BackSquares from Northern Junket



By Volume:

Alphabetically:

Ralph PageRalph Page published 165 issues of the magazine “Northern Junket” for 35 years, from 1949 to 1984.

You can see scans of these at scholars.unh.edu/northern_junket and scholars.unh.edu/northern_junket/index.2.html

There is also an index to all issues of Northern Junket at scholars.unh.edu/cgi/viewcontent.cgi?article=1165&context=northern_junket and on the Internet Archive

The magazine is wide-ranging, including recipes, traditional customs, reminiscences, Ralph's opinions, Folk songs, Contra, Square and International dances — you'll even find Playford's “Geud Man of Ballangigh” in Volume 4 Number 11.  I'm planning to extract the squares and publish them here.  It seems there are over 230 of them, so I may not live to finish the job!  I'm working from the table at the bottom of this page, which will gradually be emptied.  I'm giving the original wording followed in some cases by my comments and the way I would write it out.  No doubt I'll make some mistakes, so please Contact me if you disagree with anything here — I haven't called most of these squares!  I'm also planning to give music links for all the dances which have a specified non-copyright tune — just click the treble clef icon next to the dance title.  These are traditional tunes so I'm not guaranteeing that they're exactly the versions that Ralph Page used (except for those where he actually gave the musical notation), but they're here and they're chorded — you can see them, hear them and print them out.

While working on Volume 2 I discovered a scanned text version of 2.3 which greatly reduced my typing, though the scanning software inevitably made lots of mistakes, including such interesting instructions as “chain your lady to the loft”, “forward and hack”, etc.

In fact I believe all the issues have been stored on the Internet Archive.  See: archive.org/search.php?query=northern+junket&sort=-date&page=4 which gives them in reverse date order (roughly) — and you can read the facsimiles or scroll down and click “Full text” to download the scanned text.  They are quicker to display than the copies on the UNH website, though they appear to be scans of the same originals.  I'm adding “Internet Archive” links as I go through them.  Some issues give month and year; others just give year.  I'm trusting the dates given in the Index.

Read more about Ralph Page on my “What is a Dancing Master?” page.  And for more about traditional squares, see squaredancehistory.org

You can also read the book “History of Square Dancing” by Samuel Foster Damon, published in 1957 and now available on the Internet Archive — well worth a read.

It's interesting to realise that most callers seem to be using recorded music in those days: there are frequent references to particular recordings.  I've also learnt that the way I call squares is known as “Quadrille style” whereas the way they are presented in these magazines, with solid calling and lots of meaningless (or at least unnecessary) verbiage is “Square dance style”.  I learnt this from one of the tapes uploaded to the Internet Archive by Tony Parkes at archive.org/details/rpdlw_1988_1989_202108/RPDLW+tapes,+1988,+1989/RPDLW+1988+Tape+2++Side+A.mp3.  That was on Tape 1 Side B — a caller's workshop with Chip Hendrickson where he demonstrates both styles and teaches a lot more besides.  I'd prefer dance descriptions that explain how the call fits the music rather than specific wording, but maybe that's just my mathematical background.  Anyway, where I've given my understanding of the dances I've usually written it out with A's and B's, following my convention that a full stop (period) marks a 4-bar or 8-bar phrase and a semicolon marks a 2-bar phrase.

When I announced the creation of this page on the Traditional Dance Callers' List, Tony Parkes said:

Sounds like a monumental task, Colin.  More power to you — we need all the easily accessible sources of good squares that we can put in place.

and Amy Cann said:

How neat!  I have a few early copies I picked up as spares at Ralph Page weekend and they make for fascinating reading.

Also, I had to explain to a twenty-something the other day why they were “purple”, which was fun.

They totally didn't believe me about sniffing fresh mimeographs.



Volume 1

Buffalo Gals        Buffalo Gals: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 1, No. 1, April 1949.  Original wording on page 17     Internet Archive
Suggested music: Buffalo Gals
Use any introduction you wish, then -

Head lady lead up to the right
Turn that gent by the right hand around
Back to your partner and left hand around
Lady in the center and seven hands around

Lady comes out with a corner swing
Do the same all round the ring
Leave her alone and swing your own
First gent out to the lady on the right
Turn that lady by the right hand around
Back to your own and the left hand around
Swing her in the center and six hands around
Break that ring and shake 'er down
Do si do with your corners all
Do the same with your own little doll
Allemande left with your corners all
And swing your partners around the hall

Next lady and gent do the same changes, then

Every gentleman lead to the right
Swing that lady with all your might
Now that lady across from you, you swing her and she'll swing you
Now swing that lady on your left, swing her round and round to the west
Now swing your own that you swing best
All promenade around the ring

Next two couples do the same changes in turn then repeat the chorus figure for an ending

The calls would seem to explain themselves, but there may be some question about the “shake 'er down” business.  It takes but six bars of music to go six hands around the couple swinging in the center; the call is given on the seventh and eighth bars of the strain, as the dancers are straightening themselves out from the six hands around.  Everybody faces partner, and on the last measure all do clog steps in place.

Three Hand Star        Wi' a Hundred Pipers an' a': Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 1, No. 2, May 1949.  Original wording on page 17    Internet Archive
Ralph Page
Suggested music: Wi' a Hundred Pipers an' a', an a'
Any introduction you wish, then
Head couple swing inside the ring,
Head lady goes right, head gent goes left,
And make two three hand stars with side couples
(1st lady & 2nd couple join right hands and circle once around; 1st gent & 4th couple join left hands and circle once around)
The other hand back the way you are,
Meet in the center and go on to the next
And make a four hand right hand cross
Then allemande left your corners all
Grand right and left a half way round
Promenade her when you meet, you promenade her home.
Other couples do same figures in turn.

Before starting the call, it helps to have every one take a good look at their corners, for the allemande left is done with your original corners.  There are always a few lost souls who can gaze at their corners till doomsday and not recognise them when the time comes to allemande left.  But don't get discouraged.  'Twas ever thus.
Every caller will relate to that last paragraph!  When Ralph refers to the head couple he means the first couple.  I haven't tried this version, but it seems awkward for the first gent to go from a right-hand star with the fours to a right-hand star with the threes, so here's a variant I learnt from Bernard Chalk.

A1:Ones lead across, split the ring, separate, round the outside back home.
A2:Ones cross over: right-hand star with the opposite side couple.  Cross back: left-hand star with the other side couple.
B1:Ones right-hand star with the threes.  All allemande left corner.
B2:Do-si-do partner.  Swing.

If you want to make it more challenging, you can do:

Break, Figure for Ones, Twos, Break, Figure for Threes, Fours, Break, Figure for Heads, Figure for Sides, Break.

Tony Parkes said:

I just looked at your transcription and Ralph's original notes on Three Hand Star. I think Ralph may have been sleep-deprived when he typed that one out. I've danced it and called it in several versions, and both of the three-hand stars at the beginning were always with right hands, then back with the left.

The Crooked Stovepipe        Crooked Stovepipe: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 1, No. 3, June 1949.  Original wording on page 18    Internet Archive
Any introduction you want provided you use the tune once through; thirty-two measures.  Then:

The head two ladies forward and back
Forward again and the two girls swing
Six hands around them in a great big ring
Break that ring and swing your own, everybody swing
Allemande left your corners
A right hand round your own
You do si do your corners
And do si do your own
You've got time to swing your own alone
Swing her once or twice

Do the same changes for the two side girls also the two head men, and the two side men

This is how I would fit it into 32 bars.

A1:Head ladies forward and back.  Head ladies swing in the middle and immediately the other six start to circle left around them.
A2:Finish the circle left.  All swing partner.
B1:Allemande left corner, allemande right partner, do-si-do corner.
B2:Do-si-do partner.  Swing.
Tony Parkes said:

Crooked Stovepipe is in my new book, with two call charts and a few miscellaneous comments.

Read about Tony's new book: Square Dance Calling: An Old Art for a New Century which is now available.

Girl I Left Behind Me        Brighton Camp: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 1, No. 4, July 1949.  Original wording on page 16    Internet Archive
Adirondack version
Contributed by “Duke” Miller, Gloversville, N.Y.

Introduction
Allow music to run 4 bars4
Bow to your partners one and all2
And to your corner la-a-a-ady.2
The Break
Allemande left the left hand girl
Touch right hands with your partner
Allemande left that right hand girl8
Come back and promenade your own
    (promenade takes 8 more bars)8
The Figure
First old couple lead to the right2
And balance there so kindly2
Walk right through and balance again2
And swing the one behind you2
      Long swing8
Take that new girl to the next
And balance etc. etc.8
      Long swing8
 
Note — at this point each man should be home with a new girl.      
Now insert the complete break including the promenade.
Second couple now does the figure and the break
and as the promenade starts, immediately call:
 
Spin her back and walk the next
She walks with the man behind her
Spin her back and walk the next
She walks with the man behind her16
Spin her back and walk the nextor
She walks with the man behind her24
Spin her back you have your ownif not
So promenade that lady homehome in position
Third couple same as the first,
Fourth couple same as the second.
 
Although description is long, the dance is fast, taking about six minutes to do the whole dance.

The call “spin her back” etc. should be done from New England promenade position as follows:

Raise left hands high, as left feet hit the floor the man exerts a sharp pull with his right hand on girl's waist.  This causes the girl to spin once in place.  At the same time the man keeps moving ahead and the next girl ahead of him should drop onto his right arm in promenade position.

“Walk through and balance again” - girls go thru on inside, and this balance is back to back with that couple.  Thus, when they balance, the first man and second lady are back to back; likewise first lady and second gent are back to back.
For those more familiar with a skaters' hold, New England promenade position is where the man's right hand is on the woman's right hand on her waist, as in a courtesy turn at the end of a ladies chain.

21st century contra dancers will want to take hands with someone and balance forward and back, but that's not what they did in 1949.  In fact in the May 1955 issue of Northern Junket, Dr. Ralph A. Piper wrote an article entitled “50 variations of the balance”, and his first variation is: Step on the right foot, point the toe of the left foot in front of right; repeat to the left“ which is a setting step as you might find in English or Scottish dances.  He points out that: ”The term balance superseded the term “setting” to partners or corners.  So the first time you're setting to your opposite, then pass through right shoulder, and the second setting is to nobody: Miller makes that very clear.

Wait For The Wagon        Wait For The Wagon: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 1, No. 5, August 1949.  Original wording on page 10    Internet Archive
A singing call

Repeat first 8 measures of music.  Do NOT repeat the second eight measures.  This is a 24 measure call.

Introduction
Honor to your partner, the one you love the best
Honor to your corner, the one who's from the West.
Swing your partners one and all, the handsomest girl in the hall.
Promenade your partner, keep a smile upon your face,
While you wait for the wagon, walk around to place.

The Dance:
The head two step inside the ring (1st couple)
Balance there and swing.
The lady steps out to the right
The gent goes to the left.
Go between the two side couples,
Join hands and forward six,
Six fall back on the same old track,
And the head two in again.
They balance in the middle,
Then swing around once more,
Swing her if you love
Up off the old pine floor.
Then balance to the opposite two,
Be careful what you do,
You right and left right over
And you right and left right home.
When you're in your places,
You balance all and swing,
Take the ladies with you, and promenade the ring.
Promenade with your partners, never more to roam,
While you wait for the wagon
You can promenade her home.

[Virtually the same wording for the 2nd couple which I'm not going to type out again.]

(Other two couples do the same changes in turn The third couple going between the two side couples, and the fourth couple going between the head two couples.  Use any ending you wish.)

Swing Two Ladies        The Low Backed Car: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 1, No. 6, October1949.  Original wording on page 14    Internet Archive

Ralph Page
Music: Any Irish jig.  I like to use “The Low Backed Car”

Use any introduction you wish, then:

Join your hands and forward all
Forward again for the good of the hall
The head two men take two girls home.
    (Their corners as well as their partners.  Thus the two head men have their partner at their right and their corner girl beside them at their left.  The two side men stand in place alone.)
Head gents turn partner with right hand around
Their corner lady with the left hand around
They put their arms round both girls' waists
And swing them both around in place.
Open it up in a circle of three
And three hands around you go
Pop the corner lady under
Everybody swing and don't you blunder
And all promenade around the ring.

The figure is repeated for the side gents.  It may also be done for but one man at a time.  It all depends on how the caller is feeling or how much time he has for the figure.

In the swing two ladies figure, it is a lot safer if the two girls join their free hands.  The figure should be done clockwise, and for goodness' sake men, hold on tight.
Tony Parkes said:

Swing Two Ladies is also in my new book.  I hadn't looked at Ralph's notes in a long time; I had forgotten that he envisioned the key move as a line of three going round, with or without the ladies' hands joined.  Ted Sannella and I always taught it as a basket of three.

Battle Hymn of the Republic        John Brown's Body: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 1, No. 7, November 1949.  Original wording on page 16    Internet Archive
Singing Call contributed by “Duke” Miller, Gloversville, NY.

Verse:
Bow to your partners one and all
And to your corners all
Join your hands and circle eight
Go eight hands around
The other way back, you're going wrong
Back to places all
Yes, back to places all.
Chorus:
Do-si-do with your corners do-si-do
Do-si-do with your partners do-si-do
Allemande left with your corners
Come back and you swing your own.

Figure:
Verse:
The head couple promenade the outside of the ring,
All the rest will follow round and listen while I sing.
Come up through the center and stand four in line
Salute your partners all.
Verse:
Head couple do-si-do your partner do-si-do
Next couple elbow swing, your partner elbow swing,
Third couple do-si-do your partner do-si-do
And the last ones elbow swing.
Chorus:
Now everybody forward and everybody back
Once again and pass 'em through and meet 'em coming back
You swing her when you meet her
You swing her round and round
You swing to places all.

Repeat figure with 2nd, 3rd, & 4th couples leading in turn.

Conclusion:
Verse:
Allemande your corner and grand right and left
Your own with the right, the next with the left
When you meet your partner - there you reverse
Hurry back the other way cause you are getting worse.
Chorus:
Swing your own when you get home
You swing her round and round
And after you have swung her, you promenade to town
Thank your partner kindly, that is all.

Note: When couple #2 or 4 leads up through the center the lines go cross-wise of the hall.

“Duke” Miller is Athletic Director of the high school in Gloversville, Hew York.  This is one of many square dance calls he has collected from that vicinity and northern York state.  He tells us that he never heard but one elderly man use this call as given here.  Duke was kind enough to take us out to dinner one night last summer and over our second cup of coffee sang this dance for its.

Duke is doing a grand job with his own high school  group, and various PTA meetings around his section of the state.  Sometime we hope to needle him into contributing an article about his work out there in New York state.

Old Joe Clark        Old Joe Clark: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 1, No. 8, December 1949.  Original wording on page 12 (actually page 58 in the PDF)    Internet Archive
The Dance
Introduction
Join your hands and all around,
Eight hands once around,
Guess you've got the rhrumatiz,
Don't believe you'll ever get round.
Break and swing your partners all,
Exactly as I say,
Swing your ladies everyone
Before they run away.
Figure
The first couple promenade
The outside of the ring,
Take your steps in double time,
You haven't time to sing.
Balance corners round the hall,
You balance one and all,
Swing your partners round and round,
Swing her to the wall,
Right arm to your partner, boys,
And grand allemande,
Reel your own girl once around,
And pass on to the next.
Meet that girl with a left arm whirl,
Then pass on to the next,
Give that girl your good right arm,
And reel just once around.
Now the next one by the left,
By the left arm reel,
Here's your own ahead of you,
Reel her by the right,
Pass right by, say good-bye,
See you tomorrow night.
Reel the ladies all around,
But don't you hug 'em tight,
First the right and then the left,
You allemande right on,
What'll we do for pork and beans
When Joe Clark's dead and gone?
Reel, reel, everybody reel,
Until you all get home.
When you're home, stand in place
With a big smile on your face.
                *
Next two promenade around
The outside of the set,
You haven't time to say good-bye,
But do not sigh or fret.
Promenade everyone, promenade the hall,
Walk around with Old Joe Clark,
He ain't been here since fall.
All join hands and circle eight
Around Old Joe Clark's gate,
If you stop to spark the girls
You won't get home 'til late.
Swing your partners all around,
Swing 'em night and day,
Swing hard with Old Joe Clark,
He ain't got long to stay.
                *
Third couple promenade around the outside,
Don't know why she married you,
She's such a handsome bride.
Balance once to your corners all,
Balance all around, swing your partners everyone,
Swing 'em up and down,
All promenade with Old Joe Clark,
Promenade I say.
Don't marry a man with whiskers on
They're always in the way.
Promenade the other way, the other way around,
Walk along with Old Joe Clark
The other way down town.
                *
Last couple take a promenade
Around the outside,
hurry right along to place,
With your lady by your side.
All join hands and circle eight,
Until you all get straight.
When you're home you swing all out,
Swing your partner inside out.
Swing your honey and swing your beau,
Swing 'em fast, swing 'em slow.
Then step right back and make a bow
To your partners all.
                *
Ending
Right hand to your partners now,
And grand right and left,
Grand chain half the way,
And promenade back home.
Promenade Old Joe Clark, promenade I say,
Promenade with Old Joe Clark,
As you've done many a day.
Promenade around the hall
With your lady right beside yer,
Thank the fiddlers one and all,
And I'll take a glass of cider.

