left, all the way around and sing
     (Go full around the circle with a grand right and left)

Meet me in St. Louis, Louie, meet me at the fair
Don't tell me the lights are shining any place but there
Now dos-a-hootchy-kootchy, with your tootsy-wootsy
Swing her in Saint Louis, Louie, swing her in your square.

Ending
All four couples face your corners, box the flea and then
     (Box the flea is a L-handed exchange-of-places)
Go to your partner, weave the ring, until you meet her again
Promenade her to Saint Louis, Louie, and take your lady fair
Don't tell us the lights are shining, any place but there.

(Repeat the entire dance once. The second time through substitute
for the last two lines:)

Promenade just like eleven, you're in your seventh heaven!
Now take her to Saint Louis, Louie, Nineteen-fifty-seven!

(We had to have something that rhymed with "seven" and
"heaven," and we thought of "eleven." It seems to me just - but not
quite - "swell." Eleven, a pair, one and one, walking along
together! It means just promenade. Pardon us, please!
       Lloyd Shaw)

Satin Scarpe --- check spelling      

A two-step in 4/4 time by Carlotta Hegemann of San Antonio,
Texas.

Music: "La Vie En Rose"

Position: Semi-closed, facing LOD.

Footwork: Opposite, directions for man.

Introduction: Four meas. Wait 2 meas, bal fwd, bal back; bal fwd,
bal back.

Measures
     1-2  WALK, 2, TWO-STEP; WALK, 2, FACE TWO-STEP
     In semi-closed pos facing LOD walk L, R, do one slow
     two-step, starting L; repeat two walking steps, starting R,
     then, facing in closed pos, man's back to COH, do one two-
     step to side (RLOD) starting R.
     3-4  FWD, TOUCH, BACK, TOUCH; TWO-STEP, TWO-
     STEP
     Step fwd L, twd wall, touch R (woman steps back R), step
     back R, touch L; Do two turning two-steps ending in semi-
     closed pos facing LOD.
     5-6  WALK, 2, TWO-STEP; WALK, 2, FACE TWO-STEP
     Repeat meas 1 and 2.
     7-8  FWD, TOUCH, BACK, TOUCH; MANEUVER TURN, 2,
     3, 4
     Step fwd L, twd wall, touch r (woman steps back R), step
     back R, touch L; man steps in place L, R, L, R,
     maneuvering to face LOD (woman turns R-face under his L
     and her R hands, stepping R, L, R, L, maneuvering to face
     man in closed pos, her back to LOD.
     9-10 WALK, 2, TWO-STEP; WALK, 2, TWO-STEP
     In closed pos, man facing LOD, starting L take two walking
     steps LOD and do one two-step starting L. Repeat action,
     starting R.
          11-12     WALK, 2, STEP, POINT; TURN, 2, 3, TOUCH
     Starting L walk fwd 3 steps and quickly point R twd wall;
     man steps in place R, L, R, touches L (woman turns R-face
     to Varsouvienne, stepping L, R, L, touches R).
          13-14      TWO-STEP, TWO-STEP; TURN, 2, 3, 4
     In Varsouvienne pos do two two-steps LOD starting man's
     L. Take four steps in place L, R, L, R (woman turns L-face,
     hands still joined, to face partner); Hands are crossed, R
     arms above L.
          15-16      TWO-STEP, TWO-STEP; TURN, 2, 3, 4
     Repeat footwork action of meas 13-14 with crossed, joined
     hands, woman moving bwd in LOD; on meas 16 hands still
     joined, woman turns R-face to Varsouvienne.
          17-18     OUT, 2, STEP, POINT; TOGETHER, 2, STEP, TOUCH
     Man steps in place, L, R, L, touches R, maneuvering to face
     wall (with only R hands joined, woman progresses twd
     wall, R, L, R, points L); man steps R, L, R, touches L while
     woman maneuvers R-face to face man and partners take
     closed pos.
          19-20      TWO-STEP, TWO-STEP; TWO-STEP, TWO-STEP
     Starting L take two turns in four two-steps ending in semi-
     closed pos ready to commence routine again.

Dance is done four times. At end, twirl and bow on last meas.

Schottische      

Skaters' Valzer (Waltz)      

Music: "The Skaters' Waltz" by Emil Waldteufel

Position: Skaters' woman standing at man's R; man holds her R

hand, turned palm up on her R hip, in his R hand, and her L hand

in his L, with her L arm crossing his chest at about the height of

her shoulder. Man's R arm is around woman.

Footwork: Identical throughout.

Note: The charm and fun of this dance lie in getting the feel of a

skating motion. Glide wherever possible, and sweep the foot back

before swinging. Sway as you move.

Introduction: four measures. Wait in open pos, facing LOD, for

two meas; bal apart; bal into skaters' pos.

Part I

Measures

1-4 RIGHT, , CLOSE; RIGHT, 2, 3; 4, 5, 6; RIGHT, ,

SWING

In skaters' pos, facing LOD, both starting on the same foot,

glide fwd at a slight angle with the R foot, and close the L

to the R (canter); starting with the R again, take six gliding

steps in 2 meas (R, L, R; L, R, L); glide with the R and

swing the L across, with L toe pointed slightly to the L,

ready for the next glide.

5-8 LEFT, , CLOSE; LEFT, 2, 3; 4, 5, 6; LEFT, , SWING

Repeat meas 1-4, leading with the L foot to the L, and

finishing by swinging the R.

9-16 Repeat Meas 1-8

17-20 RIGHT, , CLOSE; RIGHT TURN, 2, 3; BACK, STEP,

STEP; RIGHT, , SWING

Glide fwd on R foot, close L to R; without dropping hand

holds, each does an individual R-face turn in two measures.

Stepping fwd on the R, and pivoting slightly, step L, R,

making about a quarter revolution; step bwd on L, and step

R, L, completing the turn so that both are facing RLOD.

(The man now has his L arm around the woman, holding

her L hand at her L hip, and her R is crossed over his chest.

This and the steps of the turn will happen quite

automatically if you do not think too much about it); step R

and swing L.

21-24 LEFT, , CLOSE; LEFT TURN, 2, 3; BACK, STEP,

STEP; LEFT, , SWING

Repeat meas 16-20 to the L in RLOD, ending back in

original pos.

25-32 Repeat meas 17-24

Part II

1-4 RIGHT, , CLOSE; CROSS TO LEFT, 2, 3; LEFT, ,

CLOSE; CROSS TO RIGHT, 2, 3

In skaters' pos, facing LOD, both glide to R fwd on R, and

close L to R; man crosses R behind L, and steps L, R,

taking short steps and moving very slightly to the left, while

woman crosses R foot in front of her L, and steps to L side,

L, R, taking longer steps so that she is now at the man's L

side (without changing hand holds, he now has his L hand

at her L hip and his L arm around her waist); glide fwd to

the L on L, close R to L; cross L over R and step R, L,

bringing woman back to man's R side again (man steps

behind R on L and steps R, L with short steps).

5-8 Repeat meas 1-4.

9-12 WALK, 2, 3; 4, 5, 6; WALTZ; WALTZ

Maneuvering woman into pos directly in front of man with

man holding both of her hands on her hips, standing quite

close tog starting with R foot (R, L, R; L, R, L;) walk

straight fwd six steps in 2 meas; starting R foot, do two

meas of Tyrolean waltz in this pos, sweeping out twd wall

and in twd COH. (In the walk, both man and woman face

LOD)

13-16 WALTZ; WALTZ; WALTZ; WALTZ (maneuver)

Starting on R for both, four more measures of Tyrolean

waltz, maneuvering into skaters' pos on the last meas.

17-32 Repeat meas 1-16.

Sequence: You will find that the music asks you to dance Part I,

Part II, and then Part I again. Look in Lloyd Shaw's "The Round

Dance Book" for many more variations of this dance.

What now follows is a 1966 arrangement of this dance by Oscar

and Frances Schwartz of St. Petersburg, Florida.

Position: Intro. Open facing. Dance. Skirt skaters' pos.

Footwork: Part A, identical. Part B, opposite.

Tempo: Retard record speed to about 40 rpm.

Introduction: 4 measures. Wait; Wait; Apart, point, ; Together (to

skirt skaters'), touch, .

Part A

Measures

1-4 CROSS, SIDE, CLOSE; CROSS, SIDE, CLOSE; REPEAT

MEASURES 1 AND 2

Progressing diag twd LOD/wall, both cross L in front of R,

step to side on R, close L; Cross R in front of L twd

LOD/COH, step to side on L, close R; repeat measures 1

and 2.

5-8 FORWARD, TURN, CLOSE; BACKWARD, TURN,

CLOSE; REPEAT MEASURES 5 AND 6

(Box waltz) Step fwd on L, turn 1/4 L-face to COH, close

L; step bwd on R, turn 1/4 L-face to RLOD, close R; fwd

on L, turn 1/4 L-face to wall, close L; bwd on R, turn 1/4 L-

face to LOD, close R.

9-12 REPEAT MEASURES 1-3; TURN TO

VARSOUVIANNA;

Repeat meas 1-3; Cross R in front of L (facing LOD), step

to side on L, turn R-face to Varsouvianna pos, facing wall.

13-16 CANTER TO SIDE, , CROSS IN FRONT; TO SIDE, ,

CROSS IN FRONT; TO SIDE, CROSS IN BACK, SIDE;

CROSS IN FRONT, TURN TO SKIRT SKATERS' POS

In canter rhythm, step to side on L in LOD, hold 1 count,

cross R in front of L; repeat; step to side on L, cross R

behind L, to side on L; cross R in front of L, turn « L-face

twd LOD to skirt skaters' pos, close R.

17-32 REPEAT MEASURES 1-16, EXCEPT IN MEAS 32

WOMAN CROSS IN FRONT, turn 1/4 L-face touch R

(transition to opposite footwork), ending in open pos,

facing LOD.

Part B

1-4 WALTZ AWAY; TOGETHER TO BUTTERFLY;

APART, TOUCH, ; TOGETHER TO SEMI-CLOSED,

TOUCH,

Starting on man's L (woman's R), waltz slightly away from

partner, progressing in LOD; turning twd partner, waltz tog

to momentary butterfly pos; with man's R (woman's L)

hands joined step apart on L, touch R to L, hold 1 count;

step tog on man's R to semi-closed pos, touch L to R, hold

1 count.

5-8 FWD WALTZ; TWIRL TO SEMI-CLOSED; FWD

WALTZ; TWIRL TO CLOSED

In semi-closed pos, waltz fwd in LOD; under leading

hands, twirl woman R-face to semi-closed pos, as man

progresses fwd, R, L, R; repeat semi-closed waltz; twirl

woman R-face to closed pos, man facing LOD.

9-12 (BWD) CROSS, POINT, ; CROSS, POINT, ;

TWINKLE OUT; TWINKLE IN

In closed pos, man facing LOD, cross L behind R twd wall,

point R twd wall, hold 1 count; cross R behind L, point L

twd COH, hold 1 count; cross L in front of R, step to side

on R, step L in place; cross R in front of L, step to side on

L, step R in place.

13-16 L-TURN WALTZ «; L-TURN WALTZ «; FWD WALTZ;

TWIRL TO OPEN

In closed pos, do two L-face turning waltzes ending with

man facing LOD; waltz fwd L, R, L; under man's L and

woman's R hands, twirl woman to open pos, facing LOD.

17-32 REPEAT PART B, MEASURES 1-16, EXCEPT THAT

ON MEAS 32: W does « R-face turn, stepping L, R, touch

L (transition to identical footwork) ending in skirt skaters'

pos, facing LOD.

Sequence: A - B - A

Ending: The last time through part A, measure 32, man steps

few twd wall R, L, DIP bwd twd COH, to

acknowledge (while woman makes « R-face solo

spot roll R, L, directly bwd twd wall to

acknowledge) no hands joined.

Smiles      

A mixer written by Muriel Curd Peck, of El Dorado, Kansas.

Formation: Dancers in couples standing in a circle, hands joined,
facing COH.

All join hands and circle left boys,
     (All join hands and circle to the L for 8 steps.)
Go back right, in single file.
     (Reverse direction, and circle R in single file.)
Now you dos-a-dos the girl behind you,
     (Men turn to corner and dos-a-dos around them.)
Dos-a-dos your partner for awhile.
     (Men face original partner and dos-a-dos around them.)
Allemande left your little corner lady,
     (Allemande L with corner.)
Right and left in order round the ring;
     (Giving R hand to partner, L to the next beyond her, take
     the next girl with the R hand ready to promenade.)
Now you promenade the one you meet there,
And you smile at that girl and sing.
     (You promenade with her until the music ends, and then
     repeat the whole thing.)

The above words fit the music more exactly, but Muriel Curd Peck,
when she gave us the dance, used an off-beat rhythm, fitting
several words to a full note. It is very delightful, and those who
want to bother with it may find it very worth while, or may care to
build something like it, or to sing them alternately.

Oh, you'll all join hands and circle to the left around the ring;
Turn right back, go single file, and you won't have time to swing.
Dos-a-dos your corner girl, the one behind you, Joe;
Dos-a-dos your own little girl, the one you know just so.
Allemande left   your corner, two time around if you have time,
Right hand to   your own, then left and right, you're doing fine.
And you'll promenade this new little girl, you'll promenade the floor;
And you'll smile as you've never smiled before.

