THE WALTZ COTILLON
Study Notes Copyright © William Lynch 2007
|Dancers stand in square set formation and on the last 4 bars all bow first to their corners then to their partners.|
|1||1st top couple house within the set.||8 bars|
|Singles change places: top ladies change places back-to-back, turning twice clockwise (4 bars) followed by the top gents, also turning twice (4 bars). Side ladies then change places (4 bars) followed by the side gents (4 bars).||16 bars|
|Couples change places: both top couples waltz back to place, turning clockwise but moving anti-clockwise within the set (4 bars). Both side couples then waltz back to place (4 bars).||8 bars|
|Grand chain: * partners face each other, R hand in R, and all chain slowly around the set, the gents turning the ladies anticlockwise under R arm and clockwise under L arm as they pass each other, taking 2 bars for each turn. Partners meet (for the 2nd time) back in place and take crossed hand hold in front, R over L, to face anti-clockwise around the set.||16 bars|
|Lead around: all couples dance side-by-side around the set back to place, gents turning the ladies clockwise under both raised arms on the last 2 bars and partners taking waltz hold.||8 bars|
|House around.||8 bars|
|2||1st side couple (L of 1st tops) house within the set.|
|Singles change places, side ladies leading.|
|Couples change places, side couples leading.|
|House around.||64 bars|
|3||2nd top couple now leads to dance 1.||64 bars|
|4||2nd side couple now leads to dance 2.||64 bars|
|5||Break away into a short general waltz.|
For the Singles change places movement, ladies hold their skirts with R hand, and gents cross their hands behind their backs, as they cross the set.
* Alternative Grand chain:
Margaret and Michael Meaney of Ipswich tell me that they know one dancer of mature years who recalls meeting each lady with 2 setting steps (2x3s in place), all hands held around the set, before turning the lady underarm. This makes for a more elegant chain danced in 32, rather than 16, bars and has been the option preferred by my dancers.
Mick Mulkerrin, but I didn't record at which workshop although it must have been in 1991 or '92.