There it is friends, exactly the way we used to call it a few years ago.  Word for word.  The calls explain themselves.  The grand allemande is known in some sections of the country as the “once and a half”.  Call it what you've a mind to.  But keep reeling once around with everyone you meet completely round the set.
That was a lot to type — for Ralph and now for me!  It's interesting that towards the end he says “grand right and left” which is the American term, and follows it immediately with “grand chain” which is the term used in the quadrilles and still the term we use in England and Scotland today (2021).

Honest John Part One        Honest John: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 1, No. 9, January 1950.  Original wording on page 14    Internet Archive
The first couple out to the right
And balance with the two,
Join your hands and circle to the left
And then here's what you do.
You chassez by, address your opposite
Chassez back, address your own
Then right and left the way you are-
Ar-r-re, ar-r-re.
Right and left back to place
And the ladies grand chain.
All promenade your partners.

Other couples do the same changes in turn.

The Dance

First couple walk to their right, stopping in front of the second couple.  Both couples balance with each other, by taking two short steps toward each other and two short steps back.  They then join hands and go four hands around once.  Release hands.  The first couple should be about in the middle of the set, with their backs to fourth couple.  Couples 1 & 2 chassez by partners with four short walking steps, gents to their right, ladies to their left, ladies passing in front of partners.  The two men now bow to the opposite ladies (man 1 bows to 2nd lady, man 2 bows to 1st lady) who curtsey to them.  Repeat the figure in opposite direction, bow and curtsey to own partners.  Couples 1 & 2 do regular right and left figure, over and back.  Then all four ladies do grand chain: 1st & 3rd ladies join right hands, 2nd and 4th ladies do the same.  This makes a star.  In this position ladies walk to their own left half around the set to opposite man.  Ladies release their right hand star, give left hand to that opposite man who takes the lady's left in his left and turns her once around, counter clockwise as in regular ladies chain; ladies now step to center of the set, join right hands once more in a star and circle to own left half way round the set to own partner, release right hand star, give left hand to partner who turns them once around as in regular ladies chain.  All promenade partners once around the set.  The other couples do same figure in their turn.

This is the short way of doing the dance.  Originally, each couple visited every other couple in the set doing the same figure with all of them in turn.  This made a very long dance out of the first part of Honest John, and it was gradually shortened; first by omitting the promenade around the set, and then by having each couple do the figure with the couple on their right.  We saw this dance done this short way at the Vermont Country Dance Festival, Plainfield, eight or nine years ago,  The tune and calls are exactly as the group from West Newbury danced them.  The caller was Charles DuBois, now of Amherst, Mass.  Later, we obtained the same version from Mr. Brummer, Swiftwater, N.H.

Mr Brunner wrote that Honest John was always danced in his town, for the first dance after intermission.  And that all the dancers on the floor joined the caller in singing the figure “chassez by, address your opposite, chassez back, address your own.  Right and left the way you ar-re, ar-r-re, right and left back to place and all four ladies chain”.  Try it this way, you will get a big kick out of it and the dance will mean a lot more to you.

Honest John was originated by the Van Orman family who once lived in Newbury, Vermont.  It is known to be at least 75 years old and is probably nearer 100.  The Van Ormans were a large and very musical family, who came to eastern Vermont from New York State.  Many of the family are yet living in Vermont, and they are a musical family to this very date.
A beautifully clear and detailed description of the dance — would that John Playford had done the same!  This time the balance is specified as forward and back, so that may have been the way it was done in “Girl I Left Behind Me” — but again, no taking hands.  Notice that it's an open ladies chain, not a courtesy turn with an arm round the waist.  The dance is clearly descended from the 19th century quadrille — Mr Brummer dates it to probably around 1850.  If you don't know about quadrilles and think this sort of square is a purely American invention, you need to learn more about its background!  See for instance my page on Connections.

In earlier times the chassez would have been a sideways slip-step rather than a walk, known by the French title of chassé-croisé and used for instance in “La Russe”.

I've given the melody as Ralph Page notated it, except for one bar where I think he put three notes too low (a mistake I've made many times) and I've added chords.  It's strongly related to “Brighton Camp / The Girl I Left Behind Me” but with an extra section in the middle.

Tony Parkes says:

I agree with you about the three wrong notes in Ralph's score.  In addition, I think the quaver just before the last D7 chord should be a G, not an F#.

It does look as if an open left-hand turn is being described in the ladies' grand chain.  However, it says “as in regular ladies chain”; we'd have to know how that was done in that community to be sure.  I wonder how the right and left was done; there's no description.

I danced this to Dudley Laufman's calling in 1965 or 1966.  Dud called it just as it's given here except that he said “Everybody swing” instead of the ladies' grand chain.  Yes, he called for a 16-count swing.

I've now changed the note that Tony queried.  The tune is 40 bars with no repeats, and the words fit the tune, the second line with its slow notes for “You chassez by, address your opposite.  Chassez back, address your own”.

A:First couple out to the right to face second couple (4 steps); both couples balance forward and back.  Circle left.
B:Walk past partner, ladies in front; bow/curtsey to opposite.  Walk past partner, again ladies in front; bow/curtsey to partner.
C:Right and left through, and back, first couple finishing home.
D:All four ladies chain across and back (with an open left-hand turn).
E:Promenade.

Honest John Part Two        Honest John Part Two: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 1, No. 10, February 1950.  Original wording on page 17    Internet Archive
The first two give right hands around
Keep your steps in time
Left hand back the other way
And balance four in line.
SWING (usually, but not always, spoken)
The head two ladies chain.
Head two couples half promenade
And half right and left to place.

The next two give right hands around
Keep your steps in time
Left hand back the other way
And balance four in line.
SWING (usually, but not always, spoken)
The side two ladies chain.
Side two couples half promenade
And half right and left to place.

Repeat same changes for other couples

an ending

Allemande left your corner girl
A right hand round your own
You do si do your corner lady
And promenade your own.

The Dance

The first lady and third gent step to the center of set, join right hands and walk once around; releasing right hands they join their left hands and walk back the other way.  They keep hold of left hands, join right hands with partner and balance that way four in line.  This balance step is a short step forward and one short step back.  All swing partners.  Couples 1 & 3 do a regular ladies chain.  Same two couples promenade across the set, turning around in the opposites couples place and do a right and left home to place.

Then the second lady and fourth gent give right hands once around, etc.  Side two couples ladies chain, half promenade and half right and left to place.  Other couples do similar figures in turn.
This is also clearly derived from the Quadrille.  It's a mixture of figures 3 and 1 of The Plain Quadrille, with a swing and an ending added to make it American.  No connection with the previous dance except that I assume it was traditionally danced as a set with Part One.  I've set it as Ralph wrote it except that I'm sure he meant B rather than C in bar 24.  Tony Parkes says:

The names of the tunes are not given, but in a narrative account of a kitchen junket in another issue of NJ, Ralph identified the first tune as “I Can't Untie the Knot” (granted the “A” strain sounds a lot like “Boil Dem Cabbage Down”). The second tune is, of course, Old Zip Coon or Turkey in the Straw. No repeats of any of the strains.

Here's Ralph calling part 2. The ending uses just the two strains of Can't Untie.

That's so useful!  Now you can see exactly how the call fits the music, and the points where there's no call — how would you have known that from reading the magazine?  The tempo is123 beats per minute.

Figure:
A:First lady and third gent right-hand turn.  Back with a left-hand turn, keep hold and give right to partner forming a wave up and down.
B:Balance forward and back once; swing partner for 6 bars, finishing back in the square.
C:Head ladies chain across and back.
D:Heads half promenade (inside the set).  Right and left through to place.
Ending:
A:Allemande left corner, allemande right partner, do-si-do corner.
B:Promenade partner.

Reel of Woodview Dell        The Kerry Dance: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 1, No. 11, March 1950.  Original wording on page 17    Internet Archive
Julia Dwyer
Music: The Kerry Dance

Right elbow swing with your partner,
Gents move one place to the left and bow to that lady,
Ladies move one place to the left.
All do si do where you are,
All balance there and pass by
To the next and swing that lady and promenade home (original corners ½ round to gent's place)
All left elbow swing new partner,
Ladies move one place to the left and honor,
Then all do si do that lady,
All balance the same and pass by,
Swing next lady and promenade home.

Repeat from beginning until all the ladies are back home.

Vive la Compaigne        Print this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 1, No. 12, April 1950.  Original wording on page 15    Internet Archive
from Paul Hunt

Intro:
Allemande left, as you come down you
Swing your partners all around.
Allemande left with the corner again
And a grand right and left.
Hand over hand around the track,
Keep on going 'til you get back.
All the way boys and girls all the way.

Figure:
First lady go right and the gent to the left
Around the outside you go.
You do si do with the gal of your dreams
You do the do si do.
Take her in your arms and swing
Promenade back home again
Hurry hurry hurry hurry swing your corner girl.
Oh you swing that girl then leave her alone
Go right back and swing your own
Swing that girl till she's out of breath
Now we do the allemande left.
Left hand around your corners all
Promenade your partners all

(Repeat for other three couples in turn.  then two head couples at same time, then side two couples, then all four couples.)

The call is self explanatory.  But when you promenade after the do si do and swing it is in the direction THE GENT WAS GOING.

Paul Hunt is one of the finest callers in the country.  This call is from his forthcoming album on the Michael Herman Folk Dance Series soon to be released.  The album is a MUST.
OK, I wouldn't have guessed that the promenade was clockwise — in my experience it's always the man on the inside.  Presumably that's why it's in capitals.



Volume 2

Bachelor's Shack        Print this danceTop of page   Added 6-Dec-21

From Northern Junket Vol. 2, No. 1, June 1950.  Original wording on page 17    Internet Archive
…  Al Brundage of Stepney, Conn. was the next guest caller. Al called “Just Because,” “Marching through Georgia” the version where everyone marches around, and for his third call Al used “Bachelor's Shack” which was something that the dancers were not used to around this section.  After lining the ladies up with the side gents the call went like this:

Forward up six and back
Forward up six and the ladies stand there
The gents go back to the bachelor's shack
    (Four ladies are standing in the center)
The first gent does:
Right hand round with your right hand lady
    (with the # 1 lady)
Left hand round with your left hand lady
    (with the # 4 lady)
Right hand round with your right hand lady
    (with the # 2 lady)
Left hand round with your left hand lady
    (with the # 3 lady)
This brings 1st gent to 3rd gent's place.
Elbow round with your left hand lady
    (this leaves # 1 gent in position to--)
Left hand round with your left hand lady
    (lady # 2)
Right hand round with your right hand lady
    (lady # 3)
Left hand round with your left hand lady
    (lady # 1)
Right hand round with your right hand lady
    (lady # 4)
Allemande left with your left hand,
dance right into a right and left grand, etc.
Then repeat for other men.

I'm not surprised they were confused!  Referring to your partner as “your right hand lady” is surely asking for trouble, especially when the next time it really does mean your right hand lady — and then there are two meanings for “your left hand lady” — first corner, then opposite.  I'm wondering if “Elbow round with your left hand lady” should really be “Right elbow round with your opposite man” (which would indeed leave the gent in position for “Left hand round with your left hand lady”), and that's because I know a dance called “The Bachelor Mill” which was published in the book “Advanced Square Dance Figures of the West and Southwest” by Lee Owens, Palo Alto, California: Pacific Books, 1950.  That dance is clearly derived from “Bachelor's Shack” though it has both head men leading the figure instead of just one.  You can see a facsimile of the book and below is how I call it.  I learnt the dance from Bill Litchman who had changed the order in which the men visit the women to make it easier to memorise, but after trying his version a few times I decided I preferred the original.  However I like Bill's addition of all four men doing the figure at once — that's great fun (for the caller)!

I can't find Bill's version on the Lloyd Shaw website any more, but it's held on the Internet Archive.

Tony Parkes says:

I agree 100 percent that “Elbow round with your left hand lady” is a typo.  (There are countless typos in Ralph's dance transcriptions.)  Every version of this dance I've seen in print or danced to live calling has the head two gents right elbow swing at this point.

I never had any trouble getting people to turn the ladies in the correct order. Once the side gents are out of the way, the ladies are standing in a little square. The active gent simply turns the one on the right, the one on the left, the next one on the right, and the next one on the left.

I learned this figure by dancing it to the calling of Dick Kraus at Columbia University in the 1960s.  Dick let me practice calling to his group, one figure a week, for several years.  In his book Recreation Leader's Handbook (1955), he says it “has been credited to Ivan Mardis, of Tucson, Arizona.”  (Other writers credit it to various other callers.)  In the book, Dick ends it with “Four little sisters form a ring, Go once around and then you swing” and “promenade.”  At Columbia his ending was a bit more elaborate: Four little sisters form a ring (i.e. ladies circle in the center), do-si-do partner, four gents star right once and a bit to the corner, allemande left, grand right and left halfway, and promenade home.

You can borrow a copy of “Recreation Leader's Handbook” at archive.org/details/recreationleader00krau

The Bachelor Mill        Print this danceTop of page   Added 6-Dec-21

Dance and call arranged by Jimmy Clossin of El Paso, Texas, from an original dance by George Waudby of Tucson, Arizona.

 Heads lead to the right, circle left, head gents go home.
 Lines of three forward and back; lone men forward and back.
 Lines forward; those men fall back.  [All overlapped]
 Head men turn partner R, corner L, Right-hand lady R, opposite lady L.  Each other R elbow once.
 Now reverse it: opposite lady L, right-hand lady R, corner L, partner R.
 All balance to partner, allemande left corner, ladies star right.
 Men wheel your partner out of the star and promenade one place around the set, wheel around and promenade back again, wheel around and promenade all the way round in the usual direction.
 Bill Litchman's addition: After head men and side men have led the figure, all four men lead it — they do a right-hand star rather than a right-elbow turn.

I tell the head men to point at — and recognise — their partner, their corner, their right-hand lady and their opposite lady, and explain that they'll be turning them in that order and the ladies will be right where they are now.  People think I'm being unnecessarily pedantic, but then when I start the walkthrough there's general confusion and someone will say, “Colin, can you go through the order again please?”.

Hot Time in the Old Town Tonight        Hot Time in the Old Town Tonight: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 6-Dec-21

From Northern Junket Vol. 2, No. 2, July 1950.  Original wording on page 16    Internet Archive
As called by Priscilla Darling
Any introduction you wish, then---

First couple balance, and first couple swing
First couple promenade the outside of the ring
When you're home I'll tell you what to do
There'll be a hot time in the old town tonight.
Go down the center two, and four go back (1st & 3)
Down the center four, head two cast off six
When you meet, swing at the head and foot (1 & 3)
There'll be a hot time in the old town tonight.
Go down the center as before, and four go back
Down once more and cast off four,
When you meet, swing at the head and foot
There'll be a hot time in the old town tonight.
Go down the center as before, and four go back
Down the center, and cast off two,
When you meet, it's everybody swing
There'll be a hot time in the old town tonight.
Allemande left, and grand right and left
Half way round, and promenade back home,
Promenade, promenade your own,
Then you bow to your partners one and all.

    Other couples do the same in turn

    Use any ending you wish

After their opening solo the ones lead across to meet the threes, pull them back till the ones are home, push them till the threes are home, then the ones split the threes, separate, go round the outside back home, and both head couples swing.  Lead, pull and push as before, and this time the ones separate and go through the gaps between the threes and a side couple, go around that side couple and both head couples swing at home.  Lead, pull and push as before, and this time the ones separate and go through the nearer side couple, go around one person, and everybody swing at home.

Tony Parkes adds:

Granted, this makes for a bit of a snooze fest for the other couples.  I've seen a few attempts at livening things up, including a right and left across for the sides after Couple 1's first and second trips through the middle.

This has no connection with the better known singing square (still current in England in the 21st century) which you can see at barndances.org.uk/detail.php?Title=Hot_Time_in_the_Old_Town_Tonight.