Someday      

A waltz by Dena M. Fresh of Wichita, Kansas.

Music: "Someday"

Position: Open, facing LOD. Instructions for man, woman opp.

Introduction: 8 meas.
     1-4  WAIT FOR 2 MEAS; BAL APART; BAL TOG
     5-8  WALTZ OUT; WALTZ IN; BOTH SOLO TURN; ON
     AROUND
     In open pos, on man's L, waltz out; waltz in; release hands
     and solo waltz turn once around (man turn L, woman R).
     End open pos, facing LOD. "Waltz out and waltz in" mean
     that, while holding inside hands, both waltz fwd twd LOD
     but with a slight angle away from and then twd each other.

Measures
     1-4  WALTZ FWD; WOMAN TURN (« LF); BACK-UP R-
     HAND STAR; ON AROUND
     On man's L, waltz fwd; release hands and man take one
     waltz almost in place on R, while woman does a solo L-
     face turn half around to end in R-hand star pos (man face
     LOD, woman face RLOD); on man's L back around one
     full turn in six steps.
     5-8  WALTZ FWD; MANEUVER; WALTZ (RF); WALTZ
     Still in R-hand star pos, waltz fwd in LOD on L (woman
     bwd on R); release hands and man maneuver his back to
     LOD while woman does a solo L-face « turn on L to face
     man in closed pos; man step back on LOD and take two R-
     face turning waltz steps, ending in open pos, facing LOD.
     9-16 REPEAT MEAS 1-8, ending in sidecar pos, man's back to
     LOD (woman facing LOD)
          17-20      SIDECAR, 2, 3; TURN, 2, 3; BANJO, 2, 3; TURN, TO,
          FACE
     Man back up in LOD on L, R, L (woman move fwd R, L,
     R); turn L-face to banjo pos with three steps R, L, R; man
     step fwd in LOD on L, R, L (woman back up in LOD on R,
           L, R); partners turn to face with three steps R, L, R
     (woman step L, R, L), both hands joined and man's back to
     COH.
          21-22      BALANCE APART; WOMAN TURN (WRAP)
     On man's L (woman's R), balance apart, touch R to L; both
     moving twd partner and keeping both hands joined, raise
     man's R and woman's L high overhead and at same time
     woman turn R-face to man's L side, keeping the man's L
     and woman's R hands joined and place on woman's L hip
     (woman's R arm across in front of her, man's L arm across
     her back) step R, L, R (woman step L, R, L); end both
     facing the wall.
          23-24     DIP BACK, 2, 3; MANEUVER
     Dip back twd COH on man's L (woman's R) keeping R
     knee straight and toe pointed; release both hands, man step
     R, L, R to face LOD while woman steps L, R, L,
     maneuvering to the man's R side to end both facing LOD in
     skirt skater's pos.
          25-28     FWD WALTZ; SOLO TURN AND FACE WALL; FWD
          WALTZ; SOLO TURN AND FACE RLOD
     On man's L (woman's R) waltz fwd in LOD; release hands
     and man turn R-face to face the wall R, L, R as woman
     moves slightly RLOD in a L-face 3/4 turn to the man's R
     side L, R, L to end both facing the wall in skirt skaters' pos;
     repeat meas 25-26 by waltzing out to the wall; (end facing
     RLOD in skirt skaters' pos).
          29-32     FWD WALTZ (RLOD); WOMAN TWIRL; WALTZ (RF);
          WALTZ
     Waltz fwd in RLOD on man's L (woman's R); man waltz
     slightly bwd in LOD on R and at same time give woman a
     strong L hand lead to start her on a 1 « R-face solo turn in
     3 steps L, R, L to end in closed pos; man step back in LOD
     on L and take two turning R-face waltzes, opening out on
     the second to start the dance over.

Repeat two more times. End with a twirl and bow.

St. Bernard Valzer (Waltz)    [ follow link ]      

Sunrise Serenade

A two-step in 4/4 time by Dena M. Fresh of Wichita, Kansas

Music: "Sunrise Serenade"

Position: Semi-closed for dance, facing LOD.

Footwork: Opposite throughout. Instructions for man, lady does counterpart.

Introduction: 4 measures.

In open position, facing LOD, wait 2 measures, then step apart two-step, together two-step,

solo turn around in 4 steps (man turn L-face, woman R-face), L, R, L, R, to end in semi-closed pos, facing LOD.

Measures 1-4 TWO-STEP, TWO-STEP; WALK, 2, 3, 4; TWO-STEP, TWO-STEP; WALK, 2, 3, 4 Beginning on man's L, take two fwd two-steps in LOD; walk in LOD L, R, L, R; repeat measures 1-2.

5-6 GRAPEVINE (W twirl), 2, 3, TOUCH; GRAPEVINE (W reverses twirl), 2, 3, TOUCH

Grapevine in LOD step to side on man's L, step behind on R, step to side on L, touch R to L (while woman twirls R-face R, L, R, touch L to R under joined hands man's L and her R); repeat in RLOD starting on man's R and woman's L (woman twirl L-face).

7-8 APART TWO-STEP; APART TWO-STEP; TOGETHER TWO-STEP; TOGETHER TWO-STEP Releasing hands, begin on man's L and take two two-steps away from partner, backing to COH (woman backing twd wall); two two-steps moving twd partner, beginning on man's L, take semi-closed pos.

9-16 Repeat measures 1-6, ending in open pos, facing LOD.

Grand Square Solo 17-18 WALK, 2, 3, TURN; BACK AWAY, 2, 3, TURN

In open position, facing LOD, walk fwd L, R, L, turn R- face on r to face partner and release hands (woman walk fwd on R, L, R, turn L-face on L to face > partner); back away (man twd COH, woman twd wall) L, R, L, turn L-face on R to face LOD (woman opposite). 1

9-20 BACK UP (in RLOD), 2, 3, TURN; WALK TWD PARTNER, 2, 3, 4

Back up in RLOD on L, R, L, turn R-face on R to face partner (woman opposite); walk twd partner L, R, L, R.

21-22 BACK AWAY, 2, 3, TURN; WALK (LOD), 2, 3, TURN

Back away (man twd COH, woman twd wall) L, R, L, turn L-face on R to face LOD (woman opposite); walk fwd in LOD L, R, L, turn R-face on R to face partner.

23-24 WALK TWD PARTNER, 2, 3, TURN; BACK UP (in RLOD), 2, 3, 4

Walk twd partner L, R, L, turn L-face on R to face LOD; back up (RLOD) L, R, L, R and assume semi-closed position.

Repeat the whole dance from the beginning two more times, then:

Tag: WALK, 2, 3, 4; TWIRL WOMAN (R-FACE) AND BOW

In open position, facing LOD, walk fwd on man's L, R, L, R (woman opposite); raise joined hands (man's R and woman's L) and twirl woman R-face and bow.

Sunshine Mixer      

Formation: Couples in a circle, lady on man's right, facing LOD, open position, near hands joined.

Footwork: Opposite throughout, each starting outside foot. Directions are for the man.

Counts

1- 8 FORWARD FOUR, SIDE, CLOSE, SIDE, CLOSE – Starting on outside foot, walk forward 4 steps, to end facing partner with both hands joined. Then, moving in LOD, step to left on left foot, close right to left, to left on left foot, close right to left.

9-16 FORWARD FOUR, SIDE, CLOSE, SIDE, CLOSE – Turning quickly to face LOD, repeat counts l-8, end facing partner.

17-24 CLAP RIGHT, CLAP LEFT, CLAP BOTH, CLAP KNEES – With partner clap right hands 3 times, left hands 3 times, both hands 3 times, and own knees 3 times.

25-32 DO SA DO AND MOVE LEFT – Do sa do partner and end by moving to own left to take a new partner.

Tamara Fascination      

Introduction: 4 measures.

Part A
Measures
     1-6  BACK-UP-DOWN; WALTZ; WALTZ; WALTZ;
     WALTZ; GRASP
     Starting with the regular back-up-down, (with the
     gentleman rocking back on his L foot, then up and down),
     he will waltz his lady fwd 4 measures, and then he will
     reach behind the lady with his R hand grasping her L
     behind her back.
     7-14 TAMARA WALTZ FOR EIGHT MEASURES
     Then, holding her L hand with his R, while she waltzes
     away from him (L-face) and back to grasp his L hand with
     her R behind his back (using six steps). He now turns away
     from her (L-face) in six steps, full around and back again,
     taking her L hand behind her back with his R. She goes out
     again and turns around holding with her L hand and reaches
     behind his back with her R and he turns away from her
     again holding her R hand with his L. And again taking her
     L in his R, (She holds his L hand with her R in front of him,
     and has reached her L around behind her and holds his R in
     it. She lets go with her R and circles six steps around her L
     and back facing him, taking his L which he has put behind
     his back, in her R. Now he lets go with his R and circles six
     steps around holding with his L, and comes back to her and
     reaches behind her back with his R, where he again takes
     her L hand. Letting go with the R hand which crosses over
     in front of partner is at first a little awkward, but soon is
     done easily enough that it all becomes as smooth as silk.
     The lady turns, the man turns, the lady turns, the man turns,
     using two measures for each turn. It is easy once you get the
     idea.)
          15-16     TURN AND BOW
     He now lifts her R hand, which has been crossed over in
     front of him, high over her head and turns her L face around
     so she is facing him. (He pulls at the same time with his R
     hand which holds her L behind her back). And facing her
     and holding both hands wide and high makes a very slight
     bow.

Part B
          17-20      DUM-TE; DUM-TE; DUM-TE-DUM-TE; DUM-TE
     Taking waltz pos, and stepping with his L foot fwd, he
     holds through the second beat of the measure and quickly
     closes his R to it on the third. He does another step fwd on
     the L and holds for the second beat, then quickly steps with
     the R in closing. He does a third step fwd on his L holding
     through the second beat, and on the third beat, does a very
     quick little R-L-R (this is the delight of the dance.) He takes
     a final step on the L, holding it one beat, and closing again
     on the third. (She moves bwd in front of him, in dance pos,
     doing exactly the same steps with the opp feet.)
          21-24     FOUR MEASURES OF STRAIGHT WALTZ
     Starting with his L foot, he does four regular waltzes fwd.
          25-32      REPEAT
     Repeat all of the last 8 measures once more starting with
     the Dum-te and ending with the four waltzes fwd.
          33-64      REPEAT ALL
     Repeat all of the A and B parts from the beginning.

Part C
     1-2  CHANGE STEP AND WALTZ
     In order to change the lead and get the next steps naturally,
     the man rocks back on his L foot, holds through the second
     beat, and closes his R to his L on the third. Then he starts a
     regular waltz quite naturally with his L foot (L, R, L).
     3-4  TWIRL AND SWEEP
     As he does the next waltz beginning on his R foot, he twirls
     her (R face) once around. On the second measure he steps
     on his L foot, swinging his R over in front of him. (At the
     same time she steps on her R and swings her L over
     between them.)
     5-6  TWIRL AND DIP
     He does one more waltz step beginning with his R foot and
     twirls her again, holding her R hand in his L again twirls
     her back (L face turn this time), and on the next meas dips
     back on his L foot, raising his R foot very slightly, extended
     out in front of him and down again on the third beat. (She
     goes fwd on her R, and holds her L foot extended behind
     her, paralleling him.)
     7-10 WALTZ FOR FOUR MEASURES
     They then waltz for 4 meas, he starting with his R foot lead.
          11-14     TWIRL AND SWEEP, TWIRL BACK AND DIP
     He repeats the twirls, doing them exactly as in meas 3-6.
          15-16      CANTER AND WALTZ
     To get back in step with the music again he steps fwd on
     his R, holds through the second beat, and closes his L to his
     R on the third beat. He does the last meas of regular waltz
     beginning with his R foot.
     1-32 REPEAT Parts A and B from the beginning.

ENDING
     1-8  WALTZ AND BOW
     Starting with his L foot, he waltzes for 6 meas. (The waltz
     count weakens somewhat on the sixth meas, but he goes
     right ahead.) He starts the waltz on the seventh meas, which
     is slow, and on the last beat of this measure begins to turn
     his girl (R-face), and bows on the eighth meas, waiting until
     the final note to arise again.

Teton Mountain Stomp      

Formation: Double circle, partners in closed position; man facing LOD.

Footwork: Opposite throughout, steps described for the man.

Counts

Intro WAIT 8 COUNTS.

l- 8 SIDE, CLOSE, SIDE, STOMP, SIDE, CLOSE, SIDE, STOMP, - Step side- ward to left, toward COH, on left foot, close right to left, step sideward to left again, and "stomp" right alongside left. Repeat all with opposite footwork in opposite direction.

9-16 SIDE, STOMP, SIDE, STOMP, FORWARD, TWO, THREE, FOUR – Step sideward to left towards COH on left foot and "stomp" right alongside left. Repeat action moving to right. Then, in banjo position, right hips adjacent, walk 4 steps in LOD – man moves forward, lady backs up.

