The Morris Book Part 5

EVOLUTIONS.

Here follows a detailed description, with diagrams, of the various evolutions necessary to the dances which we have embodied in this series; to each evolution a Notation word is attached.

The best way for a teacher who has never seen the dances performed, yet wants to teach them from the book, is to study the diagrams and learn by heart the Notation word for each. He should then stand a side upon the floor, make them go through the evolutions by word of command, or Notation word, slowly, as described; counting the beats, but without music.

This manner of beginning is advised only when the teacher has nothing but the book for guide: where an experienced dancer is available we have found it best for the novices to set to at once upon the dance; the practised one showing steps, evolutions, &c, as they occur.

DOWN-AND-BACK; AND UP-AND-BACK.

This movement occurs at the beginning of so many dances that to simplify matters it will be described here, and symbols will be attached to the description and used in the Notation. The movement is executed as follows:

The side stands in Column, and starts by advancing for the first two bars, and retiring for the second two bars. Each file advances and retires its own length; that is, Nos. 1 and 2 will move ahead, the others following, until Nos. 3 and 6 have come to the places of Nos. 1 and 2; in the next two bars all get back to position.

The two bars' advance is made always according to the time of the music, either at 4/3 or 6/3 step: the two bars' retiring is always made at 4/2 or 6/2 step (_see_ p. 48).

The whole movement is made in eight bars. In one dance, the second four bars are danced the same way as the first four; but in all the others the Column is reversed at the end of the first four bars. The two ways of executing the movement will be marked in the Notation as follows:

When the side is to advance and retire twice, without reversing at end of fourth bar, and is to form Front at the end of bar 8, this will be marked in the Notation, so:

MUSIC. MOVEMENTS. FORMATION.

A. Down-and-back twice, then j. Col. to Fr.

(Forming Fr.)

When the side is to advance and retire, reversing position at beginning of fifth bar, and in bars 5 to 8 facing the opposite way, then at end of bar 8 forming Front, this will be found marked in the Notation, so:

MUSIC. MOVEMENTS. FORMATION.

A. Down-and-back, Ju. Column.

Up-and-back, j. (forming Fr.) Col. to Fr.

THE CHAIN.

This movement is also completed in eight bars.

In the following diagram (Figs. 1, 2, and 3) the movements of the leading three, Nos. 1, 3, and 5, are shown separately to avoid confusion.

To begin the Chain the side stands in Column (_see_ p. 48). No. 1 turns _outward_, that is, to the left, and goes forward in an S-shaped double curve as shown, pa.s.sing in the middle of the curve the place of No. 3, and finis.h.i.+ng in the place of No. 5.

No. 3 starts out to rightward, and goes in a circle, in the second half of which he is following the first half of No. 1's track.

No. 5 starts to leftward, making a double curve as No. 1, but opposite, pa.s.sing in the middle of it the place of No. 3, and finis.h.i.+ng in the place of No. 1.

[Ill.u.s.tration: Fig. 1.]

[Ill.u.s.tration: Fig. 2.]

[Ill.u.s.tration: Fig. 3.]

Therefore, No. 8 follows No. 1, and No. 5 follows No. 3 round the track of an imaginary figure 8, or double circle, for that is the shape of the completed movement. Thus:

[Ill.u.s.tration: Fig. 4.]

[Ill.u.s.tration: Fig. 5.]

[NOTE.--At middle and completion of Chain, all turn inward, as shown in Fig. 5, and face partners as they jump (_see_ p. 48).]

At the end of the second bar, No. 5 should be at No. 3's place, in the centre of the figure; No. 1 should have already pa.s.sed it, and No. 3 be coming to it, so that No. 5 pa.s.ses between Nos. 1 and 3. In second half of Chain, same positions are to be observed.

In the second four bars, for completion of the Chain, the movements already described are simply reversed. As No. 1 is always leader (_see_ p. 38), and must turn outward and be followed by Nos. 3 and 5 on the lines of the figure 8, he must now return to his station along the double curve travelled in the first four bars by No. 5. No. 3 must follow No. 1 in the other circle of the 8, and No. 5 must get back to his station along the double curve travelled in the first four bars by No. 1. Thus:

[Ill.u.s.tration: Fig. 6.]

[Ill.u.s.tration: Fig. 7.]

The Chain is danced by Nos. 2, 4, and 6 precisely in the same way: No. 2 is always leader; always turns _outward_; and Nos. 4 and 6 always follow No. 2 on the lines of the double curve, or figure 8. No. 6, as No. 5, pa.s.ses between Nos. 2 and 4, in chaining.

Occasionally, as for instance in "Country Gardens," the term "Half-chain"

will be found. This means that the movement shown in Fig. 4 is executed to four bars of music; another movement follows; then "Half-chain" again, bringing numbers back to original stations.

If, as very often occurs, the Chain follows a movement executed in Front formation, the dancers simply turn and follow one another as shown in diagrams, when the Chain music begins.

This is called in the Notation--Chain.

CROSS-OVER.

This movement is executed in Front formation, to eight bars of music, as follows:

In the first two bars each dancer crosses over and takes the place of his partner, setting the pairs back to back, thus:

[Ill.u.s.tration: Fig. 1.]

[Ill.u.s.tration: Fig. 2.]

In crossing and re-crossing, _invariably_, each must keep his partner to the right, that is, the right shoulder of each pa.s.ses by the right shoulder of each partner.

In bars 3 and 4 (keeping up the step all the time) all come to the right-about, that is, face inward again, by turning to the rightward (maintaining position all the time), thus:

[Ill.u.s.tration: Fig. 3.]

[Ill.u.s.tration: Fig. 4.]

In bars 5 and 6 all cross over again, right shoulder to right shoulder, bringing the side back to back and in original stations.

In bars 7 and 8 all make a full turn to the right (as in Fig. 3) bringing the side again to Front.