Tony Parkes says:

In the late 1940s and early 1950s there was much less standardization — in general, and specifically in the matter of what figure belonged with what tune in a singing call.  Dick Kraus used to call two different figures to Hot Time (depending on the crowd, not together as a medley): the one you link to, with “pick up two” and the allemandes, and also a version of “ladies to the center back to back, gents run around the outside track.” The book “One Hundred and One Singing Calls” (Frank Lyman Jr, 1951) has six transcriptions of figures to this tune, although some are merely slight variations of the others.

Just Because        Print this danceTop of page   Added 6-Dec-21

From Northern Junket Vol. 2, No.3, September 1950.  Original wording on page 22    Internet Archive
as called by Duke Miller or Gloversville, N.Y

Introduction
Just everybody bow to your partner
And now to your corner as well
You allemande left and you grand right and left
Half way around to your pal
You re-verse her when you meet your partner
Then right and left back the other way
And when you are home
You will all swing your own
Because, Just Because.

Figure
The head two girls chain over
And chain those ladies home once more
The side two janes will ladies chain
Chain them across the floor
You do si do with your corner
And swing your lady just once around
Then take the corner maid
And all promenade and
You sing Because, Just Because.

Break (following each figure)
You do si do with your corner
Come back and do si do your own
Allemande left with the one on your left
And allemande right with your own
Allemande left - grand right and left
Half way around to your maid
Then you take that maid
And all promenade - sing
Because, Just Because.

Conclusion
The last time through each should have own partner, so for last three lines substitute:

Now you have your own
You promenade her home.
And thank her, that is all.

We think this is one of the best of the so called 'modern numbers '.  It is a catchy polka tune and the dancers love to help out the caller on the last line.

Many callers in the country arc associated with a certain tune and dance.  Whether they are the originators of that figure or tune is beside the point.  The fact remains that they are connected with it.  So it is with Duke Miller.  After this past summer he will always be thought of in connection with this dance and tune 'Just Because'.  It will make him famous.  And he will come to hate it, which is one of the prices of fame.  He was not the first to call it and he would be the first to tell you so.  But he does a beautiful job of calling it, as you will agree once you've danced with him.

I don't know whether the music is still in copyright, so I'm not giving it here.

Go halfway round        MacNamara's Band: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 6-Dec-21

From Northern Junket Vol. 2, No.4, October 1950.  Original wording on page 16    Internet Archive
As called by “Pop” Smith who uses the tune 'MacNamara's Band' for the figure.

Any introduction you wish:

The two head couples separate half way round the ring
The two side couples half right and left to the other side
All swing your partners, swing 'em round and round
Do si do your corners all, your corners do si do
Do si do your partners, your partners do si do
Swing your opposite ladies, swing 'em up & down
Take your corners where you are and promenade the town (to gent's place)

Repeat once more for the head couples.
Repeat twice more for the side couples
      or four times in all.

use any ending you wish.

Here's my understanding of the call.  A year later Ralph Page published his version which is very similar.

A1:Heads separate and go half-way round the outside.  Sides right and left through.
A2:All swing partner.  Do-si-do corner.
B1:Do-si-do- partner.  Gents cross over (I suggest like a right-hand star half-way but without hands) and quick swing with opposite lady.  [Gents are now home.]
B2:Promenade current corner all the way round, to the gent's home place.
 Ladies have moved right.  Repeat for the heads and then twice for the sides.

Birdie in the Cage        Reel des Moissonneurs: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 6-Dec-21

From Northern Junket Vol. 2, No.5, December 1950.  Original wording on page 16    Internet Archive
(Northern New England version)

Suggested music: “Reel des Moissionaires”

Here's exactly the way we call it.

Head two couples bow and swing
Right there at the head of the ring
Lead to the right and circle four
Once around and then no more
Lady in the cage , and act your age
Circle three hands once around
Girl steps out, gent steps in
Three hands round you go agin
Gent comes out, gives lady a swing
Up to the next and the same old thing
One with four, three with two
Four hands round that's what you do
Birdie in the cage, circle three
Bird flies out, crow hops in
Three hands round and gone agin
Crow comes out, gives birdie a swing
Home you go, every one swing oh
Swing your partner round in place
With a big smile on your face
Allemande left like sawin' pine
Right hand to partner, walk down the line
When you meet her, promenade eight
Promenade with sister Kate.
Then swing your partners, swing 'em all
Slim ones, fat ones, short or tall.

Side two couples bow and swing
Right there on both sides of the ring
Watch out there!  You'll break a toe
Lead to the right and round you go
Birdie in the cage three rails high
You be a preacher and so will I
Hen comes out, rooster hops in
Flap your wings and round agin
Rooster comes out, gives old hen a swing
On to the next and same old thing
Four with three, two with one
Circle four you're not quite done
Gent stays out, lady steps in
Don't forget to go round agin
Birdie comes out, old hawk's in
Join your hands and gone agin
Hawk comes out, gives birdie a swing
Home you go and swing your own
Ain't you lucky the bird ain't flown?
You swing yours, I'll swing mine
Rather swing my girl any old time
Allemande left like swingin' a birch
Grand right and left like catchin' perch
When you meet her, pass right by
Wink at the next as you go by
Kiss the last one on the sly
And swing your partner by and by
Swing ' em men, swing ' em all
They ain't done that since way last fall
Promenade all around the hall
Kiss her quick or not at all.

Tony Parkes says:

The tune Ralph had in mind for Birdie in the Cage was undoubtedly Reel des Moissonneurs (Harvesters' Reel).  It appeared under that name on a French-Canadian 78, one of several such discs that were welcomed by New England callers in the 1950s when it was hard to find decent danceable recordings that weren't too fast.  It's better known as “Irish-American Reel”.  Here's Dudley Laufman's old orchestra playing it: www.youtube.com/watch?v=Q7gpvyxRVVs

The version I'm giving comes from tunearch.org/wiki/Reel_des_moissonneurs_(1) and has the B music in the dominant, whereas Dudley's orchestra plays the whole tune in the same key.

“Bird in the cage” is a traditional Southern figure from what we in England call Running Set — see round.soc.srcf.net/dances/krs/guts.  Ralph gives a different version of the dance — Birdie Fly Away — in Volume 2 number 12.

Solomon Levi        Solomon Levi: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 6-Dec-21

From Northern Junket Vol. 2, No.6, January 1951.  Original wording on page 16    Internet Archive
as called by Dick Best
Music: Solomon Levi

Verse:
The first lady and opposite gent
Lead out to the right
Circle three hands round you go
And hold her good and tight
Break those rings and then you form
Two lines upon the side
The two upon the head around
The outside now will slide.

Chorus:
Half way round and up the center
You meet her there and swing
The other six join hands around
And make a great big ring
A prettier girl, a nicer girl
A sweeter girl is she
Mow break that ring and swing your own
You swing your sweet Marie.

Verse:
The same head lady and opposite gent
Go forward to and fro (forward & back)
Forward again and pass right through
To the opposite side you go
The two ladies chassez the center (across)
The gents promenade (gents promenade across)
The two gents chassez the center (to place)
The ladles promenade (to place)

Chorus:
The same four holding the floor
Swing your partners in place
You've got no money, you've got your honey
So give her a good embrace
Right and left with your right hand couple
And right and left right back
Now right hand to your partners all
A grand chain round the track (grand r & l)

Repeat changes for each couple in turn.

Dick Best is one of the many good young callers working out of Greater Boston.  He calls regularly every Thursday night at the YWCA in Cambridge.  He is an excellent singer of folk songs too and has delighted New England Folk Festival audiences for many years.

This is a singing call which explains itself.  We think it is one of [his] finest calls.

I'm afraid doesn't explain itself to me!  First off, I have great difficulty setting the words to my version of the tune — maybe there's a very different version of the tune but I haven't found one, and surely in all versions the chorus will start “Oh, Solomon Levi” (or a similar phrase) which doesn't scan with “Half way round and up the center” or “The same four holding the floor”.  See for instance the MudCat discussion at mudcat.org/thread.cfm?threadid=163862.  The words fit much better if you just play the verse (the first 16 bars) repeatedly and ignore the chorus — but surely the chorus is the best-known part of the tune.

“First lady and opposite gent” comes from the quadrille (and you see this in “Honest John Part Two”), but normally they would dance a figure with each other, whereas here they're working independently.  Here's my understanding of the dance.  I've added lines forward and back because I can't see how else to pad out the music — if you have any other ideas please Contact me.  The second verse starts like the second figure of The Plain Quadrille: first lady and opposite gent forward and back, and cross over.  But the quadrille continues with them crossing back to home place, whereas this has chassées and promenades.  That strikes me as similar to a move in “La Russe” where the first couple promenade through the third couple while the third couple cross the set outside them and then the reverse.  However in this dance it's the gents promenading through the ladies while the ladies cross the set outside them and then reversing it with the ladies promenading and the men crossing outside them.  And then the second half adds “(to place)” which doesn't make sense.  It never occurred to me that I would have the same problems interpreting dances from these books that I've met in my Interpretations of dances from the 17th and 18th centuries!  I'm going to ignore “to place” and tell the actives to get back to their partners for the swing (which lasts 8 bars, so it's not a rush).  Perhaps the line “Swing your partners in place” means that the actives have first to get back to place, and Ralph added the erroneous “(to place)”.  Then a right and left through (and back) with the right-hand couple takes 8 bars — but there's no music left for the grand chain!  Maybe this is where the chorus of the song at last appears, and people would sing it as they danced.  Dick uses the older term “grand chain” and Ralph explains that this means “grand right and left”.  All the way round in 8 bars is very busy, but maybe it was understood that the chain is half-way followed by a promenade, so that's what I'm giving here.

A1:First lady and third gent move to their own right and circle with that side couple, breaking into lines with the actives on the end near their home position.
A2:Lines of three forward and back.  Lone dancers (first gent and third lady) go round the outside (clockwise?) half-way.
A3:Same two meet in the middle and swing while the other six circle left once around them.
A4:Finish the circle and all swing partner at home.
A5:First lady and third gent forward and back.  Cross over.
A6:Head gents lead across the set and then turn away from each other while head ladies cross the set outside their partners (but inside the set, not outside the side couples) and turn in.  Ladies then lead through the gents and turn out while gents cross the set outside their partners and turn in.
A7:First lady and third gent cross back to their partners, and head couples swing.
A8:Head couples right and left through with the side couple on their right, and back again.
B:(first 8 bars only): Grand chain half-way.  Promenade partner home.
 Repeat with second lady and opposite man, then third, then fourth.

Tony Parkes says:

First, I agree that the call doesn't explain itself, and I sympathize with your attempts to interpret mid-20th-century dances.  I can often discern the author's intention where a less experienced reader couldn't, but this one gives me pause.

As to the arrangement of the tune, I feel certain that Dick Best intended it to be played AABA, AABA, AA.  (Around 1950, when live music was still the norm everywhere, many callers prescribed peculiar sequences of verse and chorus music for some of their singing calls.)  The grand chain is prompted, to be danced (all the way round) to the extra “AA” music.  I realize that the words in the first half of each “chorus” don't scan well to the “Oh, Solomon Levi” music, but I have many, many singing-call records from that era on which the caller sings the melody as best he can while the note values of the lyrics differ widely from the original song.  I could do this one easily.

But I'm having as much trouble as you did in interpreting the figure.  I agree that either Dick or Ralph (or both) appears to have forgotten that two people are across from home in the middle of the second verse.  I wish I had another source for this call — often there will be clarifying text in a different book — but I've never seen it anywhere else.

Wearin' o' the green        Wearin' o' the green: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 6-Dec-21

From Northern Junket Vol. 2, No.7, March 1951.  Original wording on page 22    Internet Archive
called by Corky Calkins of Northampton, Mass.
A singing call to same music

Oh Paddy dear, do you hear?
You lead up to the right,
Balance to that lady there
And swing her nice and light.
Then it's up to the next you go.
And do a three hand swing.
Return now to your partner
And salute the dear old thing,
Allemande left with your corners all
And a right hand to your own,
A grand right and left you go,
Until you meet your own.
You swing her when you meet her,
You swing her nice and light,
Or there'll be trouble brewin' sure
When Pat gets home tonight.

      (You are now across the set from original position. Stay there and continue with --)

Now Maggie dear, do you hear?
You lead up to the right,
Swing the mick who's standing there
And hug him nice and tight.
Then it's up to the next you go,
And do a three hand swing,
Return now to your partner,
And salute the dear old thing.
Allemande left your corners all,
And a right hand to your own.
A grand right and left you go.
Until you meet your own.
You swing her when you meet her,
Swing around in place,
Swing your Irish colleen
With a smile upon your lace.

(Repeat calls for second couple, THEN)

Now all four ladies join left hands
And circle half way round,
Right hand to your opposite
And balance four in line.
Swing your opposite all around,
Is the order of the day,
But now that you have swung him
You go back the other way.
All four ladies join right hands
And circle half way home.
Left hand to your partner
And balance four in line,
Swing your partners, swing your own,
By the waning of the moon,
The next gent must be ready to dance
When I begin the tune.

(Go back to beginning for 3rd & 4th couples)

The whole of this issue is “Irish” — for instance the contra is “St. Patrick's Day in the morning”.  St. Patrick's Day is March 17th and there's a picture of a leprechaun holding a card with this date at the end of the dance instructions.  It's much celebrated in the States (though hardly at all in England)..

The tune is in the classic collection “O'Neill's Music of Ireland” (1905).

Wearing of the Green

Here's my understanding of the call.

 Figure:
A1:First gent out to your right-hand lady (4 steps); balance to her.  Swing.
A2:First gent move on to the next couple (the threes), circle left once around, then go home and bow to your partner.
B:(16 bars): All allemande left corner and grand chain half-way round.
 Swing partner (all opposite home place).
 For the next time through the tune the first lady goes out to her right-hand man and does exactly the same, all ending home.
 Repeat figure for the second couple.
 Break:
A1:Four ladies form a left-hand star (4 steps); star half-way, keep hold and give right hand to opposite man's right to form two interlocking waves of four.  Balance right and left twice.
A2:Swing opposite.
B:Four ladies form a right-hand star; star half-way, give right hand to partner.  Balance right and left twice.
 Swing partner.
 Repeat figure for third and fourth couples, and finish with the break.

The timing is probably not as precise as that!  In some singing squares the call comes as the dancers are supposed to move, rather than prompting them ahead of time, so unless they already knew this dance there would be a pause before the ladies were ready to do their stars.

I'm assuming “And do a three hand swing” means circle left, because the very next dance contains “And swing four hands so dandy (circle four)”.

Tony Parkes says:

Lawrence Loy recorded a very similar version of this dance for RCA Victor in 1945: youtube.com/watch?v=F2XwrefqdWg

Where Calkins says “three-hand swing,” Loy says “three-hand ring,” so you're correct in thinking a circle is called for here.

I see that Ralph wrote “Calky Calkins” in longhand, but the caller's actual nickname was “Corky.”

I'm not impressed by Lawrence Loy, who doesn't sing at all — he just says the words to the rhythm of the music — but at least you can hear how the call fits the tune.  He calls it with both head gents leading the figure simultaneously and so on, which makes for more action all round.  He has the gents doing the stars (right, then left) rather than the ladies.

Yankee Doodle        Yankee Doodle: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 6-Dec-21

From Northern Junket Vol. 2, No.8, April 1951.  Original wording on page 18    Internet Archive
YANKEE DOODLE---A Singing Quadrille
as called by Edgar Robillard, N. Adams, Mass.

Music - The Same

Introduction:

Salute your corners, partners the same
And circle eight hands so dandy
Circle left around the hall
With your Yankee Doodle Dandy
The other way back
On the same old track
The other way back so dandy
Mind the music and the step
And with the girls be handy.

The Dance:

The first head couple lead to the right
And swing four hands so dandy (circle four)
You balance too, and pass right through
And swing your opposite dandy.
Pass right back in the same old track
Pass right back so dandy
Pass right back in the same old track
And swing your partner dandy.
Then it's up to the next you go
And swing four hands so dandy
You pass right through with a how-de-do
And swing your opposite dandy.
Pass right back in the same old track
Pass right back so dandy
Pass right through and spin her too
You swing your partner dandy.
And It's up to the last you go
And swing four hands so dandy
You balance too, and pass right through
And swing your opposite dandy.
Pass right back in the same old track
Pass right back so dandy
Pass right back in the same old track
And swing your partner dandy.