17-24 CHANGE, WALK, THREE, FOUR, CHANGE PROGRESS, TO NEW GIRL Partners change to sidecar position, left hips adjacent (each turns ˝ right-face in place), and they continue in LOD with 4 steps, man backing up, lady moving forward. Partners change to banjo position again (each turns ˝ left-face in place), immediately release each other to move the way they now face, man in LOD, lady in RLOD. Each passes one person, taking the second person they meet. Key: "Release yours, pass one, swing the next."

25-32 SWING NEW PARTNER – New partners swing 8 counts ending in closed position, man facing LOD, to begin again.

Texas Schottische Three Hand      

LS 227

Formation: Circle or rows of three facing LOD. The center person joins hands with the outside hands of the other two. The outside persons join their near hands behind the center person. In this formation, dance Measures l-4 as in "Oklahoma Mixer" above, then continue as below:

5- 6 HEEL, TOE; OUTSIDE TWO WALK FWD; All three do a left heel-toe. Then the outside two drop each other's hands, continuing to hold the hands of the center person; while he takes three steps in place, they walk forward, L, R, L, turning to face the center person, still holding his hands.

7- 8 HEEL, TOE; PULL THE OUTSIDE TWO BACK; In the position described at the end of Meas. 6, each person repeats the heel-toe (right heel, touch right toe). Then the center person takes 3 steps forward, R, L, R in LOD at the same time pulling the outside two past him in RLOD. Each center person has now moved to a new outside two.

Trillium      

A waltz by Carlotta W. Hegemann of San Antonio, Texas.

Position: Semi-closed with man's back to COH, footwork
opposite.

Introduction: Wait 2 meas in open pos facing LOD, bal apart, bal
to semi-closed.

Part A
Measures
     1-4  WALTZ (LADY TWIRL); WALTZ; WALTZ-TURN;  ,  ,
      
     With only lead hands joined and held high, man starts L
     and does one waltz LOD; turns slightly RF on second meas
     of waltz; faces RLOD on third meas, steps back L in LOD
     to commence 3/4 turning waltz in closed pos in 6 steps
     ending with back to COH (woman steps diag in front of
     man on first meas to commence RF spot twirl in 6 steps
     under her R and man's L hands, faces man in closed pos to
     start turning waltz.)
     5-8  BAL L; BAL R; GRAPEVINE; CROSS-TOUCH
     In closed pos, man's back to COH, start L & do one pas-de-
     basque bal to L; repeat action to R starting R; doing half-
     grapevine man steps side L on L, crosses R behind, steps
     side L (woman crosses L behind); man crosses R in front,
     touches L (woman crosses L in front).
     9-16 Repeat meas 1-8, except that still in closed pos, man
     maneuvers LF on last meas making quarter turn to face
     LOD (woman steps fwd L pivoting quarter LF to face man,
     her back to LOD).

Part B
          17-20      HALF-BOX; CROSS-POINT; CANTER; FWD-TOUCH
     In closed pos man steps fwd L in LOD, steps to side R,
     close L; crosses R in front (woman crosses L in front), man
     points L to COH; step fwd L doing one canter waltz; step
     fwd L, touch R.
          21-24      Repeat meas 17-20, except to start the half-box 
with man's
          R ending with foot pointed to wall and starting canter waltz
          on R.
          25-28      WALTZ; WALTZ; LADY TWIRL; OPEN
     In closed pos, start L progressing LOD in 4 meas of waltz.
     (On third meas, woman starts RF twirl in 6 steps under her
     R and man's L hands) end in open pos facing LOD inside
     hands joined.
          29-32     WALTZ OUT; WALTZ IN; WALTZ OUT; SEMI-
          CLOSED
     In open pos, starting man's L progress LOD waltzing
     alternately away and together in 4 meas. On last meas, take
     semi-closed pos doing a step-touch ready to commence Part
     A.

Routine is done three times. On last two meas, woman twirls RF
under her R and man's L hands and partners step apart to bow.

Try To Remember      

A waltz written by Enid Obee Cocke of Pasadena, California.

Music: "Try to Remember"

Position: Open, for introduction and to begin dance.

Footwork: Opposite throughout, directions given for man.

Introduction: 4 meas. Wait 2 meas, then acknowledge partner.

Measures
     1-4  STEP, SWING,  ; STEP, SWING,  ; WOMEN RF TURN;
     STEP, STEP, CLOSE
     Moving slightly in LOD, step L, swing R,  ; step R, swing
     L,  ; releasing hands, woman does a RF turn in LOD in
     front of man, backing away from him very slightly, ending
     with her back to LOD, facing man, while man steps (small
     steps) L, R, L, facing woman but keeping the slight distance
     between them; in the fourth meas, man moves fwd in one
     waltz to overtake woman who still waltzes a tiny bit away
     from him (bwd), and takes her in closed pos with her back
     to LOD.
     5-8  DIP; MANEUVER; WALTZ; WALTZ
     Dip bwd twd RLOD on man's L (woman's R); maneuver
     man's back twd LOD; two meas of RF turning waltz,
     ending in open pos, facing LOD.
     9-16 Repeat meas 1-8.
          17-20     WALTZ AWAY; WOMAN CROSSES; FWD WALTZ;
          STEP, TOUCH,  
     Waltz apart (out to arms' length); releasing hands, woman
     does a LF turn in front of man, ending on his L side, while
     man moves slightly to R (R, L, R) to facilitate her
     movement, taking her R hand in his L; in L open pos, do
     one waltz fwd in LOD; step, touch to face each other,
     woman's back to COH, man's back to wall, both hands
     momentarily joined.
          21-24      CHANGE PLACES, 2, 3; 4, 5, 6; BAL APART; BAL
          TOGETHER
     Woman turns under the lead hands (her L, man's R) to
     change pos with each other in 6 steps; bal apart to arms'
     length, with both hands joined, man twd COH, woman twd
     wall; bal together, arms out to butterfly pos.
          25-28      TWINKLE; TWINKLE; AROUND, 2, 3; WOMAN
          TURNS TO VARSOUVIANNA POS
     In butterfly pos, both crossing in front, twinkle twd RLOD,
     man stepping L, R, close; repeat twinkle twd LOD; in
     butterfly banjo pos, dance half way around in 3 steps,
     putting woman's back to COH; woman does a RF spot turn
     in 3 steps into Varsouvianna pos, while man steps in place,
     both ending facing LOD.
          29-32     WALTZ FWD, 2, 3; WOMAN LF TWIRL; WALTZ FWD;
          EASE TO OPEN POS
     In Varsouvianna pos, take one waltz step fwd in LOD;
     keeping L hands joined, woman does a LF twirl in front of
     man (man steps in place, R, L, R) ending again in
     Varsouvianna pos, facing LOD; waltz fwd; ease into open
     pos, taking woman's L hand in man's R, while stepping
     slightly back and away on inside feet, and touch   hold on
     outside feet, ready to start the dance again.

Sequence: The above routine is danced three times. On the third
time through, ease apart, and bow.

Note: This dance is designed for waltzers who are in love with
waltzing (or who would like to be).
     The music is unusual, and it does not follow the standard
8/8/16 bar format. The second part of Part A is really a 6-meas
break. This makes possible an experiment in following this
somewhat irregular tune and waltzing to it without too much
cerebration.
     In other words, you dance without thinking, even though
what you are doing looks rather difficult on the face of it!
     In this lovely music, a series of held notes occurs, instead of
a melody, in the last 8 meas of Part A and the last 16 meas of Part
B. (This trick in the music begins on meas 15 in both parts.)
During this time you waltz to the accompaniment. This semi-free
waltzing gives an open and continuing effect. It dances beautifully
and feels wonderful   even hypnotic.
     But, the sequence is long, and it is hard to remember, as it
has a sort of drifting pattern. It seems too bad to have to think
about what to do when doing it is so simple.
     There are cues available by Don Armstrong where he cues
the whole dance. In experiments with dance groups, it works
beautifully. Once you have learned the simple patterns of the first
16 meas of both parts A and B, you simply relax into the prompted
version; the sly little cues become a gentle instrument in the
orchestra   you scarcely notice them   and you dance the lovely
flowing pattern to your heart's content. You simply do what the
cues tell you to do, no sooner. Later, you will find that you can
dance it without the cues. Your feet will have learned it.
     If you really love waltzing, this dance is for you.

Until We Waltz Again      

A waltz by Jerry and Charlie Tuffield of Denver, Colorado.

Music: "The Emperor Waltz," by Strauss

Position: Open, facing LOD.

Footwork: Opposite throughout, instructions for man.

Introduction:
Measures
     1-4  WAIT FOR TWO MEAS; BAL APART; BAL TOG

Dance
     1-4  WALTZ AWAY; WOMAN TURNS; WALTZ; WALTZ
     In open pos, inside hands joined, waltz fwd in LOD,
     turning slightly away from partner; man waltzes in place
     while woman turns half LF to face partner in 3 steps (L, R,
     L); stepping fwd in LOD on man's L (woman's R), do two
     LF turning waltzes, ending in open pos, facing LOD.
     5-8  STEP SWING; STEP TOUCH; AROUND 2, 3; STEP
     TOUCH
     Step on L foot, swing R foot while pivoting back-to-back
     on L; step R, touch L,  ; releasing man's R and woman's L
     hands, and joining man's L and woman's R hand, man
     turns LF (woman RF) to continue on around in 3 steps (one
     waltz meas) to face partner; step R, touch L, open out.
     9-12 Repeat meas 1-4.
          13-16      Repeat meas 5-8, ending in butterfly pos, man's 
back to
          COH.
          17-20     WALTZ BAL LEFT; WALTZ BAL RIGHT; CROSS, 2, 3;
          STEP, TOUCH,  
     Starting on man's L, step to the side in LOD, stepping
     briefly on R foot behind L, step in place on L; repeat,
     starting to RLOD on R foot (woman's L); partners
     exchange places by releasing man's R and woman's L
     hands and woman crossing (woman turns RF) under joined
     man's L and woman's R hands to face partner in butterfly
     pos, man facing COH, woman facing wall (make progress
     in LOD during cross); step R, touch L,  .
          21-24     WALTZ BAL LEFT; WALTZ BAL RIGHT; CROSS, 2, 3;
          STEP, TOUCH,  
     Repeat meas 17-18; partners exchange places by releasing
     man's L and woman's R hands and woman crossing
     (woman turns LF) under joined man's R and woman's L
     hands, to end facing partner in butterfly pos, with man
     facing wall; step R, touch L,  .
          25-28     SOLO TURN, 2, CLOSE; ON AROUND, 2, CLOSE;
          STEP, SWING (in LOD); MANEUVER, 2, 3
     Starting fwd on man's L and turning away from partner to
     L (woman to R), waltz fwd to a back-to-back pos on first
     meas; continuing turn, step back in LOD on man's R; and
     finish solo turn to end facing partner, man's back to COH
     (progress is made in LOD during meas 25-26); step on L
     and swing R fwd in LOD; man maneuvers in 3 steps to end
     with man's back to LOD, closed pos. Note: meas 27 is
     danced in open pos.
          29-32      WALTZ; WALTZ; WALTZ; TWIRL
     Three RF turning waltzes, starting with man's L foot back
     in LOD and turning 1 « CW turn; woman twirls RF on last
     meas, and open out.

Ending: After the third time through, twirl the lady and bow.

Varsoviana      

Basic Step,
(excerpted from Coulons Handbook-1873):
the gentleman holding the lady by the right arm. There are two different steps.
1) The first occupies two bars of the music. It is composed of one step of the Polka for the first bar; and for the second the foot is slidden to the side, the toe pointed and kept in that position during the remainder of it. This is to be repeated eight times, each time turning half round.>
2) The second step occupies four bars, the first and second bars of which are employed while the first step of the Polka -Mazurka is danced, twice to the side; the third bar, while one step of the Polka is danced, turning half round: and the fourth bar while the foot is slidden to the side, keeping the toe pointed during the remainder of the bar. This second step is to be repeated four times.>

Note: There is also an additional step, which may be danced instead of the second step, or partly with it,
... that is to say... twice of the one and eight of the other,: but this is left to the option of the dancers. It is danced thus:
-- One Polka stop, which takes one bar, observing to slide the first step instead of jumping, and turning like the Waltz.
This is to be repeated sixteen times, when part of the second step is not used.

-- From streetswing.com

Since this is such a tremendously important dance, we are adding a
few things to the instructions, for your further information.

The name: The original spelling was Varsouvienne. Other spellings
are as above and Varsovianna, Varsovienne, and even "Put Your
Little Foot," and "New Shoes." Varsovienne is a French word
meaning "of (or from) Warsaw." This describes the dance... it is a
mazurka waltz that apparently originated in Warsaw, Poland, in the
mid-1900s.

The position: "Take Varsouvianna pos" is such a basic instruction
that is turns up in many round dances. Stand side by side with the
woman on the man's right. The man's right hand holds her right
hand just above her right shoulder, and his left hand holds her left
hand across in front of him and at her shoulder height. Make sure
that the hands joined above her right shoulder are actually in the air
and not resting on her shoulder. Also, make sure that the joined left
hands are not collapsed back against the man's chest but held
forward so that there is a significant space created in front of the
couple.

Footwork: Identical (sometimes opposite but it depends on the
figure). Both start with left foot.

