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.
Grand chain.
Lead around.
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.

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