Chorus:

Now do si do your corners all
The same unto your dandy
Allemande left your corners all
Give right hands to your dandy.
Go right and left around the hall
Right and left so dandy
Go all the way, go all the way
Go all the way so dandy.
You pass your honey with a nice little smile
You'll meet her bye and bye
Turn her around when you meet her there
Then promenade your dandy.
Promenade round, you promenade round
You promenade so dandy
Go all the way, go all the way
Go all the way so dandy.

Repeat the figure and chorus for each of the other three couples.

I've given the tune without repeats, so that once through the tune fits the Introduction.  I'm being pedantic about the timing of the Introduction but you certainly wouldn't want to teach it that way.  In fact it's better if you don't walk through the Introduction at all — just start the singing and it will all flow naturally.  I've already quoted Tony Parkes as saying that walkthroughs were much more common than they would become a decade later, but maybe you would leave out walking through the Introduction and just walk through the figure.  The timing of the figure may not be exact either, but it's certainly busy, so don't let anyone swing for more than a couple of seconds!

 Introduction:
A:Honour corner and partner (4 bars).  Circle left (half-way).
B:Circle left a quarter more, then circle right home.
 The Dance:
A:First couple out to the couple on your right and circle left with them.  Balance; pass through and turn back.
B:Quick swing with opposite (just once around, to face partner); pass through and turn back.  Quick swing with partner.
 First couple repeat this with the threes, then with the fours, finishing home.
 Chorus:
A:All do-si-do corner.  Do-si-do partner.
B:Allemande left corner; start a grand chain all the way round.
A:Continue the grand chain until home, then give right hands and gent twirl the lady into New England promenade position.
B:Promenade all the way.
 Repeat the figure and chorus for each of the other three couples.  

Go Half-way Round        Buffalo Gals: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 6-Dec-21

From Northern Junket Vol. 2, No.9, May 1951.  Original wording on page 17    Internet Archive
Music - Anything you like, though we prefer to use Buffalo Gal.

Any introduction, then:

Head two couples separate
Go halfway round outside the ring
Side two couples half right and left
All stay on the opposite side
Allemande left with the corners there
Do si do your own right there
The four men go across the ring
Give the opposite girl a swing
Take your corner from where you are
And promenade round the ring.

Head two couples separate
Go half way round outside the ring
Side two couples half right and left
And you're all on the opposite side
Allemande left with the corners there
Do si do your own right there
The four men go across the ring
To give the opposite girl a swing
Take the corner lady there
And promenade round the ring

Repeat twice for side couples. Or if you like a longer dance have head couples start the figure four times. Then a brief chorus figure; then four times with side couples starting. This is a nice “breakdown” figure; everyone dances most all the time.  It's sort of a screwy way to get to promenade your corner but nevertheless it's a lot of fun to dance.

This is much the same as “Pop” Smith's version above

The Ladies Switcheroo        Cec McEachern's Breakdown: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 6-Dec-21

From Northern Junket Vol. 2, No.10, September 1951.  Original wording on page 19    Internet Archive
(An original call by Ted Sannella)

Music - McEachern' s Breakdown

The Dance

The head two couples forward and back
The side two couples forward and back
The head two ladies chain to the right just half way round
Now ladies grand chain through the center of town (half way)
The head two couples right and left two by two (half way)
The side two couples right and left too (half way)
Do-si-do your corners all
Come back and. swing your own little doll.

The new head ladies chain to the right, now chain them just halfway
Now grand chain them through the center, don't you take all day
The head two couples half right and left, just like you did before
The side two couples do the same, keep moving 'cross the floor
Allemande left your corners
Allemande right your own
Swing your corner lady, promenade her home.

(repeat entire dance 3 more times)

The tune, Cec McEachern's Breakdown, was published in 1950 in a Canadian book called “Don Messer's Favorite Melodies”.  And this time I'm confident I've understood the call.

According to Wikipedia, “A switcheroo is a sudden unexpected variation or reversal, often for a humorous purpose.  It is colloquially used in reference to an act of intentionally or unintentionally swapping two objects.”  In this case the ladies are switching position all the time, while the men just move across to the other side and back again.

A1:Heads forward and back.  Sides forward and back.
A2:Heads to the right: ladies chain.  All four ladies chain across.
B1:Heads right and left through.  Sides right and left through.
B2:All do-si-do corner.  Swing partner.
A3:Heads to the right: ladies chain.  All four ladies chain across (to original partner).
A4:Heads right and left through.  Sides right and left through (all home).
B3:All allemande left corner, allemande right partner, swing corner.
B4:Promenade new partner to the man's place.
 Ladies have moved right.  Repeat for the heads, then twice for the sides, and I'm sure Ted would have put in a break at the beginning, middle and end, making it11 times through the tune .

Corners of the Hall        White Cockade: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 6-Dec-21

From Northern Junket Vol. 2, No.11, October 1951.  Original wording on page 22    Internet Archive
As called by Dick Castner.

Music - Any tune you like.  Dick likes The White Cockade.  We prefer The Low Backed Car.

First couple promenade around the outside of the ring
And right and left through with the couple you meet (2nd couple)
Right and left through on the corners complete (3rd with 4th)
Everyone right and left back on the same old track
Ladies chain on the corners of the hall (1 with 2; 3 with 4)
Half promenade on the corners of the hall
Half right and left back home
Circle four on the sides of the floor (1 with 2; 3 with 4)
Break that circle out into line, forward all and back
Forward again and ladies chain the grand square
When you're home you swing your own.

     Each couple leads out in turn.

This is a combination of at least two popular quadrille numbers, and is a great favorite among our French-Canadian dancers.  Sometimes it is called “Corners of the World.”  No matter what you call, it remains a fine New England style quadrille.

Again the word “quadrille” to remind us of its origins.  The first half comes from the first figure of The Plain Quadrille but with couples working in pairs rather than two couples dancing the figure while the other two wait for their turn.  I don't know where the second half comes from, but that's down to my lack of knowledge of quadrilles.

A1:First couple promenade outside, all the way.
A2:Ones with twos, threes with fours, right and left through, and back.
B1:Same four, ladies chain over and back.
B2:Same four half promenade.  Right and left through back again.
A3:Same four circle left once around, opening up into lines with heads on the right-hand end (nearest home position).  Lines forward and back.
A4:Ladies chain across the set, and wheel round to face up and down.  Ladies chain up and down, and wheel round to face across.
B3:All that again.
B4:Swing partner at home.
 Repeat for each couple in turn.

Birdie Fly Away        Print this danceTop of page   Added 6-Dec-21

From Northern Junket Vol. 2, No.12, November 1951.  Original wording on page 21    Internet Archive
Music - Any tune that you like to call to.

The first couple lead out to the right
And circle four and hold on tight
Lady in the middle and you circle three
Lady steps out, gent steps in
Join hands and circle again
Gent comes out and gives lady a swing
And you both lead on in a bigger ring
Circle six with the next
Birdie in the middle and you circle five
No mistakes now, look alive
Birdie hops out, old crow in
Join hands go round again
Crow comes out, gives birdie a swing
Then you all lead on in a great big ring
Circle eight hands around
Birdie in the middle and you circle seven
That's one way to go to heaven
Keep circlin' left, but raise your hands
Let the birdie in the middle fly away
You won't see her again today
Everybody swing and promenade hone

Repeat three more times for the other ''birdies''

It's equally as much fun to let the “old crows” fly away instead of the “birdies”.

The dance as given here is a combination of a figure we saw at Stockton Folk Dance Camp and one that Al Smith, Winchester, Mass, used to call.

Another version of “Birdie in the Cage”, this time cumulative, so after swinging his partner the leading gent picks up the next couple with his left hand to form a bigger circle.  You can see that Ralph is no purist: he combined figures from two places to create this dance.



Volume 3

When the bloom is on the sage        Print this danceTop of page   Added 10-Dec-21

From Northern Junket Vol. 3, No.1, December 1951.  Original wording on page 14    Internet Archive
As called by Dick Best

First couple separate around the outside ring (all the way)
Same couple allemande left and swing in the center
Gent to the left, lady to the right
Each one:
     allemande left with the lady
     allemande right with the gent
     allemande left with the lady again
     and they swing in the center
Now the lady to the left, gent to the right
Each one:
     allemande left with the lady
     allemande right with the gent
     allemande left with the lady again
     and swing in the center
Do si do your corners all
Swing your partners one and all

Second, third, and fourth couples do the same changes in turn.

Use any introduction and any ending that you wish.

Old Fall River Line        On the Old Fall River Line: Music in PDF, MIDI and ABC formatPrint this danceTop of page

From Northern Junket Vol. 3, No.2, February 1952.  Original wording on page 17    Internet Archive
The archived copies are incomplete, with the pages in a strange order, and the dance isn't there, but Ralph reprinted it in Volume 8 Number 7.

Contra Square        Stumpey: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Jan-22

From Northern Junket Vol. 3, No.3, March 1952.  Original wording on page 22    Internet Archive
An original call by Ted Sannella

Any music - though Ted prefers Reel of Stumpey

Head couples balance and do-si-do
Allemande left with your corners, oh
Hold on by the left, give right to your own and balance four in line (Only heads give right hand to partner thereby forming two lines at the head positions)
Now forward all and back.
Swing at the head and swing at the foot (First and third couples only swing)
Now go through the center with your own (First couple go down the hall while the third couple goes up the hall, passing each other in center of set as in right and left)
Turn right around, come the same way home.  (The two couples turn individually and return back through the center to home position)
Cast off with your corners and the ladies chain across, and back  (Cast off into contra formation with two lines facing each other from the side positions in the square.  Opposite ladies chain)
Join your hands and forward all and back
The center four go forward again and circle left (The original head two couples from positions in the center of each line step forward and join hands circling to the left until back nearest home positions - original home)
Turn your opposite lady with right hand around and now your own with left hand around.  (Head couples only do this)
Everybody turn your corner with a right hand around
All go home and swing with your own
Promenade around the square
Take a little walk with your lady fair.

Repeat entire dance for side couples.  Remember that this time the contra formation is formed by two lines in the head positions.

Ted first called this figure at one of the evening parties at New Hampshire Folk Dance Camp.  It was a sensation there.
Here's how I would phrase it to the music:

A1:Head couples balance forward and back, do-si-do partner, allemande left corner, keep hold, heads give right to partner forming two waves across the hall.
A2:Balance forward and back; heads swing (6 bars).
B1:Heads pass through and turn alone.  Pass through back again, their corners face the same way as the heads and with a hand hold or arm round the waist wheel the heads round into side lines with the heads in the middle.
B2:In fours, ladies chain over and back.
A3:Lines forward and back.  Middles (heads) circle left ¾ and fall back to home place.
A4:Heads with your opposite, right-hand turn.  With partner left-hand turn.
B3:All with corner, right-hand turn.  Swing partner.
B4:Promenade all the way round the square.

Red River Valley        Red River Valley: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Jan-22

From Northern Junket Vol. 3, No.4, May1952.  Original wording on page 17    Internet Archive
as recalled by Roger Knox from the calling of Floyd Woodhull.

First couple through the second and you balance.  (1st gent is now standing back to back with 2nd lady; 1st lady is standing back to back with 2nd gent)
Go round to the center and you swing (1st couple pass right shoulders, gent coming into the center behind the 2nd gent; 1st lady goes behind and around 2nd lady)
Right and left four down the valley
Right and left four back to place.
Now you go through the next and you balance.
Go round to the center and you swing
Now you right and left four down the valley
Right and left four back to place.
Now you go through the last and you balance.
Go round to the center and you swing
Right and left four down the valley
Then you right and left back to place.

A singing call to a rather monotonous 16-bar tune.

A1:First couple lead out to the right and pass the opposite person right shoulder to finish facing out with their backs to the twos (a mere 4 steps); balance facing out.  Cross right shoulder and go around one to finish back in the centre; quick swing (probably just half-way to get the gent back on the left).
B1:Right and left through with the twos, and back, to finish facing the threes.
A2/B2:Same with threes.
A3/B3:Same with fours.
 Repeat for each couple in turn.

The A part is mighty quick!  And as in Girl I Left Behind Me the balance is to nobody, facing out.

Around Just One        Print this danceTop of page   Added 23-Jan-22

From Northern Junket Vol. 3, No.5, June1952.  Original wording on page 18    Internet Archive
as called by Dick Castner

Music - whatever you like

The Figure

First couple down the center and split the ring, around just one (thus facing the caller, Man 1, Lady 3, Man 3, Lady 1)
Forward four and four fall back
Forward again to the head of the set
Divide in the center and around just one by couples (thus, first man and third lady as a couple - she on his left - go around the fourth lady and stand between her and her partner - fourth gent - so, on the caller's left will be a line - L4, M1, L3, M4, and on caller's right a line - M2, Ll, M3, L2)
Forward all and all fall back
Canter four forward four, pass right through, separate and around just one to place.

From here, you may do as you wish.  The head couples are coming at each other, and are in an ideal position for a do si do; or an allemande left around partners, allemande right around corners; you may have them allemande left with partners and do si do corners.  Or you may have a long version by having break end with a promenade corners.  With good dancers, you may have the head two couples start using a “pass right through, and around just one”, and forward immediately at the sides.

A good clear explanation, though it's interesting that having got people home again (not that the sides have gone anywhere much) he leaves the end of the figure as an “exercise for the student”.  But what does he mean by “break end with a promenade corners”?  My understanding of a break is that it ends where it started, with the same partner.  And this is a figure which each couple in turn leads, so you couldn't change partners part-way through the sequence.

Here's how I'd phrase it to the music, with my chosen ending:

A1:First couple lead across the set, split the third couple, separate, go around just one to a line of four facing the caller.  Lead forward four steps and fall back.
A2:Forward again until you're past the side couples, then middles let go and as (improper) couples wheel around just one side person (rapidly), to finish between that couple in facing lines of four.  Lines forward and back.
B1:Middle four (heads) pass through, separate, go around just one to meet partner in home place.  Heads do-si-do partner.
B2:All allemande left corner and swing partner.

And here's my version for “good dancers”.  He hasn't pointed out that with both head couples leading the figure you don't get to the same lines of four.  Maybe that's another “exercise for the student”.  And if the heads lead the figure and then the sides that's only twice through, so I'll go for the long version with the “promenade corners” option.

A1:Head couples pass through, separate, around just one to facing lines of four.  Lines forward and back.
A2:Heads right and left through.  Pass through, go around just one to home place.
B1:Heads do-si-do partner.  Swing corner.
B2:Promenade to the man's place.
 Repeat figure for the heads, then twice for the sides, with breaks at the beginning, middle and end.

So you tell me: Have I just filled in a missing blank, or have I just written a new dance?

Loomis Lancers, figures 1-3        Print this danceTop of page   Added 23-Jan-22

From Northern Junket Vol. 3, No.6, June 1952.  Original wording on page 20    Internet Archive
As danced by the OLD TIMERS CLUB of Swansea, Massachusetts.

Copies of the music - which is fully covered by copyright and therefore omitted here - and full directions for the dance may be obtained from the secretary of the Old Colony Callers & Teachers Association.  Price $1.00 per set.  Order from Ruth V. Metcalf, 53 Chestnut St. Sharon, Mas

The Dance as taught by Jack Kenyon

Figure 1

Play music 4 times

1.  Honor partners. honor corners (Called once)
2.  First four forward and back
3.  Cross over taking side ladies
4.  Forward and back six
5.  Turn your partners
6.  Chassez by corners
7.  Turn corners

Repeat with the sides; then repeat all.

Explanation

l.  Bow to partners
2.  Active couples (1 & 3) move forward to center and backward to places
3.  Same two couples move forward again and, each keeping to right of center, cross square, turning to back into opposite couple's vacated position.  As couples back into place, each active gent takes right hand of his original right hand lady in his left hand and takes her also along with him to opposite position. This will leave side gents in position, alone .
4.  Active gents, each with two ladies, move forward to center and backward to place
5.  All turn original partners with right hand turn, (or swing partners, waist swing)
6.  All chassez, or walk past corners and back to position 4 steps or slides each way.  Do not turn.  If you use the walk, walk forward past corner and walk backward to place.  If you use
the chassez step, there is a short pause before sliding in reverse direction to own place.  Gent passes in back of ladies.
7.  All turn corners with a left hand turn (or swing corners, waist swing).