Introduction: 4 meas. In Varsouvianna pos, wait 2 meas; step L,
point R, and hold; step R, point L, sweep R foot back over L
instep.

Measures
     1-4  GLIDE, CLOSE, SWEEP; GLIDE, CLOSE, SWEEP;
     GLIDE, CLOSE, STEP; POINT,  , SWEEP
     Starting with the L, which has been swept back over the
     R instep, on the last beat of the preceding meas, glide fwd
     in LOD and to the L on L, close the R to the L, sweep back
     with L over R instep; glide fwd again on L, close R to L,
     sweep L back over R; glide fwd on L, woman crosses R
     over L and takes wt on R, while man steps slightly to his R
     on R in order to help them cross each other, woman
     completes the cross-over by stepping on L a little farther to 
     L, while man closes his L to R (without letting go of 
     handholds, woman has come to man's L side); both point
     fwd and to the R with R, hold one count, then sweep R
     back over L instep.
     5-8  Repeat meas 1-4 in reverse, starting with the R foot, and
     ending back in original pos, pointing and sweeping with the
     L.
     9-12 GLIDE, CROSS, STEP; POINT,  , SWEEP; GLIDE,
     CROSS, STEP; POINT,  , SWEEP
     As in meas 3-4, glide fwd in LOD on L, woman cross R
     over L, and step to L on L, while man steps to R and closes
     L; both point to R of fwd with R and then sweep R back
     over L instep; on meas 11-12 repeat in reverse to the R as
     in meas 7-8.
          13-16      Repeat meas 9-12.
          17-32      Repeat meas 1-16.
          33-48      Maneuvering instantly into closed dance pos, do 16 
meas of
          RF turning waltz, in LOD. Bal and maneuver from RF to
          LF turning waltz for variety, if you like, so long as you
          remain in LOD. At the end of the 16 meas of waltz,
          maneuver into Varsouvianna pos, facing LOD.

The dance is done three times. On the last time through three are
32 meas of waltz. We suggest that the dancers break from the fixed
LOD circle and do a free waltz for the second 16 meas. Twirl and
bow at the end.

The Glide Step and the "sweep" that precedes it are really one
action, and it is quite natural to do them as such, without thinking
of the fact that the sweep-back actually starts on the final beat of
the measure preceding the glide. This is the basic mazurka step.
While it requires a certain type of waltz music, you can dance the
Varsouvianna to any waltz in the right tempo. You can
Varsouvianna right through the waltz sections of this record, also,
while practicing.

For variety, use the standard from above for the first sequence, and
one of the variations described below for each of the others.

Varsouvianna in Dance Position

Footwork: Opposite throughout, directions for man, semi-closed
pos.

Introduction: In semi-closed pos, facing LOD, lead hands pointing
in LOD, dance intro as in standard version, starting man's L,
woman's R.

Measures
     1-4  GLIDE, CLOSE, SWEEP; GLIDE, CLOSE, SWEEP;
     WALK, 2, TURNBACK;  ,  , SWEEP
     Using opp footwork and moving LOD, dance meas of the
     standard version; on meas 3, walk 3 steps fwd, L, R, L, on
     the third count pivoting on L to face RLOD, adjusting arms
     so that lead hands are trailing and partners are looking fwd
     in RLOD over their encircling arms; point twd RLOD and
     R with R (woman L), hold, and sweep R back over L
     instep.
     5-8  Repeat the action of meas 1-4, starting with man's R and
     doing the action in the opp direction, ending facing LOD.
     9-12 GLIDE RIGHT, FACE, AND; POINT (arch),  , SWEEP;
     GLIDE LEFT, FACE, AND; POINT (dip),  , SWEEP
     Meas 9-10 repeat the action of meas 3-4 (as the partners
     turn twd RLOD they arch their lead hands, which are now
     trailing, slightly over their own heads, bending fwd in
     RLOD over their encircling arms); meas 11-12 repeat the
     action of meas 7-8 (as they turn back twd LOD, they dip
     their leading hands fwd, dipping their bodies twd them).
          13-16      Repeat meas 9-12.
          17-32      Repeat meas 1-16.
33-48     RF TURNING WALTZ.

The Open Varsouvianna

Footwork: Opposite throughout, starting L, skirt skaters' pos,
directions for man.

Measures
     1-8  Danced as above and in the standard version, except that
     the partners' outside hands are free, man has his R arm
     around woman's waist, she has her L hand on his R
     shoulder, and she may hold her skirt with her R hand. As
     they turn back twd RLOD, they change hands and reverse
     this pos. They make these changes twice as in meas 1-8,
     above.
     9-12 TURN BACK TO BACK AND; POINT,  , SWEEP;
     TURN BACK TO BACK AND; POINT,  , SWEEP
     Letting go holds completely, partners turn away from each
     other (back to back) in 3 steps (man steps L, R, L); point R
     twd RLOD, hold, and sweep r over L instep; repeat in
     reverse, man stepping R, L, R, and turning RF, back twd
     LOD; point L, hold and sweep L over R instep.
          13-16      Repeat 9-12.
          17-32      Repeat 1-16.
          33-48     RF turning waltz.

The Scotch Roll

Footwork: Identical is described, but this version is very pretty
with opp also. Start in standard pos.

Measures
     1-4  GLIDE, CLOSE, SWEEP; GLIDE, CLOSE, SWEEP;
     SCOTCH ROLL; POINT,  , SWEEP;  ,  , SWEEP
     The first 2 meas are danced like meas 1-2 of the standard
     version; on meas 3, woman lets go with R hand, and, with
     L hands still joined, rolls LF across under man's L arm, and
     joins R hands at man's R shoulder; both point R, hold, and
     sweep R across L instep.
     5-8  Repeat meas 1-2 in reverse; cross back to original place as
     in meas 7-8 of the standard version.
     9-12 OUT ON THE RIGHT; POINT,  , SWEEP; BACK UP TO
     PLACE; POINT,  , SWEEP
     Dropping L hands, woman turns out on R hands, L, R, L
     (RF), to face RLOD (extended banjo); in this pos, both
     point R and sweep R over L; woman turns LF back into
     pos; both point R and sweep R.
          13-16     OUT ON THE LEFT; POINT,  , SWEEP; TURN BACK
          TO PLACE; POINT,  , SWEEP
     Dropping R hands, woman turns LF out to the L (L, R, L)
     extended side-car; both point R and sweep R; woman
     continues LF turn under L hands (R, L, R) back to place on
     man's R, rejoin R hands; both point L and sweep L.
          17-32      Repeat meas 1-16.
          33-48     RF turning waltz.

These versions are all described in complete detail in Lloyd Shaw's
Round Dance Book, along with many other variations.

Veletta  Waltz -- combine this Aussie ver. with other?      

Formation: Couples start with inside hand hold, both facing L.O.D.
Music: 16 bar waltz at 52-54 bars/minute (eg. Veleta (gif or midi), Under the Bridges of Paris, Merry Widow, Peggy O'Neil (midi) 52-54 bars/min.

Bars
2    Waltz balance away and together - keep inside hands joined and balance apart then
       together, finish facing partner, with both hands joined in two hand open hold
2    Two chassé steps to man's left, finish side by side with inside hands joined and facing clockwise
2    Balance away and together then finish facing partner in two hand open hold
2    Two chassé steps to man's right, finish in a ballroom hold
2    Circular waltz - one turn
2    Two chassé steps to man's left
4    Circular waltz - two turns

Notes: There are many versions of the Veleta (a.k.a. Valeta or Veletta) - this is but one! Originally written by Arthur Morris in England in 1900 and just qualifying as a "Colonial dance", it is credited with being the first of many "sequence" dances which became known as "Old time" and then "New Vogue" (a style originating in Australia) later on. Valetta is Italian for "veil."  Veleta translates from Spanish as "weather vane". It is also the name of a 12,000 ft high mountain in the Sierra Nevada mountains of Southern Spain.

Veletta Valzer (Waltz)      

Position: Open, side by side facing LOD, near hands joined.

Footwork: Opposite, footwork given for the man, woman doing the counterpart

Measures 1-2 TWO FORWARD WALTZES, SWINGING ARMS FORWARD AND BACK

Swing joined hands forward and both step forward on the outside foot; step forward on the inside foot, turning back to back, and close with the outside foot (L, R, close L). Swinging joined hands backward, take two more steps in LOD (R, L) turning to face diagonally toward partner, and close (R to L).

3-4 TWO DRAWS IN LOD Changing hands (man takes woman's R in his L) and facing, step to man's L in LOD and draw the other foot to it (L, draw R). Repeat, but on the second draw, don't take the weight on the drawing foot.

5-8 REPEAT 1-4 IN RLOD Facing in RLOD, starting on man's R, waltz back-to-back and face-to-face and draw and draw. Once again, don't take the weight on the drawing foot the second time but leave it free for the next step.

9-10 TWO TURNING WALTZES Take closed dance position, and do two R-face turning waltzes, one revolution to end with man's back again to the center of the hall. To get clear around in two waltzes, the man needs to begin turning as he steps on the L moving in LOD. He should quickly turn his back to LOD. The woman helps by providing a counterweight as she steps her R between his feet.

11-12 TWO DRAWS Staying in closed position, take two draws in LOD, this time taking the weight on the drawing foot both times.

13-16 FOUR TURNING WALTZES, TWIRLING THE WOMAN ON THE FOURTH Starting on man's L, do four R-face turning waltzes, making two revolutions. On the fourth measure the man twirls the woman R-face under his L and her R hand to end in closed position with the woman's back to LOD.

STYLING: On the draws, the dancers should bend their bodies toward the drawing foot. In open position they raise their joined hands and hold their free hands out over the drawing foot. In closed position, they look over their encircling arms and arch their joined hands almost over their heads.

VERSE 2 In its traditional form, the Veleta consisted of just the above 16 bars, danced over and over again. The man twirled the woman on the 16th measure to open position to start over. However, to add more variety to the dance, here is a second verse as danced by the Cheyenne Mountain Dancers.

1-2 STEP, , CLOSE; STEP, , CLOSE IN LOD (IN CLOSED POSITION) Man moving forward, woman backing up, take two canter steps in LOD. The man steps L (count 1), pause (count 2), close R taking the weight on the R (count 3), and repeats. The woman backs up, R, pause, closes L and repeats.

3-4 STEP, THROUGH, STEP; POINT OUT They take one more step in LOD (man's L), then with the other foot step through between their feet toward the center of the hall, and step to the side, moving again to the center. (Man steps L forward, R through, L to side.) On the next measure they point man's R and woman's L toward the wall. Follow the styling tips for the step draws above: arch over the pointed toes with the joined hands held high.

5-8 REPEAT 1-4, MIRROR IMAGE, STEPPING TO THE OUTSIDE AND POINTING TOWARD THE CENTER Man canters forward R, close L; repeat; then he steps forward R, through on the L toward the wall, to the side on the R toward the wall, and points L toward the center of the hall.

9-12 TWO TURNING WALTZES, TWO DRAWS Repeat 9-12 in Verse 1, above.

13-16 VINE, 2, 3; ROLL, 2, 3 Still in closed position, moving in LOD they step to the side, behind on the other foot, and again to the side (man steps L, R, L). On the third step they begin to release hands, and on the next measure, they do a solo turn away from each other, moving down LOD (man steps R, L, R). They go all the way around and take inside hands to begin verse 1, facing in LOD.

VERSE 3

THE MONTANA OR BUTTERFLY VERSE Lloyd Shaw found this third variation in Montana. Because of the position the dances used in the first two measures, he also called this the butterfly verse. Dancers can then dance the verses in alternating order: 1, 2, 3, 1, 2, 3, etc. It should be noted that Verse 3 ends with the dancers in open position and thus can't be followed by Verse 2.

1-2 6-COUNT SOLO ROLL Starting as in Verse 1, in open position and on outside feet, dancers swing their joined hands forward, but then release them on count 3 and turn away from each other (man L- face, woman R-face). Thus they turn three-quarters of the way around, moving down LOD in 6 steps and ending facing each other. The released hands swing high, and at the end of the turn, man takes woman's R hand in his L.

3-4 TWO DRAWS IN LOD (as in Verse 1, measures 3-4)

5-8 SIX-COUNT SOLO ROLL IN RLOD, TWO DRAWS IN RLOD Facing RLOD, swing forward, release hands, roll away (man R-face, woman L-face) in six steps to face, taking the original handhold and do two draws as in 7-8 of Verse 1. Man starts on R.

9-10 TWO TURNING WALTZES Repeat measures 9-10 of Verse 1.

11-12 BALANCE L AND R Instead of the two step-draws of Verse 1, the couple balances in LOD and RLOD. (Man steps to L on L, behind L on R, and L in place, then the same to his R starting on his R.)

13-14 TWO TURNING WALTZES (repeat 9-10) 15-16 PIVOT, 2, 3; DIP In three steps the couple turns one more revolution, almost in place. Then they dip away from each other, in open position, man on R and woman on L, pointing the free foot toward each other, and hold this position for the last two counts.

Valzer (Waltz) Ballonet      

A waltz mixer written by Mary and Fred Collette of Atlanta,
Georgia.

Music: "Waltz of the Flowers"

Position: Couples standing in skirt skaters' pos, facing LOD.

Footwork: Identical, all start with L.

Introduction: Four meas. Wait in open pos for two meas, bal apart,
bal together into skirt skaters' pos.

Measures
     1-4  BAL FWD, 2,  ; BAL BWD, 2,  ; WALK, 2, 3; 4, 5, 6
     Step fwd on L, touch R and hold; step bwd on R, touch L
     and hold; starting L, walk fwd in LOD six steps (2 meas).
     This footwork pattern continues throughout the dance,
     always balancing fwd on the L and back on the R. The
     touch is also described as an "arch"   that is, the free foot is
     brought up close to the other foot, with the instep of the
     free foot against the heel of the other foot.
     5-8  BAL FWD, 2,  ; BAL BWD, 2,  ; WALK, 2, 3; TURN, 2,
     3
     Repeat meas 1-2; releasing L hands and holding R hands,
     man walks fwd in LOD for 6 steps, turning one quarter RF
     on last 2 steps, so as to face the wall, while woman walks
     fwd 3 steps, turns RF in 3 steps, making a 3/4 turn around
     the joined R hands so as to face COH. All join hands, with
     all men facing out and all women facing "alamo style."
     9-12 BAL FWD, 2,  ; BAL BWD, 2,  ; ROTATE, 2, 3; 4, 5, 6
     All bal fwd as before, man twd wall (woman twd COH),
     straightening out arms as they do so; bal bwd; releasing L
     hands and holding R hands only, partners rotate half CW in
     6 steps. The men are now facing in and women facing out,
     all join hands in a circle again.
          13-16     BAL FWD, 2,  ; BAL BWD, 2,  ; WALK, 2, 3; TO NEW
          PARTNER, 2, 3
     All bal fwd and bwd as before; releasing R hands and
     holding L only, the woman takes 3 short steps to make a
     one quarter LF turn twd LOD and 3 steps in place, while
     the man who is holding her L hands does a one quarter LF
     turn in 6 short steps, stepping in twd COH and on around to
     face LOD, taking her R hand on her R hip, ready to repeat
     the dance with this new partner.

The 16 meas sequence is danced six times. At the end of the last
time through, man takes 3 steps back twd the next partner and
bows on the last meas.

Valzer (Waltz) Minuet      

A waltz by Dena M. Fresh.

Music: "Minuet" from "The Gods Go A-Begging" by Handel.

Position: Open, partners facing LOD, inside hands joined and head
held high.

Footwork: Opposite throughout.

Introduction: 4 measures. Acknowledge your partner on the third
measure.

Measures
     1-4  STEP, POINT,  ; STEP, POINT,  ; TURN AWAY, 2, 3;
     DIP, 2, 3
     With the dignity and light carriage of the Minuet, step fwd
     in LOD on L and point R fwd, hold; step fwd on R, point L
     fwd, and hold; turn away from your partner in 3 steps (man
     L-face), woman R-face) making a 3/4 turn to face partner,
     with man's back to COH; step back, away from partner on
     R (woman's L) with a slight dip, and continue the L-face
     turn by stepping L and R, to end facing LOD again, with
     inside hands joined. (The minuet hand-hold: man hold his
     hand, palm down, at a comfortable height for the woman,
     and woman lays her hand, palm down, upon it.)
     5-8  REPEAT MEASURES 1-4
     9-12 PIVOT, SIDE, BACK; PIVOT, SIDE, BACK; TURN, 2, 3;
     STEP, TOUCH,  
     Release hand-holds. (Man putting his hands, when free,
     palms up, on his hip pockets), step fwd in LOD on L, and at
     the same time pivot back-to-back, step to side on R, step L
     behind R with a slight dip; step R to side (in LOD) and at
     the same time pivot R-face (woman pivots L-face) to face
     partner, step to side on L and step R behind L with a slight
     dip. Man (keeping parallel with woman) steps behind on L,
     steps to side on R, and closes L to R, while woman does a
     complete L-face solo turn, starting on her R (R, L, R); man
     steps to side (facing LOD) on his R (woman's L) and
     touches L in front and holds.
          13-16      REPEAT MEASURES 9-12, to end facing partner
          17-20      BALANCE AWAY,  ,  ; BALANCE TOGETHER,  ,  ;
          STAR AROUND, 2, 3; 4, 5, 6
     Man's back to COH, join R hands, and balance away from
     partner on man's L (man balances twd COH, twd wall);
     balance together on man's R (woman's L); star around each
     other in 6 steps, beginning man's L, with R hands held high
     and elbows touching.
          21-24      BALANCE AWAY,  ,  ; BALANCE TOGETHER,  ,  ;
          PAS DE BASQUE; PAS DE BASQUE
     With R hands joined, balance away on man's L; balance
     together on man's R; pas de basque to L (man steps L,
     crosses R in front of L, touching toe to the floor, steps again
     on L   woman opposite); pas de basque to R, still facing
     partner.
          25-28     SIDE, BACK, SIDE; FRONT, SIDE, BACK; AWAY, 2,
          DIP; FWD, PIVOT, STEP
     R hands still joined, do a 6-count grapevine in LOD (man
     steps to side on L, behind on R, to side on L, in front on R,
     to side on L, behind on R); release hand-holds and step
     away from each other (man twd COH, woman twd wall) on
     L, R, L, dipping slightly on final L, leaving his R foot in
     front, while woman steps R, L, R and dips slightly on final
     R, leaving L in front; step twd partner on R, turn L in front
     of woman, facing RLOD (maneuver) and step again on R,
     woman doing the counterpart.
          29-32      WALTZ; WALTZ; WALTZ; OPEN OUT, 2, 3
     Assuming closed position, without a break, step back in
     LOD on man's L and dance 3 measures of R-face turning
     waltz; open out on measure 32, making a slight bow to
     partner. Do not twirl.

Repeat the dance 3 times   ending with a deep bow. Keep the waltz
simple.

A note about the minuet:
     The dance described here is not a 17th century minuet. It is a
modern minuet done to the 17th century music, attempting to catch
in a simple way, the unusual feeling of the old minuet. The old
minuet was a very difficult dance, and could be danced only by
members of the wealthy and cultured classes who could afford the
time and money for long hours of lessons and practice. Very few of
the hundreds of minuet routines have been preserved. Those that
have consist of a series of slow steps, sometimes involving knee
action and the flexing of leg muscles that would be unteachable to
the average dancer today. But we feel that the mood of the old
minuet can still be captured in the much simpler steps of our time.
     All of the steps and maneuvers that Dena Fresh has worked
into this dance are based on the old minuet: the held point; the
reverse circles; the pas-de-basque pirouettes (9th and 10th measure),
the slow pas de basque, and the traverse ("grapevine") in 25th and
26th measures are constant features of minuets and of modern
rounds.
     The waltz steps at the end, of course, are out of place. The
minuet preceded the waltz, and "waltz position" would not have
been tolerated during the minuet period. The waltz steps are a
concession to the future and make this dance modern.

Valzer (Waltz) You Saved for Me      

A dance by Roger and Jean Knapp of Corpus Christi, Texas.

This dance is described by Jean Knapp as being "one Tyrolean,
side-car out and in, one forward waltz and three turning waltzes;
then the waltz pivot, and forward dip, side, close, repeated, a
balance and three waltzes."

Position: Semi-closed for introduction, then open pos for figure.
Opposite footwork, directions given for the man.

Introduction:
Measures
     1-4  Wait.
     5-8  TWIRL, 2, 3; DIP, SIDE, CLOSE; TWIRL BACK, 2, 3;
     SIDE, TOUCH,  
     In semi-closed pos, facing LOD, twirl woman RF under the
     joined hands fwd in LOD, then both dip fwd on inside foot,
     step to side and face partner and close outside foot; then
     moving RLOD, twirl woman LF under same joined hands
     (man backs up RLOD) step R to side and touch L to R in
     open pos.

Figure
     1-4  FWD, 2, CLOSE; NOW, TO, SIDE-CAR; OUT, E, TURN;
     IN, 2, FACE
     In open pos, waltz fwd and away from partner in LOD, L, R
     and close L to R; man now nearly waltzes in place as
     woman sweeps in to face center and a step-step-close, while
     man turns RF one quarter to face wall with woman on his L
     in butterfly side-car pos (hands joined and extended at
     shoulder level); man steps fwd while woman steps bwd twd
     wall, then both turn twd each other in 2 steps by man
     pulling with his L hand and pushing with his R to end in
     banjo pos (R hips adj) man facing center and woman facing
     the wall; step fwd on R twd center (woman bwd on L) then
     turn twd each other in 2 steps to end in closed pos, man
     facing LOD and drops R hand to woman's waist.
     5-8  FWD, 2, 3; WALTZ, 2, 3; WALTZ, 2, 3; WALTZ 2, 3
     In closed pos, waltz fwd LOD; then starting R, turn RF 3
     waltz meas (at end of first turning meas, man should have
     his back to ceter; second meas should have his back to
     wall; third meas should end with his back nearly to LOD).
     9-12 PIVOT, 2, 3; DIP, SIDE, CLOSE; PIVOT, 2, 3; DIP, SIDE,
     CLOSE
     In very close closed pos, make a 3 step RF pivot moving
     slightly in LOD (the man steps L to side making a half turn
     on this first step, then steps fwd twd center on R between
     the woman's feet, then steps fwd LOD on L. The woman
     steps fwd LOD on R between man's feet and throws her wt
     to her L to help with the pivot, steps L to side continuing
     the pivot, then steps R in LOD facing fwd in semi-closed
     pos); dip fwd LOD in semi-closed pos, both stepping in
     front. Turn twd partner and step L to side LOD and close R
     to L taking wt on R; repeat the above two meas still moving
     LOD and end in closed pos man's back to COH.
          13-16     BAL,   ,  ; WALTZ, 2, 3; WALTZ, 2, 3; TWIRL, 2, 3
     Balance back on L in closed pos; two meas of RF turning
     waltz, and then twirl woman under man's L and her R hands
     to end in open pos facing LOD.

Repeat entire figure for a total of five times, ending with a bow.

Waltzing Matilda      

Music: Waltzing Matilda, played in 4/4 and 3/4 time.

Position: Couples standing in a large circle, all facing LOD, in Varsouvianna position, M's R hand holding W's R over her right shoulder, M's L holding her L in front of his chest.

Footwork: Identical throughout. Both start on L foot.

Introduction: 2 measures of 4/4 time. Wait.

Measures 4/4 1-4 ROCK FWD, , ROCK BACK, ; ROCK FWD, , STEP, ; TWO-STEP, TWP-STEP; WALK, 2, 3, 4

Both step fwd on L, hold, step back on R, turning slightly to face partner, hold; step fwd on L, hold, and step R to L, hold; moving in LOD do two quick two-steps (L, R, L and R, L, R); walk fwd in LOD four steps, (L, R, L).

4/4 5-8 CROSS, , OUT, ; BACK, STEP, STEP, ; CROSS, , OUT, ; BACK, STEP, STEP, Two cross-step schottische steps in four meas: cross L foot over R and point, cross L foot back twd COH and point; step back on L, step back on R, close L to R; repeat these 2 meas, starting with R foot.

3/4 9-12 WALTZ; WALTZ; WALTZ; MANEUVER TO R- HAND STAR Still in varsouvianna pos, do three waltzes straight fwd in LOD L, R, L; R, L, R; L, R, L; on meas 12 partners release L hands, and W turns out R, L, R to face RLOD in R-hand star pos.

3/4 13-16 WALTZ; WALTZ; WALTZ; TURN W TO VARSOUVANNA In four waltz steps partners make one complete CW turn around each other in place; on meas 16 W turns R-face under their joined R hands to assume varsouvianna pos, facing LOD.

4/4 17-20 CROSS, , OUT, ; BACK, STEP, STEP, ; WALK, , 2, ; TWO-STEP, TOUCH Dance another cross-step schottische step, starting L foot: cross L over R, point and hold, cross L back twd COH, point and hold; step back on L, step back on R, close L to R; starting R, W takes two slow walking steps fwd to next man in LOD (having released hand-holds) R, L, while M steps bwd, R, L; on the last meas, do one two-step in place, R, L, R, touch L, as dancers assume varsouvianna position with a new partner.

SEQUENCE: In the original recording the dance is done five times. On the last time through, walk fwd together in meas 19, twirl the lady and bow.

When it Is Springtime in the Rockies      

A waltz by Russ and Leah Hendrickson of Denver, Colorado.

Position: Open pos with inside hands joined, facing LOD.

Footwork: Opposite throughout, directions to man.

Introduction: Four measures.