Figure 2

Play music 4 times

A. 1. Join hands, forward and back
     2. Turn the ladies to the center (back to back)
     3. Turn the gents to the center (back to back)
     4. Ladies give right hands across
     5. Promenade with your partner
     6. Turn your corners

B. 1. Join hands, forward and back
     2. Turn the gents to the center
     3. Turn the ladies to the center
     4. Gentlemen give left hands across
     5. Promenade with your partner
     6. Turn your partners

Repeat A and B once more each

Explanation

A. 1. All join hands and walk into the center and back
   2. Gentlemen join inside hands with partners and turn ladies to the center, facing the gentlemen.  Retain hand clasp, and each bow to partner.  Still holding hands, gents turn partners to position in set.
   3. With the same hand clasp and in exactly the same manner, the ladies turn the gentlemen to the center back to back, and return them to position in set.
   4. All four ladies join hands in a right hand star, link opposite arms with partners --- (Lady's left and gent's right.)
   5. All promenade clockwise in star formation once around
   6. All turn corners as in Figure 1

B.l. As A.l
   2. Same as A. 2, except where word “gentlemen” is used, substitute “ladies” and where “ladies” is used, substitute “gentlemen”.
   3. Same as A. 3, making same substitutions of words as above
   4. All 4 gents join hands in left hand star, link opposite arms with partners (Gents R, ladies L)
   5. All promenade counterclockwise in star formation once around
   6. All turn partners as in Figure 1

Figure 3

Play music 4 times
Wait for music

1.  Join hands, forward and back
2.  Three steps to the right - salute
3.  Four ladies chain
4.  Join hands, forward and back
5.  Three steps to the right - salute
6.  Four gentlemen chain
Repeat all of above calls

Explanation

1.  All join hands, into center and back.  Keep hands joined and make as nearly true circle as possible when again in place
2.  Still holding hands, starting on right foot, each walks to right three steps (right, left right) , ladies turn to face partners and curtsey.  At same time gentlemen bow to partners.  Do not loose hand holds.  Without further call, after salute, entire circle returns to position in readiness for next call
3.  Four ladies grand chain across the square and return to partner
4.  Same as 1
5.  Same as 2
6.  Four gentlemen join hands in right hand star, go to opposite lady, break from star and link left elbows with opposite lady, who turns counterclockwise with him.  Gents leave opposite
lady and right hand star back to own partners, turning partners with left elbow to position.
Figure 4 (final figure) will be given next month.

Jack Kenyon, 36 Etta St, Hoxsie, Rhode Island has recorded the music for the LOOMIS LANCERS, and you may obtain the set for $4.50 by sending that amount to him at above address.  Please signify whether you want them with calls or without calls.  They'll be a worthwhile addition to your folk dance library.

I can't find the tune of this dance anywhere but I found an interesting quote in History of Square Dancing pages 31-32:

The Lancers was the nineteenth-century equivalent of the minuet.  It was all bows and courtesies, airs and graces, an elegant exhibition of deportment.  There was nothing in it which could put the most delicate lady in the slightest glow.  Originally it had been an English dance, which went unvalued until the French toned it down and polished it up.  It set a style; there were many imitations, some of them quite successful; but the original Lancers outlived them all, except the “Loomis Lancers,” invented by the New Haven dancing-master, which is still done in Rhode Island and southern Massachusetts.

My understanding of the instructions:

First of all, each of the figures is given as 6 moves (ignoring the honours before the first figure).  How does this relate to a 32-bar tune, which I would expect to have 4 or 8 moves?  In fact some of the tunes aren't 32 bars — see later.

In Figure 1 it doesn't say whether to take hands for the forward and back, but I assume so (and it seems obvious when we come to move 4).  The next move is a half promenade — though if I use this word people immediately want to take a promenade hold — wheeling as a couple at the end so that the men can take a side lady with their left hands.  In move 6 I imagine Ralph would prefer the chassez, as was done in the older quadrilles, but recognises that by the 1950's people expected to walk everything.  In move 7 he's underlined hand, presumably because Modern Western Square had switched to a forearm turn for an allemande left.  And it seems odd to finish the figure with your corner rather than your partner, but that's what he says.

This leaves the head couples in opposite places.  I assume you don't repeat the honours but continue with the sides leading forward and back, so that everyone is in opposite place.  Repeat all this to get everyone home.

In Figure 2 the timing is by no means obvious.  But on archive.org I found a copy of the book “Dance a while” which explains the timing fully.  It also goes into much more detail on the styling.  This copy is the fourth edition of 1994, but the first edition was published in 1950 which is two years before Ralph's publication, though I don't know whether this dance appeared in the first edition.  You can read this book at archive.org/details/dancewhilehandbo0000harr_o0n7/page/66/mode/2up?view=theater — you need to create a (free) account and then you can “borrow” the virtual book for an hour at a time.  The dance instructions are preceded by the following section:

Style:  “The dancing of a lancer is an exercise in courtesy.”
  1. Address, honor, salute (your corner, your partner): These are all “bows.”  Variations are in the timing depending on the exact number of counts of music allowed.  “Address” usually takes 8 counts; “salute” may be momentary.  These bows may be done holding hands in a circle or with no hand holds.
    1. Bow (man's part); Slight bow: facing lady, man bends from waist, both feet together, offering right hand, palm up.  Left hand placed, palm up, at about the back left hip pocket, fingers extended; deep bow: facing lady, man steps back on left foot, bending left knee slightly, and extends right leg forward, pointing toe down; he offers his right hand, palm up.
    2. Curtsey (lady's part); slight bow: facing man, lady steps back on her right foot, bending right knee slightly, and extends left leg with toe pointed to floor.  She places fingers of her left hand lightly in man's upturned palm.  Her right arm is gracefully extended to side about waist high, palm down and fingers softly straight.  Keep head erect and smile; deep bow: facing man, lady crosses her right foot behind left, keeping torso erect, lowers her body deeply or sits on her foot.  Her left foot is extended in a point towards gentleman to match his.  Or lady may cross right foot behind left and, bending both knees, lower self to semikneeling position, sitting on right heel.  Free arm extended as above.
  2. Minuet position: Man extends right arm forward about waist high or to accommodate lady, bending elbow slightly and with palm down, fingers straight.  Lady places her left hand, palm down, lightly upon his, keeping her forearm close to his, with her right arm at side as in curtsey.  Arms are horizontal, partners side by side.  Hand hold may be reversed as in some parts of grand square; lady's right and man's left are joined.
  3. Pigeon-wing hand hold: Man and lady, facing each other, place their forearms, held vertically, close together, the palms held together, open and upright, elbows almost touching.
  4. Hands in general: Never let the hands be stiff.  Ladies, let the fingers hang softly, not like semaphores.  Let the wrists lead and the fingers follow.  Men, let the hand lie lightly on the hip pocket.  And let the hands be as long as possible.

These style notes come from the Lloyd Shaw Foundation, and I don't know whether Ralph would have agreed with them or not.

Figure 3 starts “Wait for music” which goes back to the old quadrilles: in the first figure you honoured partner and corner; in the other figures you just waited.  This time I don't have any trouble fitting the figure into 32 bars.  Notice that the men's chain is done with the right hand, rather than the left as is normal in the 21st century.  The version in “Dance a while” starts Introduction: Do-sa-do corners by the right shoulder (8 counts).  Do-sa-do partners by the left shoulder (8 counts). (done only once) and has no courtesy turns in the all four ladies/men chain — they just arrive, a quick nod and continue, so it's really just a star once around, although 16 counts are allocated to it so there certainly would be time for a courtesy turn.  I'm sticking with Ralph Page's version: his was written at the time, and no doubt he had a copy of the record with the dance as called by a man who knew it inside-out.

Figure 1 (jig)
 4 bars introduction — do nothing.
A1:Heads lead forward and back.  Keeping inside hands joined, half promenade across, and as you wheel into the opposite couple's place head men pick up the side lady on your left.
A2:Lines of three forward and back.  All right-hand turn partner or swing.
B:Either face centre and do four chassez steps to change places with (current) corner and back again (gents behind ladies) or walk forward passing corner right shoulder and fall back.  Left-hand turn corner or swing corner.
 Repeat the figure (without the initial honours) with side couples leading, so everyone finishes in opposite place.  Repeat with head couples and then side couples to end with everyone home.
Figure 2 (reel)
 2 bars introduction — do nothing.
A1:All join hands: 4 steps forward, 4 steps back.  Men keep inside hand with partner and wheel her in so the ladies are back to back in the centre, do a quick bow or curtsey on the 4th beat; men wheel partners backwards to place.
A2:Ladies wheel men in, bow or curtsey; wheel them out.  Keep hold of partner: ladies move forward to form a right-hand star and start a star promenade, spreading out as far as possible.
B:Continue the star promenade to place.  Left-hand turn corner.
 The second time the men are wheeled in first, they lead a left-hand star promenade, and it finishes with right-hand turn partner.  Repeat the whole thing.
Figure 3 (jig)
 8 bars introduction — do nothing.
A1:All join hands: 4 steps in to the middle and back.  Circle right for three steps (R, L, R) and bow or curtsey to partner (retaining hands); circle left three steps.  [“Dance a while” says there is a held note on the bow.]
A2:All four ladies chain across, with (I'm guessing) an open left-hand turn rather than a courtesy turn.  Chain back.
B1:Same as A1.
B2:All four gents chain across: right-hand star half-way and left elbow turn opposite lady.  Chain back.
 The instructions in “Dance a while” say you now repeat all this (except for the introduction).

Loomis Lancers, final figure        Print this danceTop of page   Added 23-Jan-22

From Northern Junket Vol. 3, No.7, September 1952.  Original wording on page 31    Internet Archive
As danced by the OLD TIMERS CLUB of Swansea, Massachusetts.

Copies of the music - which is fully covered by copyright and therefore omitted here - and full directions for the dance may be obtained from the secretary of the Old Colony Callers & Teachers Association.  Price $1.00 per set.  Order from Ruth V. Metcalf, 35 Chestnut St, Sharon, Mass.

The Dance as taught by Jack Kenyon continued from Vol 3, No. 6.

Figure 4


Before music starts, call ''Grand Square, Address partners'' .  (Orchestra gives D7th chord.)

A. 1. Heads forward, sides separate
     2. First couple promenade inside 2c face out
     3. Side couples fall in line (or fill in)
     4. Chassez
     5. Cross corners
     6. Join hands, forward and back
     7. Forward and turn partner in place

B. 1. Sides forward, heads separate
     2. Second couple promenade Inside & face out
     3. Head couples fall in
     4. Chassez
     5. Cross comers
     6. Join hands, forward and back
     7. Forward and turn partner in place

C. Same as A, but in call 2, third couple will promenade inside and face out.

All. other calls the same.

D. Same as B, but in call 2, fourth couple will promenade inside and face out.

All other calls the same.

Explanation


Call “Grand Square” is given only once, at beginning of figure.

A.  1. When trying this for the first time, practice first with the head couples, then with the sides, and then together.

     a.  Head couples (1 and 3) walk forward four steps to center of set while side couples (2 & 4) face partners and walk backward four steps to corner of set.

     b. Head couples face partners and walk backward four steps (away from partner) to sides of set while side couples face opposite corner & walk to head of set.

     c. Head couples face opposites and walk backward four steps to corner of set while the side couples face own partner and walk forward to center of set.

     d. Head couples face partners and walk forward four steps to home position as side couples face opposite and walk backward to home position.

Without further calls, immediately reverse the above four sections – heads following directions given for sides, and sides following directions given for heads – until everyone is back in home position ready for next call.

Note.  The “Grand Square” is a figure in which each person in the set individually walk a square within the set, from his home position, then immediately retraces his route back to home position again; all this according to call for his or her position in set.

     2.  First couple walk around inside of the set, counterclockwise, and face out.

     3.  Couple 2 fall in behind 1, 4 behind 2, 3 behind 4 (Third couple merely hold position.)

This forms a line of couples.  Ladies step one step ahead of partners, staying to partners right.

     4, Using slide step, ladies slide three steps to their left, gents slide three steps to own right.  Without further call, chassez back to position, ladies now coming into position beside partners, on partner's right.  (Gents go behind ladies on slide out and back.)  Without call, all turn to face partners, stopping two steps away from each other.

     5.  Gents 1 and 2 join inside hands; at same time gents 3 and 4 join inside hands.  Ladies 1 and 2 take skater's position (crossed hands) as do ladies 3 and 4.  Each two with joined hands now turn to face opposite comer.  Gents 1 and 2 together facing ladies 3 and 4; gents 3 and 4 facing ladies 1 and 2.  (Dancers do this without calls.)  Ladies 3 and 4 and gents 1 and 2 advance to opposite corner of set, ladies going under raised, joined hands of gents.  Each two turn toward each other, ready to recross set in same manner as they crossed.  When gents 1 and 2 and ladies 3 and 4 reach opposite corner and begin turn for recross, gents 3 and 4 & ladies 1 and 2 cross set as other couples did.

Gents 1 and 2 and ladies 3 and 4 recross set back to place; immediately afterward, gents 3 and 4 and ladies 1 and 2 recross to place.

     6.  Immediately after all couples have completed cross-over, reform lines, gents on one side, ladies on other side facing partners, about four steps apart.  Gents join hands; and la dies join hands in their own lines.  Two lines advance toward each other and go back to position.

     7. All now resume proper position in set & all turn partners, using either two hand turn or waist swing.  (A long swing is called for by the phrasing of the music.)

B. 1. Same as A. 1. except substitute “sides” for “heads”; “heads” for “sides”.

     2. Same as A. 2. except substitute “second couple” for “first couple”.

     3. Couple 1 fall in behind 2; couple 3 behind 1, couple 4 hold position.

     4,5,5,7, same as in A.

C. 1. Same as A. 1.

     2. Same as A. 2. except substitute “third couple” for “first couple”.

     3. Couple 4 fall in behind 3, couple 2 behind 4, couple 1 hold position.

     4,5,5,7, Same as in A.

D. 1. Same as B.l.

     2. Same as B.2 explanation, except substitute “fourth couple” for “second couple”.

     3. Couple 3 fall in behind couple 4, couple 1 behind 3, couple 2 hold position.

     4,5,5,7. Same as in A.

And there you have the famous “Loomis Lancers”.  You may obtain records of the music either with or without calls by writing to Jack Kenyon,36 Etta St, Hoxsie, Rhode Island, and enclose $4,50 for the set.  Be sure you tell him whether you want the records with calls or without.

Apparently the “Loomis Lancers” was one of the last of the Lancers, for it incorporates a waist swing which earlier figures of the Lancers omit.  I have seen the group dance it using a right hand swing occasionally.  The dance deserves far wider recognition and we are glad to publish it (with permission) in the NORTHERN JUNKET, with that in mind.

Jack Kenyon has led a group demonstrating it at several of the New England Folk Festivals, and it always is a pronounced hit.  Jack tells us that it is the first dance after intermission at all meetings of the Old Timers Club, in Swansea, Mass., which is one of the oldest dance clubs in the East, perhaps the country, for they have been organised over 50 years.

Here's my understanding of the fourth figure.

This time there are 7 moves rather than 8, but again “Dance a while” comes to the rescue.

Ralph gives a beautifully clear description of a Grand Square and reverse, and I assume him saying that the call is given only once means that the caller doesn't break the figure down or even say “reverse”.  It's a 16-bar figure, and possibly not well-known in those days since Ralph gives advice on how to teach it.  This is move 1, starting Heads forward, sides separate.

After the chassez, we finish in a square on the diagonal, two gents together, two ladies together.  Now comes a move reminiscent of the doubled-up arching figure in La Russe which is now a traditional English dance but was originally a quadrille.  The doubled-up arching also occurs in Goathland Square Eight.  In Loomis Lancers it's always the gents arching and the ladies going under; perhaps the ladies are told to use a skaters' hold because it keeps them closer together.

Figure 4 (reel)
 4 bars introduction: Do nothing.
A1:Sides face: Grand Square.
A2:Reverse.
B1:Ones wheel around to face out; twos and threes fall into a column, twos in front of threes.  All do four chassées to change places with partner, gents behind ladies; four back again and instantly middles take inside hand with end neighbour and wheel 45° (middles going backwards) to a diamond formation.  The top two gents are facing diagonally across to the bottom two ladies and vice-versa.
B2:Men make single-handed arches and ladies take promenade position: top men arch and cross with bottom ladies (then men change hands as ladies turn in without changing hands); bottom men and top ladies the same.  Repeat to place and face partner.
C1:Lines of four go forward and back.  All two-hand turn partner to original place in the square.
C2:Left-hand turn corner.  Right-hand turn partner.
 Second time through it's “Heads face, grand square”.  According to both Ralph Page and “Dance a while” The ones fall in above the threes to form the column, which seems inconsistent to me.  The top of the set is now on the caller's right, so it will again be first and second gent arching first.  And maybe that's why the order is inconsistent — if all four times through you start the diagonal move with “First and second gent arch, third and fourth ladies under” you'll have a much better chance of finishing this rather fast figure with the music!  The dancers just need to remember that when they form the column it's always the ones and twos together, the threes and fours together.