Measures
     1-2  SOLO WALTZ; WALTZ
     Progressing slightly in LOD, partners turn away from each
     other (man to L, woman to R), making one complete turn in
     2 waltz meas. Man progressing slightly more than woman,
     and at the end of the 6th count, they meet in closed pos,
     man's back to LOD.
     3-4  COUPLES WALTZ; WALTZ
     Starting back on man's L, 2 meas of RF waltz, opening out
     on last count to face LOD.
     5-8  Repeat meas 1-4, ending close together, facing LOD, inside
     hands joined, held well fwd, elbows bent.
     9-10 STEP, SWING; STEP, SWING
     Step fwd in LOD on outside foot and swing the inside foot
     fwd; step fwd on inside foot and swing the outside foot
     fwd.
          11-12     TURN; TWINKLE;
     Dropping hands, turn away from partner (man to L, woman
     to R) and make one complete turn almost in place in 3
     steps. Man takes woman's R hand in his L. Step fwd in
     LOD on R, then beginning a half RF turn, step L beside R,
     complete turn to face RLOD by stepping on R beside L.
     (woman steps fwd on L, then makes a half LF turn to end
     facing RLOD)
     13   ROLL ACROSS
     Woman rolls across in front of man, making a RF turn in 3
     steps, R, L, R (man waltzes in place, L, R, L), to end in
     Varsouvianna pos, both facing RLOD. If man will give a
     slight pull on woman's R, which he is holding at the
     beginning of this roll, it will help her make this turn easily.
     However, the hand should be dripped immediately after the
     lead is given.
          14-15      WALTZ; WALTZ
     In Varsouvianna pos, 2 fwd waltzes in RLOD, man starting
     on R.
     16   TURN
     Man makes a half RF turn in place in 3 steps to face LOD
     to repeat from meas 9. Woman makes a half LF turn in 3
     steps around the man to face LOD.
          17-24      Repeat meas 9-16. This time, when man makes his 
half RF
          turn as in meas 16, he maneuvers to closed pos, his back to
          LOD.
          25-28      WALTZ; WALTZ; BALANCE; TWIRL
     Two RF waltzes, ending with man's back to COH. Bal
     back on man's L. Man waltzes in place as woman makes a
     LF twirl in 3 steps.
          29-32      Repeat meas 25-28.

Dance through 3 times. At the end, after woman has made her LF twirl, bow.

Whipped Cream      

A two-step written by Jerry and Charlie Tuffield of Denver,
Colorado.

Music: "Whipped Cream," 4/4, jazz.

Position: Open, facing LOD for introduction. Closed, man facing
LOD for beginning dance.

Footwork: Opposite throughout.

Introduction: 4 measures. Wait 2 measures, balance apart, touch,
then woman maneuvers in front with back to LOD, while couple
dances balance together, touch.

Part A
Measures
     1-4  TWO-STEP; TWO-STEP; WALK,  ; 2,  ; 3,  ; 4   
     In closed pos, starting man's L, do two two-steps fwd in
     LOD; then four walking steps.
     5-8  TWO-STEP; TWO-STEP; CROSS,  , 2,  ; 3,   , 4,   
     Repeat the two fwd two-steps of measures 1-2. Woman
     crosses under the joined hands (man's L, woman's R) in
     four steps, ending facing partner and wall. Man is facing
     COH.
     9-12 (away) TWO-STEP; TWO-STEP; (together) TWO-STEP;
     TWO-STEP
     Dance two two-steps backing away from partner; two two-
     steps twd partner. No hand-hold.
          13-18      CROSS,  , 2,  ; 3,  , 4,  ; VINE,  , 2,   ; 3,  , 4, ;
     VINE, , 2,  ; 3,  , 4,   
     Notice that this is a six-measure phrase! Join man's L and
     woman's R hands, woman crosses under joined hands in
     four steps, to end facing partner (man facing wall; woman
     facing COH); join both hands in butterfly pos and do an 8-
     step vine (4 measures); side, behind, side, in front; and
     repeat in LOD. (Both cross behind on 2nd step)

     Break:    APART,  , TOUCH,  ; TOGETHER,   , TOUCH,  ;
     APART,  , TOUCH,  ; TOGETHER,  , TOUCH,   
     Balance apart, stepping back on man's L (woman's R), and
     touch R about 8 inches behind L; step fwd on R, and touch
     L about 8 inches in front of R; repeat these two measures
     (With a little twist on the ball of the foot, you may find you
     are doing the Charleston)

Part B
     1-4  (turning) TWO-STEP; TWO-STEP; WALK,  , 2,  ; 3,  ,
     4,   (woman twirls)
     Dance two R-face turning two-steps in closed pos. Man
     walks fwd four steps while woman twirls in two steps and
     walks two steps.
     5-8  (forward) TWO-STEP; TWO-STEP; TURNAWAY,  , 2,
      ; 3,  , 4,   
     In open pos, take two fwd two-steps down LOD; man turns
     L (woman R) in four walking steps, partners ending facing
     each other in butterfly pos, man facing wall (woman COH).
     9-12 VINE,  , 2,  ; 3,  , 4,  ; ROLL,  , 2,  ; 3,  , 4,   (CLAP)
     Side, behind (both crossing in back), side, front; roll (man
     to L, woman to R, full around, end facing partner), clap
     hands with partner.
     13-16     VINE,  , 2,  ; 3,  , 4,  ; ROLL,  , 2,  ; 3,  , 4,   
     Repeat measures 9-12, with woman maneuvering into
     closed pos on the last step, end with man facing LOD.

Dance is done three times, ending with woman doing a R-face
twirl; change hands - bow.

Source for some: http://sca.uwaterloo.ca/cotsdaca/1CoupleDances.html

Call Of The Pipes      

POSITION-Lady on gent's right; each with arm around the other at the waist

Heel (gents left, ladies right) and toe (same foot) - 4 beats

Walk forward four steps & on fourth step U-turn putting lady on gent's left

Heel - Toe, Walk forward four steps and on the fourth step face partner.

Balance to partner, left and right, lady putting hands over head:

Turn together once around on four two-steps. C.W.

Circassian Circle      

FORMATION: groups of couples two couples facing each other in a large circle, half C.C. - half C.C.W

Directions can be called like a square dance.

All join hands and circle four -- Around to the left, on the old pine floor

Right & left thru, across the set -- Right & left back, you're not thru yet

Same two ladies chain across -- Chain right back & don't get lost

Two couples forward and back -- Forward again and pass thru

On to the next, it's up to you.

(repeat with the couple you meet

Cross Country Valzer (Waltz)      

FORMATION: Two couples facing each other

To waltz time, right and left thru, right and left back (no hands -repeat)

All balance forward and back ladies sashay left to right in front of their partners, and repeat three more times

Take own partner and waltz

After 16 bars of music, repeat whole sequence and continue as often as desired. Some dancers balance forward and back and then, right and left though, and this makes a very good variation.

French Minuet      

FORMATION - in couples, lady's right and gent's left hands joined

Start on outside feet and walk forward three steps, swinging feet forward on the count of four

P1. STEP-STEP-STEP-SWING (Feet diagonally, repeat with opposite feet)

P2. STEP-SWING_STEP-SWING (Gent step on left foot and swing right foot diagonally forward repeat in reverse direction)

P3. Repeat 1. and lady pivot C.W. (clockwise) under gent's raised left arm and both bow

P4. Waltz when music changes and continue

Gay Gordons  [ follow link ]      

Heel and Toe Polka

FORMATION- Couples in ballroom position.(start with gent's left foot, lady's right foot)

HEEL-TOE -TWO-STEP

Repeat with gent's right foot Repeat whole pattern

POLKA when music changes and continue as long as desired

Irish Valzer (Waltz)      

Music: When Irish Eyes Are Smiling.

Formation: couple dance with Varsouvianna promenade position.

P1. Both step forward on left foot, swing right foot forward and then pivot on left to face in reverse direction and continue right foot swing in front. Bring right foot back into two two-steps backwards.

Forward two slow steps and reverse direction to repeat the first part again.

P2. Step swing change sides (both step forward on the left foot, swing right forward and back, two step turn right as gent changes to lady's right side, they repeat this movement now with the left foot being swung to the right, repeat all of this once more.

P3. Gents twirls the lady under his left arm and they waltz until new phrase begins.

Isle of Capri      

FORMATION - Large circle: couples facing each other. half C.W. - half C.C.W. with inside hands joined

1 - 2 Grapevine left - grapevine right Starting with left foot, step to side Right foot to side and behind left foot, left foot to side; swing right foot diagonally across in front of left foot (repeat grapevine with right foot moving to the right)

3 - 4 Dos-a-dos with couple facing you; using four two-steps; past right shoulder and back up to place.

5 - 6 Two-step left - two-step right Walk 2 - 3 - 4

All couples move forward, pass thru the couples facing, right shoulder passing and repeat the whole sequence with the next couple. Keep own partner, proceed around the circle.

Jersey      

Couple dance done around floor

Four sashay steps to gent's left

Turn diagonally and do four sashay steps to gent's right

Turn on four two-steps

Repeat as often as desired

Jessie Polka      

Left, Right, Right, Left, Two Step

Left foot forward - lean back

Left foot back - step on it

Right foot back -lean forward

Touch right toe beside left foot

Right foot forward and back

Left foot forward and back -touching left toe in front of right foot

Four two-steps forward (Repeat)

Military Schottische   [ follow link ]      

Navy Two Step

Music: MacNamara's Band

POSITION - lady's on gent's right

STEP AWAY - STEP TOGETHER

WALK - 2 - 3 - TURN

STEP AWAY - STEP TOGETHER

WALK - 2 - 3 - FACE (partner)

BALANCE TO PARTNER (Gent's left & right)

TURN LADY (C.C.W. on four counts while doing) FOUR TWO STEPS

Repeat whole routine as often as desired.

Roberts      

Directions for gent - lady opposite

Two slow sashay steps to left and back, change to banjo position (right hips together, gent facing one way-lady opposite)

Four steps forward-four steps back

Lady turns to face same way as partner -letting go gent's left hand & lady's right, starting on outside feet;

HEEL-TOE -TWO STEP (repeat with inside feet)

Turn once C.C.W. (counter clockwise) on four two-steps.

Rye Valzer (Waltz)      

Heel-Toe, Heel-Toe, 4 Slides Left

(start in waltz pos. to gent's left)

Repeat with opposite feet and dir.

Waltz when music changes. (Repeat)

Progressive Barn Dance     [ follow link ]       

Varsovianna Valzer (Waltz)

POSITION - Promenade-Gent's right arm over lady's left shoulder; right hands joined; left hands joined in front.

Part 1. CROSS - STEP - STEP / CROSS - STEP- STEP/ CROSS - STEP- STEP - STEP - POINT EXPLANATION-Cross right foot-bring it back; step on it; step on left foot; (repeat) repeat this much with the other foot

Part 2.(When the music changes)

CROSS - STEP- STEP - STEP - POINT

(Repeat three more times)

Note After learning basic movements, hop before crossing foot in front.

Yorkdale Plaza Polka    [ follow link ]      

* Descriptions © by Ashley Oates
(* except where noted otherwise)

Australian Ladies | Bullockies Ball | Chain Double Quadrille | CHOGM Pentrille | Colonials Quadrille | Country Bumpkin | Evening Three Step | Flying Pieman | Frangipani Waltz | Gypsy Tap | Highland Reel | Ideal Schottische | Jubilee Jig | Kings Waltz | Marching Through Georgia | Maxina | Merry Widow Waltz | New Parliament House Jig | Numeralla Jig | Pride of Erin | Prince of Wales Schottische | Soldiers Joy | St Bernard's Waltz | Swing Waltz | Veleta | Waltz Cotillion | Waterfall Waltz

Please e-mail me any corrections or additions. Historical information such as author and date written or first published especially welcome.

Australian Ladies      

Author (Devisor): Published in "Glasgow Assembly II" by Bob Campbell in 1976 but written much earlier (1967), music by William Fergusson.
Formation: Longways set of 4 couples
Music: 8 x 32 bar "own tune" in 2/4 (abc or midi file here) or Scottish reel e.g. Spootiskerry.

Bars
4    1st couple cross giving right hand, cast down (on opposite side) into 3rd place -- (meanwhile) 2nd and 3rd couples step up
4    1s right hands across (star) with 3s
4    1s lead back to top (up the middle of set), cross and cast 1 place on own side -- (meanwhile) 3rd couple step down
4    1s left-hands across (star) with 2s -- 1s finish in 2nd place on own side
16   Clover leaf -- 1s cross right hand & cast to their right 4 times, (meanwhile) 2s & 3s set (2 bars) & cross (2 bars) in a square pattern, giving right hands each time (original version was apparently rights and lefts)
32  1st couple repeat all above from second place, then drop to bottom of set.

New top couple repeats dance from 1st then 2nd places.

Notes: This is a Scottish Country Dance in style and was written by a Canadian in honour of four Australian Scottish Country Dancers from Newcastle NSW (Jean Conway, Elma See, Lorraine Dyall and Margaret Gray), who were visiting Canada at that time. It has become quite popular in some bush dance circles.

Bullockies Ball      

Formation: Longways set, 4 couples
Music: 32 bar jig (parody of Finnegans Wake) - sheet music (gif) and complete song words or midi or abc here.

Bars
4    Face partner; (side) lines advance and retire
4    Right arm turn partner
4    Left Shoulder do si do partner
4    Two hand open turn partner
8    End couples two hand swing, while middles RH star for 4 bars, LH star back to place
8    Top couple swing to bottom of set; all swing as tops pass by.
Repeat 3 times

Chain Double Quadrille      

Also known as Chain Double Reel

Formation: Double Sicilian Progressive
Music: 48 bar reel

Bars
4     Right hand star - centre 4 people, all the way round
4     Turn left arm - 1 1/2 times with partner, so that they end up as the new centre 4
4     Right hand star - with new centre 4
4     Turn left arm - 1 1/2 times with partner, finish in original place facing partner
4     Set twice to partner
4     Swing partner - use a crossed-hand hold
16    Ladies chains - around a square, first chain across the set, then down the side, then across set, then down the side to meet own partner
4     Advance & retire - holding hands in original lines of 4, 4 steps each way
4     Advance & pass through - 8 steps to meet a new line

CHOGM Pentrille      

Formation: 5 couples in a pentagon, numbered anti-clockwise 1, 4, 2, 5, 3
Music: 10 x 32 bar jig or reel + 4 bar intro
Author: Norm Ellis, October 1981

Bars
4     Advance & retire, with hands joined in a circle, 4 steps each way
4     Circle left with 8 slip steps
4     Advance & retire
4     Circle right; keep hands joined
8     1st couple split the ring -- 1st couple cross the set and lead through a single arch made by lady 2 and man 5, 1st couple separate and cast out and return to place on own side, still leading the set. Arching couple turn under own arch in place.
8     2nd lady and 5th man split the ring, 1st couple make the arch
16   1st couple cross with couples 2, 3, 4, 5 -- 1st couple arch over 2s, changing places with them, both couples courtesy turn in place; then same with 3rd, 4th & 5th. (All have now progressed)
4     All set twice to partners
4     All swing partner
8     All promenade in skaters hold, around set to finish in new position
64   Repeat 4 times.

Variation: Omit the "All set twice to partners", and swing for a total of 8 bars instead of only 4.
Notes: This dance was written for the Bush Music Club's Annual Festival in 1981. The dance won the competition and was meant to represent the activities of the representatives at the Commonwealth Heads of Government Meeting, which had just occurred. This is only the first part of a pentrille.

Colonials' Quadrille (NSW version)      

Formation: Quadrille, numbering anti-clockwise 1,3,2,4
Music: 64 bars 6/8 tunes at 58-60 bars/minute e.g. Berrimal Set Tune (ra), Tickle Me Timothy Quick.

4    All circle left -- (holding hands, slip steps)
4    All circle right -- (back to place)
8    1st couple visit -- (walk anti-clockwise inside square honouring each couple as you pass)
4    Tops cross over
4    Sides cross over
4    Tops cross back
4    Sides cross back
16   Grand chain -- (give right and left hands alternately, starting with partner and continuing back to place)
8    Ladies grand star -- (man turns partner under his arm and puts right arm around her waist while she puts right arm into centre, ladies star around moving clockwise)
8    Men grand star -- (ladies let go, while men turn left, left arms central and all star left, moving anti-clockwise)

Repeat: 3 times with 2nd, 3rd & 4th couples visiting respectively

Notes: This dance was used as a training set for young people - it introduces many of the figures and moves used in the "Sets".

Country Bumpkin      

Formation: Longways set of 4 couples
Music: 32 bar 6/8 tunes at 60-62 bars/min.

4    Top lady sets twice to second man
4    Top lady swings 3rd man once around & returns to place
4    Top man sets twice to second lady
4    Top man swings 3rd lady once around & returns to place
4    Lead down:  top couple skip-change-of-step to bottom of set, holding inside hands
4    Top couple return to place, casting up behind their own line
4    Top 2 couples & bottom 2 couples circle left to place, in 2 small circles of 4
4    Top couple cast off on own side, rejoin set as bottom couple.
Repeat three times.

Notes: This version was published in 1809. The original tune was a common Scottish tune used for many dances in the 18th century. The Sydney Gazette of 1803 mentions this dance having been done at a wedding. This particular version of the dance suits the comment "the fair bride led down the Country Bumpkin". A dance with the same name is done in Britain today, but bears little resemblance to this one. See Thomas Green's Barn Dance site.

Evening Three Step      

Formation: Couples in circle facing L.O.D. holding inside hands
Music: 8 Bars of 6/8 tunes at 54-58 bars/min (sometimes up to 62!) e.g. Teddy Bears Picnic, Wheels, Blaze Away, Colonel Bogey, Invercargill, McNamara's Band

Bars
1    Start outside foot, take 3 steps fwd, touch toe of inside foot by arch of outside foot
1    Man pulls lady across in front of him (3 steps) and they each do a solo turn to change sides; he takes her RH in his LH and both lean outwards with arms extended between and touching inside foot beside arch
1    Man moves left, pulling lady across in front (as above but in opp direction)
1    3 steps backwards (start inside foot) in L.O.D. and close feet together
1    2 lively pas de basque steps fwd (towards partner, then away)
1    Face partner in 2-hand hold, 2 chassé steps in L.O.D.
2    Rotary chassé for 2 full turns in ballroom hold.

A "New Vogue" Dance - which is a ballroom style developed in Australia during the 1930s. Other New Vogue dances popular at bush dances and balls include Gypsy Tap, Parma (aka Palma) Waltz and Swing Waltz. It is postulated that the Evening Three Step is a variant of the 1904 'Eva Three Step'.

Flying Pieman      

Author: Noreen Grunseit 196?
Formation: Longways set of 4 couples
Music: 32 bar jig at 60-62 bars/min. e.g. Flying Pieman, Cunnamulla Stocking Jig (abc)

8    Ladies weave -- (top 3 ladies weave behind 1st man, in front of 2nd man, behind 3rd man and back to place)
8    Men weave -- (top 3 men weave around top 3 ladies & back to place)
4    Slip step to bottom -- (top couple take 8 slip-steps to bottom of set using open two-hand hold)
4    Tops Back to 2nd place -- (top couple slip step back up into 2nd place)
4    Lines down -- (top 3 women join hands as do top 3 men, and take 8 slip steps to bottom of set. Lines go between the bottom couple. At the bottom drop hands and the original top couple step backwards to become new bottom couple)
4    And back -- (original 2nd and 3rd couple join hands and slip back to the top, to become new couples 1 & 2)

Frangipani Valzer (Waltz)      

Author: Kate Harrison (Qld) in 1986
Formation: Sicilian Circle
Music: 32 bar waltz

Bars
2     Balance -- forward & back with opposite using two-hand hold & waltz step
2     Change places -- lady turns under opposite gent's right arm to his place
2     Balance -- forward & back with opposite, using two-hand hold
2     Change back -- lady turns under opposite man's left arm
2     2 chassé steps R with partner -- standing side by side, holding inside hands
2     2 chassé steps L with partner -- back to place
4     Right hand turn opposite -- full turn, once around
2     2 chassé steps left with partner -- standing side by side, holding inside hands
2     2 chassé steps right with partner -- back to place
4     Left hand turn opposite -- full turn, once around
4     Advance & retire -- holding partner by inside hand (2 waltz steps fwd, 2 back)
4     Waltz in ballroom hold -- past opposite couple, gents by L Sh and meet new couple

Gypsy Tap      

Formation: Couples in ballroom hold, lady facing centre of hall
Music: 32 bar single jig or Aust. schottische at 58-62 bars/min. (abc of Australian schottisches here)

Bars
2    Side, close, side, close -- (chassé along L.O.D.)
2    Walk -- (3 steps in L.O.D., in extended ballroom hold, both starting outside foot, then close on the fourth beat)
4    Repeat last 4 bars
8    Repeat last 8 bars in the opposite direction, chassé to man's right to start
2    Slow steps -- (Open out to both face L.O.D. holding inside hands and take 2 slow steps fwd,
      touching other foot by instep without weight)
2    Waltz solo -- (both stepping L.O.D. mirror turns away from each other, 4 steps)
4    Repeat last 4 bars
2    Forward, 2, 3, up -- (In barn dance hold, 3 quick steps forward, raising inside foot in a low kick on 4th beat)
2    Back, 2, 3, close -- (3 steps backward, closing feet together)
4    Circular waltz -- (two turns in ballroom hold)

Notes: This is an Australian "New Vogue" couples dance of the 1930s - devised by a Sydney dancing teacher, Professor Bolot (originally Bolotski, from Poland) in 1938(?).

Highland Reel      

Formation: Lines of three in Sicilian circle
Music: 32 bar Scottish reel, e.g. My Love's but a Lassie Yet, White Cockade, Colonel Sinclair.  Tempo: 62-64 bars/min.

8     All advance & retire twice
8     Reel of three: Centre person dances with their right hand partner and the left-hand
       person of opposite set (corner). Start by giving left shoulder to corner.
8     Circle of three: Centres with same two people from the reel, 8 slip steps left and 8 right, finish in place
8     All advance & retire, then pass through by right shoulders to meet next trio.

Ideal Schottische      

From: Insert notes for "All Buttoned Up" LP by the Cock and Bull Band, published in 1981. It seems to have originated in Northern England and is danced there to the tune of Jack Thompson's Fancy.
Formation: Circle of couples in open two-hand hold with man facing out
Music: 8 bar schottische, or hornpipe (abc of Australian schottisches here)

Bars
1    Side, together, side, hop -- 3 side steps to man's left (L.O.D.). On 4th step (hop) let go
      leading hand, bring trailing hands forward so you are back to back with your partner.
1    Side, together, side, hop -- keep going anticlockwise hold trailing hands
1    Side, together, side, hop -- let go (original) leading hands, take 3 steps CW and
      turn on the 4th step so you are facing your partner.
1    Side, together, side, hop -- take hands again, (two-hand open hold) and keep dancing clockwise (against L.O.D.).
2    Step, together, step, hop into the centre (man dances backwards) and then same steps out (towards wall)
2    Circular Step-Hop -- in ballroom hold, dance 4 step-hops around.

Jacaranda Dance      

Author: Leith Charleston, Grafton NSW, c1946
Music: 4/4. Own Tune - also composed by Mrs Charleston, 1939. 16 bar repeat dance.
Formation: Circle, Ladies on right of partner, all facing centre. N.B. This dance has a double progression

Bars
      Introduction, all join hands to form a circle
2    All advance and retire with 4 walking steps
2    All Circle Left
2    All advance and retire
2    All Circle Right
1    Face partner, set once
1    All turn single once around
1    Two Hand turn with partner once around
1    Progress past partner to next person
4    Repeat the 'set once, turn single, two hand turn and progress' (previous 4 bars). Finish facing centre of circle, join hands to restart
16   Repeat as required

Notes: Mrs Charleston is a former President of the Clarence River FolkLore Association. Grafton is famous for its Jacaranda trees and the Jacaranda Festival is celebrated in the first week of November each year.

Jubilee Jig      

Author: David Johnson 1979 for the BMC's Silver Jubilee
Formation: Large Single Circle, man's partner on right, all holding hands
Music: 32 bar double jig - Original tune composed by Chris Moore.
Description: From BMC "Bush Dance Instructions" by Lance Green

Bars
4    Circle left -- (8 slip steps to the left)
4    Circle right -- (8 slip steps)
2    Men to centre -- (starting with the right foot, take 4 steps in joining hands on the way in)
2    Men out, ladies in -- (ladies, starting with right foot take 4 steps in under raised arm of men then ladies join hands)
2    Ladies out, men in -- (men in under ladies raised arms, clapping on the 4th step in)
2    Men out
8    Grand chain -- (for 7 persons, partner is no. 1)
8    Swing -- (your new partner using a crossed-hand hold. Finish with lady on man's right ready to start again)

Alternative: Caller can vary number of persons in the grand chain and use the swing to take up time until the end of the tune. (The maximum number of people in the grand chain is 15 with no swing.)

King's Valzer (Waltz)      

Written: 1913(?)
Formation: Couples in open waltz hold, facing L.O.D
Music: 16-bar waltz

4    Walk forward four slow steps -- on last step lady moves across in front of man to ballroom hold (facing clockwise).
4    Rock forward & back twice -- man LF, lady RF.
4    Chassé in & out -- two slide steps each way, moving to man's left.
4    Waltz -- two turns.

Love 'Em and Leave 'Em

Author: Noreen Grunseit 1983
Formation: Quadrille Set (4 couples in square set)
Music: 32 or 64 bar jigs + 4 bar intro e.g. Atholl Highlanders (midi or gif here)

Bars
4     Tops in, Sides around -- in skaters hold (lower promenade hold) tops skip in and out of set, sides chase around to their right, finishing in opposite place
4     Sides in, Tops around
4     Tops in, Sides around
4     Sides in, Tops around
2     Tops advance to centre of set (walking); take opposite in ballroom hold
2     Tops slip step to man's left out through side couple for 4 steps (side couples step apart)
4     Tops polka 1/4 way round set to man's position (anti clockwise).
2     Sides advance take opposite in ballroom hold
2     Sides slip step to man's left out through top couple for 4 steps
4     Sides polka 1/4 way round set to man's position
2     Tops join inside hands, walk in 4 steps, join hands to form circle with opposite couple
3     Circle left (walking) for 6 steps
3     Men swing lady on his left back to his place using two-hand open hold
2     Sides walk in 4 steps, join hands to form circle
3     Circle left for 6 steps
3     Men swing lady on left back to place
4     Top half Ladies Chain across
4     Side half Ladies Chain across
8     Men cast out 1 place forward to right and promenade 3/4 set with next lady
Repeat 3 times till back with own partner.