Circle Three & Balance Four        Print this danceTop of page   Added 23-Jan-22

From Northern Junket Vol. 3, No.8, October 1952.  Original wording on page 24    Internet Archive
An original square by  Abe Kanegson

Head gents to the right and circle three
Head ladies do si do
Once and a half on the sides of the floor
*  Into the middle and balance four
Now balance four, four in line
Heads allemande left your own
A right hand round your corner
nd you balance to your own
Then swing, your partners everyone
You swing your partners all
Now take the lady that you swung
And promenade the hall.

Repeat for the side gents

* Head gents pass through to the center of the set and join right hands with each other and left hands with partner.  Balance that way four in line.

Here's my understanding of the figure.  The circle 1½ leaves the sides improper so I've added a roll away to get them back.

A1:Head gents to the right and circle left 1½ with the side couple, opening out into side lines of three with the head gents in the middle while head ladies wait 8 beats and then do-si-do.  As they fall back, head gents move forward, join right hands with each other and left hands with partner to make a wave up and down the set.
A2:Balance the wave, heads allemande left partner while sides roll away (gent rolls lady from left to right), all allemande left corner.
B1:All balance and swing partner.
B2:Promenade.

Whirligig and Cheat (1)        Up Jumped The Devil: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Jan-22

From Northern Junket Vol. 3, No.9, December 1952.  Original wording on page 24    Internet Archive
Ralph Page

Music - Whatever you like; maybe “Devils Dream”

The Dance

First lady out to the right and turn that man by the right hand around
Back to your partner by the left hand around
Turn the opposite gent by the right hand around
Back to your partner by the left hand around
The gent on the left by the right hand around
Back to your partner by the left hand around
And that lady cheat or swing - anywhere in the hall or the ring

Now two ladies out to the right etc.

Then three ladies out to the right etc.

And all four ladies out to the right etc.

Then all four men to the right of the ring etc.

Everybody balance your corners and everybody cheat or swing

Use any ending you wish to, though it is not necessary to have any.

After every cheat or swing call “go back home and swing your own; don't get  caught cheating your own”.

Golden Slippers        Golden Slippers: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Jan-22

From Northern Junket Vol. 3, No.10, February 1953.  Original wording on page 21    Internet Archive
Suggested music: “Golden Slippers”

Use any introduction you can think of.

The Dance


The head two couples forward and back
Go forward again and pass right through
To the opposite side, but don't turn around
The girls go right and the men go left
Around the outside of the ring
Then by your corner you will stand
And you'll be four in line.
Now it's forward eight and back as you are
Side two couples make a right hand star
Go once around in the middle of the set
To allemande left your corners all
Then the two head couples a right hand star
Go once around the way you are
And with your corner swing.

Break


Swing your corner once or twice
Then a right hand to your own pretty wife
For a grand right and left the ring
Go hand over hand until you meet.
Then one and three turn back
Turn back and don't be slow
Do a right and left the other way you know
Now two and four you turn back
But keep on doing a right and left grand
All four couples turn back
Go right and left with the pretty little maids
When you meet your own you'll promenade
Until you all get home.

Repeat figure for side couples.

Ralph doesn't give the dance a title, just suggested music, and I don't believe it's a singing call.  You won't have much difficulty understanding the moves, but you may have trouble with Ralph's patter in which the figure has two lots of seven lines where the music obviously needs eight.  And there are other questions.  Does he mean that once the gent has swung his corner she becomes his new partner, referred to as his “own pretty wife” in the break?  And does he do the break every time?  If not, the set will be on the skew after all swinging corners.  This is how I think the timing works — but I haven't tried it yet!

A1:Heads go forward and back.  Forward again and pass through.
A2:Separate and go round the outside until almost home, stopping to join hands with your corner on the end of side lines.  Lines forward and back.
B1:Middles (sides) right-hand star.  Allemande left corner 1½.
B2:New middles (heads) right-hand star.  Swing corner.
A3:(It's basically unphrased from here):  Right hand to new partner: grand chain half-way.  Heads meet and right-hand turn half-way to chain back in the opposite direction while the sides keep going (though they will need to wait until the heads are ready for them).
A4:Grand chain half-way.  Sides meet and right-hand turn half-way to chain back, heads keep going.
B3:Grand chain half-way.  All turn half-way.
B4:Chain in original direction.  Meet partner and promenade to the man's place.

Chain 'em Left and Right        Print this danceTop of page   Added 23-Jan-22

From Northern Junket Vol. 3, No.11, March 1953.  Original wording on page 20    Internet Archive
(An original square by Ted Sannella)

Suggested music: - whatever you like

The first couple balance, and then you swing
Go down the center and split the ring
Separate, go round to home
Do si do when you meet your own
Right and left four with the opposite two
And you right and left home
That's what you do.
First gent chain your lady to the left (first and fourth ladies chain halfway)
Take that new lady, chain her to the right (after a full turn around, 1st gent sends new partner into a ladies chain with 2nd lady)
Allemande left your corners all
Everybody swing the one you just left
Promenade around the square
Take a walk with that lady fair

Repeat for second, third, and fourth couples in turn and everybody should get their original partner back.

After the first turn the side ladies have changed places.  After the second turn the head ladies have also changed places.  The third and fourth turns get them home.

Wreck of the Number Nine        The Wreck of the Number Nine: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Jan-22

From Northern Junket Vol. 3, No.12, April 1953.  Original wording on page 19    Internet Archive
Music - Wreck of the Number Nine

First couple lead to the right
Circle four hands around
Chassez by your partner
Salute your opposite lady
Chassez back, salute your own
Chassez by and swing your opposite lady
Chassez back and swing your own
Circle four hands half way round
Right and left six with the sides
Lead to the next, etc. except: Swing your own and lead to the next
Repeat figure with last couple, doing right and left six, etc.

Repeat for other couples in turn

Second and fourth couples of course doing right and left six with head couples.

I don't believe this one is phrased to the music.  The chassées come from the nineteenth century quadrilles and were originally done with a slip step.  In “Honest John” Ralph specifies four walk steps; in “Loomis Lancers” he gives both options.  Here's how I would call it.

First couple lead to the right to face the twos (with their backs to the centre).  Ones and twos circle left.
Chassez by your partner - four slip-steps or walk steps to change places, gents behind ladies.  Bow or curtsey to opposite.
Chassez back (again gents behind).  Bow or curtsey to partner.
Chassez by.  Swing opposite.  Chassez back. Swing partner.
Circle left half-way, so ones, twos and fours are in a column across the set.
“Right and Left Six”: Three couples in line move simultaneously, pass through (courtesy turn on ends) till ends are back home and ones are back in the middle.  I got this description from the book “Old Square Dances of America” by Neva Boyd and Tressie Dunlavy, 1925, but there the figure goes only half-way.
Ones finish in the middle facing the threes.  They repeat the figure but after swinging partner the ones finish facing the fours.
They repeat the figure, and at the end the ones fall back into their home place.

Repeat the figure with the other couples leading it.


Volume 4

Whirligig and Cheat (2)        Print this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.1, June 1953.  Original wording on page 21    Internet Archive
The Dance

Suggested music - any lively Breakdown

Introduction - Anything you like

First man out to the right of the ring
That right hand lady with your right hand swing
Then back to your own and the left hand around
To the opposite lady by the right hand around
Then back to your own and the left hand around
Your left hand lady with the right hand around
And back to your own by the left hand around
Then that one man cheat or swing
Anywhere in the hall or the ring
Then run back home and swing your own
Don't get caught a cheatin' your own.

Repeat entire figure with first and second men active

Repeat entire figure with first, second and third men active

Repeat entire dance with all men active

Repeat entire dance with all the ladies active.

The same as the earlier version except that the men lead the figure first.

Flower Girl Waltz Quadrille        Print this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.2, August 1953.  Original wording on page 24    Internet Archive
as called by Earl Gully at Maine Camp 1953

Music - Flower Girl Waltz

Gentlemen turn with the right hand around
Now turn your corner as you're homeward bound
Honor your partner, Rock to and fro
Honor your corner. Bowing so low
Waltz your corner. Waltz promenade
My pretty maid , waltz promenade
Waltz time. Waltz promenade
My pretty maid - back home

Repeat three more times til get original partner back again

About as simple as you can get.  It seems the music is actually several tunes arranged for a quadrille (which would have four or five figures).  I've found some conflicting versions on the web, and decided not to pursue my research any further!

Doodar        Camptown Races: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.3, October 1953.  Original wording on page 35    Internet Archive
An Old Time Singing Quadrille from Vermont

Music - CAMIPTOWN RACES played one and one

Use any introduction and ending you wish
The Dance

The first lady turns the right hand gent
By the right hand round, the right hand round
Her partner by the left hand round
Lady in the center and seven hands around

Wait while music plays 8 measures of second phrase

Right and left on the corners all
Doodar - Doodar
Right and left back home again
Oh Doodar day
All balance corners, listen to what I say
Swing your partners all around before she runs away
Right and left on the left hand corner
Doodar - Doodar
Dance exactly as I say
Oh Doodar day

All balance corners, listen while I say
Swing your partners all around
Doodar - Doodar day

Other couples do same changes in turn.

The instruction “played one and one” means no repeats in the music: one A and one B.  Here's what I make of it.

A:First lady right-hand turn right-hand gent, left-hand turn partner and go into the centre.
B:The others circle left once around her.
A:Head couples to the right: right and left through, and back.
B:All balance twice to corner.  Swing partner.
A:Head couples to the left: right and left through, and back.
B:All balance twice to corner.  Swing partner.

Doodah        Camptown Races: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.4, November 1953.  Original wording on page 21    Internet Archive
Here is a much older version of “DOODAR” than the one given last month.  Our thanks to Les Hunt, Windsor, CT for this traditional version.  Les says it is exactly as he has called it for many years.

Music - - Camptown Races - l6  bars verse - 16 bars chorus

Intro.
Allemande left your corners all
Doodah!  Doodah!
Right to your honey and grand chain all
Go all the way around.
Meet your partner, pass her by
Doodah!  Doodah!
Remember as you march around
You'll meet her bye and bye.

Chorus
When you get back home
Just give her a little swing
Now put your arm around her waist
And promenade the ring.
Promenade the hall
Promenade the hall
The first young lady get ready to dance
When I begin the call.

Verse
The first head lady give the right hand to -
The right hand gent with a right hand 'round
Now back to your honey with a left hand 'round
Oh!  Doodah Day.
The lady in the center and seven hands 'round
Doodah!  Doodah!
The lady swings out and the gent swings in
'Round the old man again.

Chorus
Gwine to run all night
Gwine to run all day
I'll bet my money on de bob-tail nag
Somebody bet on the bay
Promenade the ring
Oh!  Promenade the ring
Promenade just once around
And listen while I sing.

Verse
Right and left with the corners all
Doodah!  Doodah!
Right and left right back again
Doodah!  Doodah Day!
The ladies chain the other way
Doodah!  Doodah!
Chain those ladies back again
Doodah!  Doodah Day!

Chorus
All balance comers
And now the other way
Swing your honey 'round and 'round
Oh!  Doodah Day!
Promenade the hall
Promenade the hall
The next young lady get ready to dance
When I begin the call.

Repeat with each lady leading out.

Ending
Use the introduction, changing the last two lines

Promenade the hall
Promenade the hall
Thank your lady everyone
That's the end of the call.

This version by contrast uses two A's and two B's.

 Introduction
A1/2:Allemande left corner, grand chain all the way round.
B1:Swing partner.
B2:Promenade.
 Figure
A3:First lady right-hand turn right-hand gent, left-hand turn partner and go into the centre.
A4:The others circle left once around her.
B1:Lady change places with partner and the others circle left around him.
B2:All promenade.
A3:Head couples to the right: right and left through, and back.
A4:Head couples to the left: ladies chain, and back.
B3:All balance once to corner; once to partner.  Swing partner.
B4:Promenade.
Repeat for each lady in turn, then Ending same as Introduction.

Jingle Bells        Jingle Bells: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.5, December 1953.  Original wording on page 24    Internet Archive
Intro:
Address your partners
Honor your corners

The ladies grand chain
Chain 'em home and swing your own
And everybody swing
You swing yours, I'll swing mine
I'd rather swing mine any old time
I'll take mine and promenade
And all the rest the same.
You promenade, oh, promenade,
To your places all
The head two must be ready to go
When they hear the call.

Dance:
The head two join the sides
Forward six you go
Six fall back and don't be slow
The head two do si do
You go right back to place
Then forward six again
The odd two swing in the middle of the ring
While the rest go six hands around
Six hands round - a six hand ring
Round them you will go
When you all are home again
Here is what you do
You allemande with your left hand
And do si do your own
The second couple ready to dance
When you hear the call.

Other couples do the same in turn, with 2nd & 4th couples joining heads; #;3 joining sides.

Ending:
Now do si do your corner
And do si do your partner
Then swing your own.  Everybody swing your own
Swing your partners all alone
Now promenade - you promenade
Around the hall - all around the hall
Around you go and don't be slow
All around let's go
Now that is all there is to this
Thank your partners men - that's all

                         ******

That is exactly the way we called it 7 years ago on a Disc recording, # 5036.  It is an old-time singing call with most of the calls being self explanatory.  Just for the record, here is how it was intended to be danced:

Couple 1 separates with the lady going to couple 2 and the man going to couple 4.  In other words stand beside your corner.  Couple 3 stands in place while the 2 side sets of 3 join hands, walk toward each other and back to place.  Couple 1 do si do.  Then the 2 sets of 3 forward and back again.

Couple 3 now swings in the center of the set while the others join hands around them and walk around to left as the “Odd Couple” swings in the center.

You should have no trouble with the rest of the dance.

Plain Quadrille New Brunswick style        Print this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.5, December 1953.  Original wording on page 15    Internet Archive
With the hope that some of our Canadian friends will send in an understandable explanation we're including this “Large Square” quadrille from the Province of New Brunswick, Canada.  Ira Flagg, a Worcester Mass.  barber gave it to us several years ago with the casual explanation that it was always the “first square of the evening” and the additional phrase: “men always bow to the ladies whenever possible.”  Mr Flagg seemed more than a little disappointed that we were not able to teach it to the group.  “Any number of couples on a side,” says he.  “Each couple must he facing another couple across the hall.”  Maybe we are really dumb, but since that group was a beginners group it didn't seem like the right one on which to try out an experiment.  Here it is.  You figure it out.

First Figure

Balance partner.  Forward and back.
Cross over and back to place, keeping the ladies inside.
Swing your partner, ladies change and swing.
Ladies change back and swing partner.
Promenade over and back.

Second Figure

Right hand to your partner forward and back
Forward again and pass through.
Coming back the opposite couple passes through.
Back in your places and swing your partner.
Repeat second figure.

Third Figure

Right hand gent and left hand lady swing in the center.
Pass right hand to your partner taking them to the opposite side of the room.
Promenade back to place
Left hand gent and right hand lady swing in the center.
Pass right hand lady to your partner taking them to the opposite side of the room, and promenade back to place.

Fourth Figure

Opposite ladies change and swing, change back and swing your partner.
Right hand side lead forward and back.
Forward again opposite gent taking both ladies.
While he leads up twice.
Then first gent takes both girls, and leads up, meeting you in center, taking his girl to your side and you go to his side and promenade back to place.
Repeat Fourth Figure

Fifth Figure

All join hands forward and back
Promenade over and back with partner
Ladies change over and swing with opposite gents
Ladies back to partners, all join hands again.
Repeat and then all promenade the hall.

This is almost the same dance as given in Lois S. Fahs book “Swing Your Partner” a collection of “Old Time Dances of Nova Scotia and New Brunswick”.  The dance that she notes is from Sackville, N.B. with Medley Wry, “Narrator.”  Her explanation: “Large Square.  Any number of couples on a side.  Each couple must be facing another couple.  Couples facing the music, and couples with backs to music begin the figures. (Couples 1 and 3).  Music - Any fast square dance music.  The relationship between the steps and the music is quite casual.  The time required for each figure depends upon the vigor of the dancers.  The swing is usually taken for an indefinite length of time, each couple swinging as long as they care to.  Those who get dizzy sooner sit down and wait for the more hardy souls.”

Not all of the squares in New Brunswick and Nova Scotia are of this type; there are many “Small Quadrilles”, and many of those from Nova Scotia have five figures to them with the admonition “no pause between figures.”  It is a fascinating book with some grand figures given in it.  If you can't buy a copy - and you probably can't - then try to steal one somewhere!