Notes: Winner of the 'Bush Music Club' dance competition in 1983. It has become popular with experienced dancers and is very often danced at a cracking pace!

Marching Through Georgia

Author: Noreen Grunseit
Formation: Quadrille set numbered anti clockwise
Music: Own tune (Henry Clay Work 1865) or lively march, 32 bars (midi or gif)

8    First couple cast out, (L right, M left) dance around set passing each other, ending back in partner's place
8    1st couple do-si-do, swing, finish with lady on right, facing out of set (ready to cast off). Others step in behind in a line
8    Cast out, leading back up into lines
8    All do-si-do partner, swing to place

Repeat 3 times for each couple to lead

Maxina (Canberra version)      

Formation: Couples facing L.O.D. in high promenade hold
Music: 24 bar 4/4 time at 30 bars/min e.g. own tune, Maxina*. (midi)

Bars
2    Rock, rock twice (rock fwd onto left foot, then back onto right foot, & repeat)
1    3 quick steps forward, raise right foot in front (QQS)
1    3 quick steps backward, raise left foot
1    2 slow steps forward and turn on R foot to face clockwise
1    3 quick steps backward, raise right foot
1    2 slow steps forward and turn, to face L.O.D.
1    3 quick steps backwards, raise left foot
4    Grapevine
1    2 slow steps forward
1    Cross & backward (cross L foot in front of R taking weight on L foot. Then 3 small quick steps backwards, starting right-foot and finish with weight on R foot)
1    2 slow steps forward
1    Repeat 'Cross & backward' (as above)
1    2 slow steps forward
1    Turn lady out (lady turns out and finish in ballroom hold)
6    Circular waltz

Notes: The original Maxina, Round dance for the Ballroom was written by Marguerite Boissonade and W F Hurndall in 1917. It won first prize for a new dance in a competition organised by the British Association of Teachers of Dancing. There are many regional versions, most quite unlike the original. The Maxina appears to only be danced in Australia and New Zealand today, having died out elsewhere.

* "The Maxina is one of the few dances arranged to a 24 bar sequence. It has the longest waltz section of any sequence dance. Original tunes composed for the Maxina will suit the dance, but other popular tunes usually need to be adjusted to fit the sequence. Although originally based on the Latin style of the modern ballroom dance Maxixe, the steps and music for the Maxina are Schottische in character." -Peter Ellis.

Merry Widow Valzer (Waltz) - 2      

Source: Daryl Powell (from Liverpool Plains, NSW area), probably dates from the very early 1900s.
Formation: Couples in upper promenade hold, both start on left foot.
Music: 32 bar waltz e.g. Merry Widow Waltz (midi), Barcarolle, Plaisir D'Amour

Bars
2    Two slow steps forward
2    Two forward diagonal steps (chassé) to the left (with right foot stepping behind the left)
4    Point right foot: in front; then to the right; then close feet together and; then bend knees in a dip. (One count per move)
2    Step back on left foot (slow) slightly raising and pointing front foot, then back on right foot (slow),
2    then then 3 quick steps back (L,R,L)
2    Rock forward on to right foot, rock back on to left foot
2    Rock forward on right, then bring feet together while swivelling right and ending facing out of circle towards the wall. (Maintain upper promenade hold, gent behind lady.)
2    Two chassé steps to the left
2    Two chassé steps to the right
3    Ladies step away from partner, and walk a tight circle by the R Sh for 3 steps and finish facing partner. Gents do a similar circle, starting LF and pulling L Sh back
1    bow or curtsey to partner
8    Take ballroom hold, and waltz four turns, and end by opening out to upper promenade hold, facing LOD, ready to repeat sequence.

New Parliment House (Prime Minister) Jig      

Author: John Colville, 1980
Formation: 3 groups of 3 - all facing forwards, and numbering 1 2 3 from top: Prime-minister in centre, backbenchers are outer corners (left & right partners in lines 1 & 3), frontbenchers are centres of each side.
Music: 6 x 32 bar jig, own tune, dance is 3 x 64 bars

Chord    Centre honour partner on right
Chord    Centre honour partner on left
8    Caucus left -- (centre promenade partner on right around line to left and back to place, using skaters hold)
8    Caucus right -- (centre promenade partner on left around line to right and back to place, using skaters hold)
8    Frontbenchers circle -- (centre 1 & 3 with left & right 2 circle left and right)
8    Backbenchers circle -- (left & right 1 & 3 circle left and right)
4    Lobbying -- (right hand star with top right 4 people,
4    left hand star with bottom right 4 people,
4    right hand star with bottom left 4 people,
4    left hand star with top left 4 people. NB: Prime-minister leads each star)
8    Have an Election -- (reels of three across set in groups of three)
8    Change of Government -- (top line weaves down set, partner on left of line 1 leads the group around line 2, across in front of group 3, and around behind them, in a large S, ending at bottom of set as new group 3. Restart with a new number)

Notes: John has very kindly given me a written background to this dance. Follow this link to read it.

Numeralla Jig      

Formation: Progressive lines of three
Music: 32 bar jig
Description: Lawrie Brown

4    Circle left -- (join hands and 8 slip steps left)
4    Circle right -- (keep hands joined and 8 slip steps to the right to finish in original place)
4    Star right -- (centre person with their right hand ends, finish with centres beside each other in centre of set)
4    Star left -- (centre person with their left hand ends, finish back in original places holding hands with partners)
4    Arch under right -- (centre person makes an arch with right hand end and left hand end goes under arch)
4    Arch under left -- (centre person makes an arch with left hand end and right hand end goes under arch)
4    Advance & retire -- (4 steps each way)
4    Pass through -- (8 steps to go to a new line of three)

Notes: Numeralla is a small village near Cooma, NSW, which holds a Folk Festival each January over the Australia Day long weekend. This dance was written there in 1978 by a group of people, in honour of the festival.

Pride of Erin    [ follow link ]      

Prince Of Wales Schottische

Formation: Couples in ballroom hold, side on to LOD
Music: Own Tune 4/4 12 bars at 28-32 bars/minute (midi, gif or abc)
"The 12 bar sequenced Prince of Wales Schottische in one version requires the first four bars to be played jig style, the balance of the 12 bar sequence is to normal Schottische time."

Bars
2     Galop 7 (slip steps) and close feet, along LOD
2     Galop 7 (slip steps) back to place and close feet
1     2 Chassé steps (step/close) along LOD
1     2 Chassé steps back to place.
2     Waltz for two turns
1     2 Chassé steps (step/close) along LOD
1     2 Chassé steps back to place.
2     Waltz for two turns

Notes: Collected from Mt Pleasant, South Australia by Rob Willis. Various other versions have been collected from around the country including North Coast of NSW and SE Queensland.

Soldiers' Joy      

Formation: Sicilian Circle, progressive circle of couples facing couples
Music: 32 bar reel  e.g. own tune at 60-62 bars/min. (gif, midi or abc here)

Bars
4    Advance & retire -- (4 steps each way using inside hand hold, all start right foot)
4    Swing opposite (ballroom hold, one & three quarters round, end with men back to back in middle)
4    Reverse swing partner -- (men pass round each other by left shoulder, back to
      own partner who they swing backwards (ACW), in ballroom hold)
4    Swing other way to place -- (natural swing partner, in ballroom hold)
8    Ladies chain -- (across and back to their original places)
4    Advance & retire
4    Pass through -- (on to a new couple)

Notes: Circa 1800. The Soldier's Joy was a popular dance throughout Great Britain and Ireland in this period, and seems to have followed Scottish regiments wherever they went throughout the 17th and 18th century; there are several English, Irish, European and American versions of the dance. It is presumed it may have come to the Colony with Governor Macquarie's Royal Highlanders in 1810, but the reference to the dance in the words of the "Drover's Dream" is late in the 19th century. It is likely the Scottish Country Dance longways version is that which was known in Caledonian circles out here at the time.

This version was introduced by Frank Pitt from an American source in the absence of any known Australian description. Although known as Soldier's Joy, it bears no resemblance to the true dance and more closely matches a Circassian Circle connection with its Sicilian formation.

St. Bernard Valzer (Waltz) (Liverpool Plains version)      

Formation: Couples in ballroom hold, man facing wall
Music: 32 bar waltz at 52-54 bars/min e.g. St Bernard's Waltz (by Doug Swallow 1937) (midi), Katia Waltz
Source: Daryl Powell, Canberra

4    Step to side, close, side, close (stepping to man's left) then stamp, stamp
2    Step to side, close, side to man's right
2    2 steps to centre -- (man takes 2 slow steps backwards starting LF, brushing it
      past his RF on first step and lady takes two steps forward starting RF)
2    2 steps back -- (man takes 2 slow steps forward and lady takes two slow steps backwards)
2    Swivels -- (man takes a small step diagonally fwd to his R with LF, then fwd on his R towards L,
      while lady steps on her RF diagonally behind her L then on her L behind her R - swivel
      a few degrees CW then ACW, as couple for each step)
4    Circular waltz for two turns - or one turn and pivots

Swing Valzer (Waltz)      

Formation: Couples
Start: Inside hand hold, both facing anticlockwise
Music: 32 bar waltz at 52-54 bars/min (145 beats per minute)
Original choreography: Jack Kennedy, Rockdale, Sydney, 1939
Description: Lawrie Brown

Bars
2    Forward -- (3 steps forward and raise inside foot. Start outside foot)
2    Backwards -- (3 steps back and finish facing partner)
2    Waltz solo -- (both do one waltz turn and finish holding partners hands)
2    Chassez -- (2 chassez steps to man's left)
2    Other way -- (2 chassez steps to mans right, finish side by side with inside hands joined and facing anticlockwise)
1    Away -- (1 waltz step apart, keeping hands joined)
1    Change sides -- (lady turns under man's arm and finish facing clockwise)
2    Away and change -- (finish facing anticlockwise)
2    Away and face -- (1 waltz step apart then turn and take partners two hands)
2    Step kick -- (step then kick to man's left then step and kick to mans right)
2    Sway -- (turn to be back to back. Then sway backwards.
2    Sway forwards. Then turn to face partner again and take two hands)
2    Step kick -- (step then kick to man's left then step and kick to man's right)
2    Lady turn under -- (lady turns under man's left arm while he takes 3 steps forward. Finish with man right foot raised and lady left foot raised)
2    Lady turn back - (lady turns under mans left arm and man takes 3 steps backwards and crosses to opposite side of his partner)
4    Reverse waltz

Notes: New Vogue, fast waltz.

Valzer (Waltz) Cotillion (Liverpool Plains version)    [ follow link for another version]      

Formation: Quadrille Set, Numbering: Anticlockwise 1,3,2,4.
Music: 4 x 128 Bars Waltz + 8 bar introduction at 52-54 bars/min.
Source: Daryl Powell, Canberra

Bars
16    1st couple waltz inside set
8     1st and 2nd W change places. They waltz 1 step in then 1 step back. Take 4 waltz steps to change places, turning as they cross by right shoulder. Then honour new partner with a nod when reaching opposite side
8     3rd and 4th W change places
8     1st and 2nd M change places (same way as the top ladies)
8     3rd and 4th M change places
8     1st and 2nd couple waltz to place around the outside of set
8     3rd and 4th couple waltz to place around the outside of set
      (Form top and bottom lines)
8     Advance and retire, cross over
8     Advance and retire, cross back
32    Waltz chain - starting with corner join right hands and balance forward and back then lady turns under joined arms while man turns. Meet partner half way, turn partner and reverse direction, return to place, and meet partner.
16    All waltz the set.

Repeat 3 times with new couple leading each time. When couples 3 & 4 start, form side lines instead of top & bottom lines.

Notes: The Waltz Cotillion is a popular single figure quadrille which provides a pleasant contrast to the First Set and Lancers. It appeared around 1870 but the date of this particular version is unknown.

Waterfall Valzer (Waltz)      

Author: Pat Shaw - it won a prize at the 1966 Welsh National Eisteddfod, and was published in "Four Barn Dances" by Werin Cymru in 1967
Formation: Sicilian circle, progressive
Music: 32 bar waltz, own tune - apparently Welsh in origin. (gif) (Caerdroea as abc or midi)

4    Men right hand turn
4    Opposites do-si-do
4    Ladies full right hand turn
4    Partners do-si-do
2    Facing partner: two slow chassé steps sideways - men left and behind partner - women right
2    Partners two-hand turn half-way (change sides)
4    Repeat last four bars back to place
4    Circle of four to the left half-way and acknowledge (honour) the other couple
4    Couples waltz on (or on spot), opening out to meet new couple, facing in original direction.

Notes: This dance won the prize at the National Eisteddfod (Port Talbot 1966) in the competition for the 'Composition of a Twmpath Dance'.

Sicilian Circle = One couple facing another couple in a circle around the room.
Double Sicilian = Two couples in a line, facing two couples in a line, arranged in a circle around room

Abbreviations used above:

Dance Cue Terms from http://www.lloydshaw.org/Catalogue/CueSheets

This simple glossary is intended for the non-dancer or the new dancer. We hope knowledge of these
terms will make use of the cue sheet library easier, and allow you to visualize the many dances presented.

source:  http://www.lloydshaw.org/Catalogue/CueSheets/