Heads and Sides        The Barren Rocks of Aden: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.6, February 1954.  Original wording on page 25    Internet Archive
Suggested music - The Barren Rocks of Aden

The head two gents, side two ladies
Forward to the center and back
Go forward again and circle four
And back with a left hand star
To allemande right your partners all
Allemande left your corners too
Do si do your partners all
Take your corner and promenade all.

Repeat twice more for heads
Repeat three times for side gents & head ladies

Then -
All the ladies cross the ring
Give your partner there a swing
When you've swung listen to the call
Take your own and promenade home.

This is almost the same as Ralph Page's “Gents and Corners” which Don Armstrong then used for the singing call “Trail of the Lonesome Pine”.  It's interesting that he calls the figure three times for the head gents and three times for the side gents, rather than the usual two for each, so the ladies have progressed all the way round the square and then half-way more — hence the final move.

Waltz Chassez        Rig-a-jig-jig: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.7, March 1954.  Original wording on page 25    Internet Archive
Canadian
Suggested music - Rig-a-jig-jig

First lady out to the right (joins hands with 2nd)
Gent fall back and join in threes (joins hands with 4)
Go three by three in a waltz.chassez
A waltz chassez and three by three
Oh, three by three all over the floor
-------- And on to the next
(“threes” circle clockwise and circle each other keeping to the right.  Lady moves on and gent follows and this is repeated twice)
Now three by three in a Waltz chassez
A waltz chassez in couples three
Around and round you go - and on to the next
Join your hands and around you go
Away you go and away you go
Rig-a-jig-jig and away you go
Hi-ho-hi-ho, hi -ho - and on to the next
Oh four by four all over the floor (first & fourth couples join hands, second and third do the same and in groups of four repeat former figure)
You dance some more, go round some more
Now chassez four around and round and back to your places all
Go allemande left with your corners all
Grand chain all over the hall
Swing your partners when you get home
Then ready to dance some more

Repeat dance for other three couples In turn

Click to play videoNo it's not a waltz: it's a jig.  Listen to the suggested tune and see how closely the phrase “Rig-a-jig-jig and away you go” matches it.

I learnt this as “Bouquet Waltz”, and you can click the image on the right to see the version I know called by Nils Fredland at the Ralph Page Dance Legacy Weekend in 2013 — he's using reels.  In this version the first gent waits while his partner circles with the twos, then she moves on to the threes, he moves on to the twos, and these circles of three “waltz” round each other.  Then she moves on to the fours, he moves on to the threes to do the same.  Finally the gent joins his partner with the fours, the twos and threes join up, and two circles of four do the bouquet waltz.  Nils finishes with swing and promenade whereas Ralph finishes with allemande left, grand chain all the way round and swing, but I'd say you can put in whatever you like at that point!

Canadian Square        Set de la Baie-St-Paul: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.8, May 1954.  Original wording on page 34    Internet Archive

The tune, which Ralph prints but doesn't name, is the traditional French-Canadian “Set de la Baie-St-Paul”.

Any introduction you wish

First couple out to the right of the ring
And circle four hands round
On the corner of the set you dip and dive six - couples 1, 2 and three.
Dip right through to number three and circle four
On the other corner you dip and dive six - couples 1, 3 and 4.
Dip right through to the last and circle four again
Dip and dive six across the set - couples 1,4 and 2.
Allemande left with the corners all
Right hand to partner and Grand Chain all
All swing out when you come home
Swing your little girl all alone

Second couple to the right of the ring
And circle four hands round
You right and left six with couples three and four
Then circle four with couple four
Right and left six, you are not done
Right and left with four and one
You circle four with your head couple
Right and left six up and down the hall - couples 2, 1 & 3

Allemande left with your corners all
Allemande right your own
Balance to your corners all
Swing your own around the hall

Third couple out to the right of the ring
And circle four hands round
Three ladies chain on the corners - couples 3,4 & 1
On to the next and circle four exactly as before

On the other corner three ladies chain - 3, 1 & 2
Circle four with couple two, three ladies chain across the set - 3, 2 & 4
When you're home, you swing your own, swing her all alone - Then promenade your partner home

Last couple out to the right of the ring
And circle four right there
Dip and dive six on the corners of the set - 4, 1 & 2
Then circle four with couple two
On the other corner you right and left six - 4, 2 & 3
Circle four with your last, three ladies chain up and down the set - 4, 3 & 1

An ending:

Allemande left with your corners all
Right hand to your partner and Grand Chain all
Honor your lady and pass her by
Wink at the next girl on the sly
Kiss the next as you go by
And swing your own when you get home.
Promenade all right off the floor
Thank your partner, for that is all.

Let's see if I can fit this to the music.

A1/2:Ones lead out to twos and circle left about three-quarters so that the ones are on the outside of a diagonal column of three couples: ones, twos and threes.  Twos arch: dip and dive, possibly with a California twirl as you reach each end — all the way and one extra change so the twos are home and the ones are facing the threes.  This is reminiscent of the dance “Redwing”.
B1/2:Ones and threes circle left about three-quarters so that the ones are on the outside of a diagonal column of three couples: ones, threes and fours.  Threes arch: dip and dive — all the way and one extra change so the threes are home and the ones are facing the fours.
A3/4:Ones and fours circle left about three-quarters so that the ones are on the outside of a column of three couples across the hall: ones, fours and twos.  Fours arch: dip and dive — all the way and one extra change so the ones can back out in their home place.
B3/4:Allemande left corner, grand chain all the way round, swing partner.

Repeat with second couple leading — the final dip and dive will be up and down the hall this time, and there's a different move following the allemande left.  I don't know why you'd want to balance to your corner and then swing your partner, but that's what it says.

When the third couple leads, however, it's a different figure.  Instead of dip and dive, it's “three ladies chain”.  Don't confuse this with the “All three ladies chain” you might do in a circle of three couples, such as in Pat Shaw's dances “The Pride of Newcastle” or “The American Husband”.  This is again done in the column of three couples.  Ones and twos do a ladies chain but the second man wheels only half-way with the first lady and then chains her to the third man, receiving the third lady whom he then chains to the first man and so on, till all are back with partners.  But what about the extra change to leave the ones facing the threes?  I imagine the ones retain the courtesy turn hold and promenade past the twos (I suggest going inside them) to meet the threes.

And then the fourth couple go back to the dip and dive.  It seems very strange that only the third couple get to lead a different figure, and Ralph doesn't give any explanation.  Maybe someone happened to call it that way by mistake and Ralph wrote down what he heard — I don't suppose we'll ever know.

Aroostook Special        American Patro: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.9, July 1954.  Original wording on page 22    Internet Archive
as called by Rod Linnell

Music: “American Patrol” played by Cliffie Stone on a Capitol Record

Any introduction you wish.

The two head couples out to the right
And balance with those two
Now join your hands and circle left
It's half way round you go.
Half ladies chain now with those two
And you right and left right through
Half right and left and take that lady
Right back home with you.

Chorus:

Now allemande left your corner
And right hand round your own
Go back and take your corner girl
And promenade her home.

Repeat for sides - then heads - then sides.

I struggled with this because a right and left through and back leaves the heads on the outside which means the men will be out of sequence when they try to promenade home.  But if it's supposed to be called to those words, there isn't enough time for all that.  I think the caller is expecting the dancer to “stack” the calls and then do them in sequence.  So I think “Half right and left” is just amplifying the previous line — pointing out that it's half-way and not all the way — rather than being a separate move.  After all, if it was back he'd just have said “Right and left back” rather than putting in that confusing “Half”.  That gives us:

A1:Heads lead to the right to face this side couple; balance the ring.  Circle left half-way (for which there seems to be too much music) so the heads are now on the outside.
A2:Same two ladies chain across.  Same four right and left through.
B1:Promenade new partner to the man's place.  The sides are on the outside so they start to promenade all the way round the set, while the heads tuck in behind and follow them.

It's only 24 bars rather than the standard 32, but that's OK.  And the other thing I don't understand is that Chorus which is also a change partner figure — that's not what choruses are supposed to do!

The head ladies have moved right and the side ladies have moved left, so if you repeated the figure for the heads they would all be back home.  That's why Rod specifies Heads, Sides, Heads, Sides.

It appears in the book “Square Dances from a Yankee Caller's Clipboard” (Rod Linnell and Louise Winston, 1974) and if someone can tell me what that says I'll be pleased to correct my version.

Nine-Pin        Brighton Camp: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.10, December 1954.  Original wording on page 40    Internet Archive
as called by Dick Anderson, Hyannis, Mass.

Suggested music: “Girl I left Behind Me” Folkcraft record # F1213-A

Intro.

 Now all join hands and circle left
Circle left, now mind you,
Circle left all the way 'round,
So we'll know where to find you.
Now all join hands, go forward and back,
Into the center all four,
Forward again with a great big yell
Then stay there on the floor.

Figure.

The two head couples forward and back
Forward again, circle four around the ninepin
Circle left, all the way 'round.
And when you're home you swing,
Swing that gal, that pretty little gal,
The Gel You Left Behind You.

The first gent lead to the right and swing,
And elbow swing in the center of the ring,
Then lead on to the next and swing,
And circle three in the center of the ring,
Then lead on to the next and swing
And circle four in the center of the ring,
And keep on going with the dear old thing.
Keep on going, right around the town,
Keep on going, don't slow down,
Keep on going, I didn't say stop *

(*) At this point the music stops and everyone must find a partner and swing.  Someone will be left out and that person becomes the nine-pin.  The music starts again for the swing and dancers will promenade back to gent's original position.  The smart caller will vary the length of time for the circle of five, sometimes cutting it short.

Explanation


The first gent leads to the right and swing the second lady.  The second gent joins the nine-pin in the center for an elbow swing.  After the swing, the second lady remains in position, the active gent going on to the next lady, etc. so that after all ladies have been swung the active gent goes into the center so that we have five persons in the center and four ladies on the outside.  After the music break the dance continues with the two side couples forward and back and the second gent becomes active.

The dance involves the usual nine-pin formation.  The nine-pin being either male or female.  It is strictly a fun dance with much of the success of the dance depending on the timing of the caller.

I picked up the original figure from Dick Chase at Richmond.  Of course I dropped much of his wild sashays and changed the sequence and added a little patter.

D.A.

I must say I prefer the “wild sashays” (or “gallops” as we say in England) — you can see the English version at barndances.org.uk/detail.php?Title=Ninepins

Jingle Bells Square        Jingle Bells: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.11, January 1955.  Original wording on page 17    Internet Archive
Some years ago we choreographed this Jingle Bells square to RONDO - 140 and some of us like to dance it just this way each year.  If you do not have, or cannot find this recording, no doubt you can adapt this routine to one that you have.

Intro:

Honor your partner, honor corner
With your partner swing
You swing your own around and around
Then promenade and si—ing
Jingle bells, jingle bells
Jingle all the way
Oh what fun it is to ride
In a one horse open sleigh!

1.
HEAD two couples up and back
Side two couples swing
Head two couples dos-a-dos
And back into the ring

SIDE two couples up and back
Head two couples swing
Side two couples dos-a-dos
And hack into the ring

Chorus:

Circle left, circle left
On around the ring
Keep on going round and round
Then promenade and si—ing

Jingle bells, jingle bells
Jingle all the way
Oh what fun it is to ride
In a one horse open sleigh

Break;- 16 counts: Grand Square (single, without calls heads advance, sides retire, etc.)

HEAD two couples right hand star
Side two couples swing
Head two couples left hand star
And back into the ring
SIDE two couples right hand star
Head two couples swing
Side two couples left hand star
And back into the ring

Chorus


Break - 8 counts: Chassez out, then back (all still facing center, p'trs separate as M chassez 4 to L, then back to place - W cpt.)

3.
 FOUR lil sisters  step inside
Single file around
When you meet your partner, stop
And turn the one you found
FOUR big brothers step outside
Single file around
When you meet your partner, stop
And turn the one you found

Chorus


Break - 8 counts: Chassez out, then back, honor partner. Alternate: HEAD two couples split to side (Partners separate - M to L- W to R, 4 in line)
Up and back with grace (up 1, arch)
Up again and partners turn (back: 1, arch)
You turn them back to place (2 hand)
SIDE two couples split to head
Up and back with grace
Up again and partners turn
You turn them back to place

Chorus - All hands joined, in to the center and back -

Honor partners.

Follow the Leader        Print this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.11, January 1955.  Original wording on page 27    Internet Archive
As called hy TED SANNELLA

Suggested music - any good breakdown you like

The head two couples, go forward and back
Forward again and half right and left
Do si do your corner there
Then do the same with your lady fair
All join hands and circle to the left
First gent turn outside and reverse back in single file
Follow the leader a good long mile (Active gent breaks  the circle and turns to his left - others follow after in single file)
Now join your hands and circle to the right
Swing the lady on your right (new partner)
Promenade the same once around the square.

Repeat for heads; then twice for the sides, with gents 2, 3 and 4 breaking the ring to reverse back.

That's a 48-bar figure.  I believe Ted later changed the first part to:

A1:Heads right and left through; sides right and left through; heads right and left back.

and took out the final promenade to cut it down to 32 bars.

The Skimmelton        Buffalo Gals: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 20-Feb-22

From Northern Junket Vol. 4, No.12, February 1955.  Original wording on page 22    Internet Archive
BY NORMAN CAZDEN
Music - Buffalo Gals

The Skimmelton is a traditional aftermath of weddings in the Catskill Mountain area of New York State.  Similar practices are known in many other places by different names.

After the bride and groom have gone home, their relatives, friends and neighbors gather about their house, arriving silently in little groups.  As the evening grows later, occasional noises are made to disturb the happy couple, all in friendly spirit.  Loud conversations spring up, tin pots are banged on rocks, serenades of song and shouting and laughter come suddenly under windows, and other imaginative sounds suggest that the place is haunted.

By midnight the situation is sure to have grown intolerable.  The expected remedy is for the distracted bride and groom to come out and welcome the gathering.  They bring out baskets of fruit and other food as well as some “mountain dew” applejack, and join in the impromptu celebration.  Dancing and singing are interspersed with well-wishing, and then the guests depart so the couple can be alone.

The Skimmelton dance, performed at the Fourteenth Annual Folk Festival of the Catskill Mountains at Phoenicia last August, is a variant of Buffalo Gal, and the calls are sung to that tune.  The music should he moderate in speed, and the steps call for precise timing.  At * the ladies keep hold of each other's hands, gents duck under to left of their partners then take hands and lift them over the ladies' shoulders.  At ** the gents keep hold of hands, ladies drop hands, take hands again inside the circle and lift them over the gents' shoulders.

First gents.

Turn the right hand lady with the left hand around
Then your partner with the left hand around
On to your opposite with the right hand around
Then your own with the left hand around
Now turn your corner with the right hand around
Then your partner with the left hand around
Swing your partners all around
And promenade the hall.

Repeat with second, third, then fourth gents

Refrain:
All ladies to the center and circle four
Gents to the right, find your own once more
* Under and over with a basket weave
And circle left before you leave
** Now turn that basket inside out
And swing like thunder the other way about
Drop that basket and hug your fruit
And promenade the hall.

Head gents - turn the right hand lady with the right hand, etc.

Repeat with side gents; then all gents - not too fast!

Refrain: All ladies to the center and circle four etc.

I'm sure it should start with turning the right-hand lady by the right, not the left, and indeed when he talks about both head gents starting the figure that's what he says.



Volume 5


Volume 6

All American Hash        Print this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 6, No. 1, December 1957.  Original wording on page 28    Internet Archive
As called by “Duke” Miller

Music: Any reel or breakdown you wish.  Introduction, break and ending - ad lib.

Head couples out to the right
And circle just half way round
Duck through - pass through - right and left through
Duck through - pass through - right and left through
Duck through - two ladies chain in the center of the floor
Turn and chain the outside four
Chain back, chain in the center
Put your own on your right
And circle four in the center of the floor
Four hands round and round you go
Break it up with a do pas o
Partner left, opposite right
Partner left and sides cut in
With a right hand around
Partner left and catch your corner
Promenade her and don't step on 'er.

Once more for heads - then twice for the sides
I'm not going to try and fit this into 8-bar A's and B's; it really is called unphrased.  Just a few points.

“Duck through” is what we now call “Dive through” — the insides arch, all move forwards, the outsides dive through and those making the arch — in this case the sides — do a California twirl to face back into the set with the gent still on the left.  Same again to get the heads back to the side where they started.  The heads dive through a third time and do a ladies chain in the middle with a power turn to face the nearer side couple. With the outside two chain over and back, heads finishing the chain back with a power turn to face the other head couple.  Head ladies chain to their own partner, and I don't see the need for “Put your own on your right” — she should already be there, so maybe it's just confirmation that the heads are indeed back with their partner.  After circling left the heads do a Do Paso — left-hand turn partner and the gents cross to right-hand turn the other lady, then cross back to left-hand turn partner enough to face the nearer side couple, with the gent on the left.  But this means the first couple are facing the second couple — so the first lady is facing her corner but the first gent isn't.

Once again Tony Parkes clarified things for me.

I can't blame you for assuming that “sides cut in” after the do paso refers to the side couple that the head couple was just working with.  But with my knowledge (some of it firsthand) of Duke, Ralph, and similar dances of the 1950s, I'm virtually certain that Duke meant the call to be interpreted in a different way.

I believe that in order for the dance to work out as Duke intended, the heads need to start the do paso when their backs are to their own home position, which would mean circling once and a quarter (or twice and a quarter, etc.).  Then “sides cut in” would mean that each side person turns his or her original corner by the right hand as the corner comes out of the last “partner left” of the do paso.  This will yield a normal corner progression.

Granted, the circle once and a quarter is not specified.  But there were a lot of non-directive calls in those days, and walkthroughs were much more common, even in “western style,” than they would become a decade later.

So here's my understanding:

 Heads lead to the right and circle left half-way.
 “Dive through”: Insides (sides) arch, outsides dive through and the archers do a California twirl to face in with the gent on the left.
 Middles (heads) pass through and do a right and left through with the other outside couple.
 Again dive through, pass through, right and left through.
 Dive through, so heads are facing the other head couple and you're all with your partner.
 Ladies chain over, with a power turn to face the outside two.
 Ladies chain with the outside two.  Chain back, and the middles (heads) do a power turn to face the other head couple.
 Ladies chain — now you're all back with your partner (where you were the last time you were together).
 Middles circle left 1¼ — all home.
 Middles do paso: partner left, men cross right, opposite left, men cross left, partner right, so middles have your back to your partner, facing your corner.
 Right-hand turn corner, left-hand turn partner.  Promenade corner to man's place.
 Repeat the figure for the heads, then twice for the sides.


Volume 7

Abe's Donegal        Back to Dnegal: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 7, No. 4, April 1961.  Original wording on page 32    Internet Archive
Music: Back to Donegal.  Original Square by Abe Kanegson

Any intro, chorus and ending you like.

All four gents turn out to the right
     (Gents turn out from set. go to stand beside right hand lady, passing behind partner)
And on the right remain
The ladies all turn out to the left
The ladies grand chain (half way)
You chain 'em over and turn 'em around
And swing the colleens all
Swing round and round with the girl you found
In Dear Old Donegal
Then allemande left your corner girl
Pass by the one you swung
With the next you meet you do si do
And promenade her home
You promenade that lady, promenade them all
Then forward all and back to place
     (One step balance forward and back toward center)
In Dear Old Donegal

Here's my understanding of the figure.  It's unusual to do a ladies chain followed by a swing, but certainly not impossible, though modern dancers might prefer to omit the courtesy turn and just have the ladies right-hand star half-way into a longer swing.  And I don't see why the forward and back should be just a balance step — I think there's time for a regular forward and back.

A1:Gents cast out over left shoulder to finish in the place of the next gent to the right.  Ladies cast out over right shoulder to finish in the place of the next lady to the left.  (All now with opposite)
A2:All four ladies chain across.  Swing this one.
B1:Allemande left (current) corner, pass by the one you swung.  Do-si-do the next (original corner).
B2:Promenade to the man's place.  All go forward and back.
 Ladies have moved right.

Antigonish Square        Print this danceTop of page   Added 23-Nov-21

From Northern Junket Vol. 7, No. 9, November 1962.  Original wording on page 29    Internet Archive
Original dance by Rod Linnell
Suggested music: Whatever you like.  Use any intro, break and ending you wish.

The head two ladies chain to the right (halfway)
And turn the girls around
Same two ladies chain across the square (halfway)
Allemande left your corners
Come back and do si do
Then all four men star by the right
Three-quarters round the ring
When you meet your partner (original)
Stop and give her a swing
Then take that lady with you and promenade
One full circle around the ring

Antigonish is a town in Antigonish County, Nova Scotia, Canada.  No difficulty understanding this one, except that if the men star right three-quarters they meet their opposite, not their original partner.  Coming out of a do-si-do, a left-hand star would be better than a right-hand star, and would also flow more smoothly into a swing, so I'm making that one small change.  I'm also assuming that “one full circle” means you promenade once around to this new place, rather than telling them they need to promenade 1¼ instead of just ¼

It's interesting that Rod has to say “halfway”.  In modern squares and contras it's taken for granted that a ladies chain or right and left through is one way only, but these figures both derive from the 19th century quadrille where they meant “and back again”.

A1:Head ladies chain to the right.  Same ladies chain across.
A2:Allemande left current corner.  Do-si-do current partner.
B1:Men star left ¾.  Swing original partner.
B2:Promenade all the way, which means all couples are one place to the left of where they started.
 Repeating the figure for the (new) heads and twice for the sides gets everybody home.


Volume 8

Old Fall River Line        On the Old Fall River Line: Music in PDF, MIDI and ABC formatPrint this danceTop of page   Added 10-Dec-21

From Northern Junket Vol. 8, No. 7, January 1966.  Original wording on page 31    Internet Archive
as called by Paul Hunt and recorded by Folk Dancer on MH 1041
A singing quadrille for your “Dance of the 50 's” party

Any introduction you wish

The two head couples promenade half around the outside ring
Up the center and right and left through
Til you get back home again
Then you circle four with the couple on your right
Then you break and make two lines
Forward eight, and eight fall back On the Old Fall River Line
Then you chain your ladies 'cross, the set (don't return)
Chain the ladies down the side - -
Then you chain the girls across the set
Turn around and watch 'em go!
Then you chain 'em home, yes right back home
And hand them to their beaux.
Now you allemande left with your corner
And you allemande right with your own
You swing that corner lady there
You swing her all alone
Then you promenade with the one you swung
Hurry up, you're doing fine
Promenade like a big parade On the Old Fall River Line.

Repeat figure once more for head couples
Repeat figure twice more for side couples.

Any ending you wish.

Tony Parkes notes:

It's in Chip Hendrickson's “little black book,” which Walter Lenk has kindly made available online (page 10): www.configular.com/SingingSquares/Chip_Hendricksons_CallBook.pdf

I have the original 78 disc of author Paul Hunt calling it.  His wording on the record is consistent with his book “Eight Yards of Calico” and with the two transcriptions above.  Note that there is an 8-count pause in the call at the end of the introduction, and two 4-count pauses in the middle of the figure.  Chip's transcription preserves these.  There is also an 8-count tag on the record at the end of each figure, to finish the promenade.  This tag is noted in Hunt's book but not in Ralph's or Chip's transcription.

The tune is of a popular song with music by Harry Von Tilzer — you can hear it sung at www.youtube.com/watch?v=sJrDwFJvCsI and there's a recording made (for a square dance, judging by the photos) at www.youtube.com/watch?v=06jaogauD-I which sounds as if it's in F though I've written it in G.  I assume the dance uses just the chorus (which is what the Rock Candy Mountaineers are playing on this recording).



Volume 9


Volume 10


Volume 11


Volume 12


Volume 13


Volume 14


Ignore the rest of the page which is just my working area.

A1:
A2:
B1:
B2:

TitleVol.No.Pg.
Canadian Lancers (from Norman Lindsay)5337
Climbing up De Golden Stairs (Don Armstrong)5423
Cock of the North (Ralph Page) *51034
Darling Nellie Gray (as called by Rod Linnell) *51126
Duck to the Center (Norman Epstein)5529
It's A Long Way to Tipperary (Ralph Page)5621
Lady Round the Lady *5738
Nancy's Fancy (Don Armstrong)51231
Old-Time Square from Conn. (from Ralph Sweet) *5827
Plain Quadrille (as called by Ralph Sweet)5130
Somebody Goofed (Ruth Stillion)5231
When the Work's All Done This Fall *5941
Atlantic Polka Quadrille (arranger, Rod Linnell) *6319
Big Square From P.E.I. (as called by Rae Simmons)6326
Bride's Round Dance, The6421
Bring Home Your Corner (Mal Hayden)6929
Bunkhouse Reel (Hamilton Area — 1837)6616
Crooked Stovepipe [Ontario]6610
Do Si Do and Face the Sides (Ted Sannella)6232
Dosse Ballinet (from Tom Lenthall)6110
Glossary of French Canadian Calls & Figures6415
Go Through the Chain (called by Paddy Geddes) *6613
Grand Moulinet (from Tom Lenthall)6110
Haystack, The (as called by Wes McVicar) *6611
Hofbrau Square (Jerry Helt)6824
Kitty Corner (Ralph Page) *61128
La Cardeuse (from Sagueny Region, P.Q.)6420
La Favorite de Montreal (Rod LaFarge)6435
La Gigeuse6424
La Gigue A 8 [Val Morin, P.Q.]6425
Little Brown Jug (as called by Paddy Geddes)6613
Montreal Breakthrough *61031
Presque Isle Eight (Rod Linnell)6734
Quadrille Salle St. Denis (Rod LaFarge)6436
Set de St. Adele6423
Set des Jaloux (Saguenay, P.Q.)6424
Set Salle St. Andre (Rod LaFarge)6437
Star and Chain (Ted Sannella) *61232
Strawberries and Raspberries (Mal Hayden) *6527
Three Ladies Chain (as called by Wes McVicar)6615
Tirior (from Tom Lenthall)6111
Waltz Quadrille Fig. 2. [Tartan Waltz * ]6312
Waltz Quadrille Fig. 3. [White Rose Waltz * ]6313
Waltz Quadrille Fig. 4. [Valse Denise * ]6314
Waltz Quadrille, Fig. 1. [Dawn Waltz * ]6311
Around Someone (Ralph Page)7229
Avalon7639
Dream Quadrille (Ted Sannella) *71036
Empire State Chain (“Duke” Miller)7823
Happy Dance (Rod Linnell) *71130
La Russe *7233
Ladies Stay Home (Ralph Page)7341
Quadrille Joyeaux (Ted Sannella)7524
Reel Salle St. Andre (Ralph Page)71232
Rod's Reel (Rod Linnell)7129
Roger's Square (Roger Whynot) *7728
Bill Bailey8936
Centennial Lancers, The81140
Circle to the Middle Quadrille (Ted Sannella)8427
Jimmy's Jig (Rod Linnell) *8130
Jingle Bells (Rod Linnell)8330
Lancers — Additional Figures8232
Lancers Quadrille, 5 Figs. (Pub S.T. Gordon, 1857)8134
Lancier from Quebec81138
Le Quadrille des Lanciers81219
Le Quadrille Francais8345
Marching to Pretoria (Ralph Page) *8225
Mountain Music Madness (Rod Linnell)8831
Open Up Your Heart (as called by Don Armstrong)8630
Polka on a Banjo (Ralph Page)8527
Saratoga Lancers, The81142
Swiss Lancers81221
Ted's Atlantic Polka Quadrille (Ted Sannella)81227
Wedding Bells — Breaking up — Old Gang of Mine81032
Wheels Quadrille (Dick Leger, arr. Ralph Page)81128
Buffalo Quadrille (as called by Rod Linnell)9228
Dancing to Pretoria (Ralph Page)9722
End Ladies Chain (as called by “Duke” Miller)91128
George's Special (George Hodgson)91223
It's You I Love (as called by Jerry Helt)9326
Left Hand Lady Under (Trad.) *91023
Milton Quadrille (Rod Linnell)9928
Nelly Bly9624
Old Fall River Line (Paul Hunt)9826
Old Fashioned Girl9530
Open Up Your Heart (as called by Don Armstrong)9131
Ted's Atlantic Polka Quadrille (Ted Sannella) *9423
Butcher Arms Around Me, Honey (Walter Meier)1056
Canadian Balance Quadrille (Dick Leger)1057
Charlie's Double Quadrille (Charlie Baldwin)10422
Deer Park Lancers (as arranged by Ralph Page)10421
Duke & Ralph's Dance (Called by “Duke” Miller)10425
Forward Six & the Gents Pass Under (Bob Osgood)10926
Girl I Left Behind Me (“Duke” Miller, caller) *10321
Jenny's Star (Roger Whynot)10229
Just Because (as called by Lawrence Loy)101029
Little Arrows (Ralph Sweet) *10125
Mal Hayden's Texas Star Variation1055
Oblah-Di-Oblah-Da (as called by Dick Leger)10329
Patter Chatter (Van Vandever)10920
Rod's “Real Yankee” Square (Rod Linnell)10424
Roger's Dance #2 (Roger Whynot)10626
Stand Right There (Josh Tolford)10826
Tipperary (as called by George Hodgson Jr.)101225
Wait 'Til the Sun Shines Nellie10527
Year End Two Step (Rod Linnell) *101127
Between Those Ladies (Ed Gilmore via “Duke” Miller)11124
Chain the Ladies Thru the Sides (Dick Best)11326
East Hill Breakdown (as called by Rod Linnell)111144
Farmer's Quadrille (as called by Don Armstrong)11624
Figure Eight Around Sides (Ralph Page)11825
Four in Line You Travel11724
Gonna Have A Ball (Bruce Johnson's favorite 4/74)11939
Johnny Oh Polka Sq. (Dick Leger's favorite-4/74)11935
Rockingham Star (as called by Rod Linnell)11426
Rod's Right And Left (Rod Linnell)111225
Solomon Levi11228
Southern Quadrille (as called by Don Armstrong)11224
Stepney Chain (as called by A1 Brundage)11528
Dayton Square (Ralph Page)12926
East Hill Reel (Rod Linnell)12124
Ladies Chain Down The Center & …. (Dick Best)12630
Ladies Round One (Roger Whynot)12225
Lady Be Good To Me (Ed Gilmore)12425
Long Pond Chain (Rod Linnell)12726
McQuillen's Breakdown (Ralph Page)12529
Put Your Arms Around Me, Honey (Walter Meier)12830
Rod's Donegal (Rod Linnell)12326
Send Me The Pillow (Ralph Page)121027
Sides Star (Ralph Page)121127
Swing on the Outside (Roger Whynot)12225
Bird in the Cage (Kansas Traditional)1328
Cape Breton Square (Ralph Page from Rod Linnell)13525
Carry the Swing (Kansas Traditional)1327
Catch 'Em on the Fly (Kansas Traditional)1328
Cheat or Swing (Traditional)13133
Down the Center & Cast Off Two (Kansas Trad.)1327
Floor Walker (Jim York)13629
Grand Old Flag (Stan Burdick via Bob Howell)131128
Happy Sounds Quadrille (Ralph Page)13826
Jingle Bells (Ralph Page)13926
Labor Day Quadrille (Roger Whynot)131227
Levi Jackson Rag (Pat Shaw)131026
Nameityourself (Van Wanderwalker)13723
On The Bias (Roger Whynot)131227
Patter, Old Time- Whatever Became of It?13724
Patter, Old Time- Whatever Became of It?13831
Patter, Where Did It Go?13642
Pretty Baby Quadrille (Jerry Helt)131229
Round Just One (Don Armstrong)13329
Run Away With Your Corner Girl (Kansas Trad.)1327
Runouttanames (Ed Gilmore)13226
Tony's Star Breakdown (Tony Parkes)131229
Trailin' Star (Jim York)13426
Benson's Fireplace (Roger Whynot)1479
Bill Bailey (“Duke” Miller)14725
Butterfly Promenade (Ed Butenhof)14228
Couple Around One (Ed Gilmore)14430
Do Si Do and Face the Sides (Ted Sannella)14227
Grand Square Variations (Bob Osgood)14525
Hey In A Square (Roger Whynot)14430
Hope Quadrille (Bob Howell)14229
Just Because (as called by “Duke” Miller)14822
Karin's Quadrille (Roger Whynot)14824
Lady Be Good To Me (Ed Gilmore)14627
Mixed Quadrille (Ralph Page)14327
My Little Girl (As called by Ralph Page)14720
Newfoundland Lancers (from Roger Whynot)14317
Northern Quadrille (Keith Hunt)14128
Nottingham Breakdown (Henry Garfath)14627
On The Bias (Roger Whynot)14227
Recombining Basics for New Dances (From Callerlab)14432
Right and Left Eight (Ralph Page)14327
Roger's Dance (Roger Whynot)14431
Sheehan's Reel (Roger Whynot)14723
Swanee (Howie Davison)14723
Virginia Reel Square (called by George Hodgson)14524
Wearin' 0' The Green (“Corky” Calkins)14329
Close  Close video
Click here if there's no picture.