This is more a frame work than a figure as such, it names three figures often used in succession in early multi-part country dances, each one being the introduction to a new part of the dance. See Cuckolds All A Row for an example of this type of dance.

• The first figure was "Up a double", meaning take hands with partner, face up (toward the presence), lead up a double (three steps and close), and fall back a double (for a total of 4 bars). Then repeat (for 8 bars). Often there will be a set and turn single either following each up a double and back, (up a double, back, set and turn single) or two up a doubles and back followed by two set and turn singles (for a total of 16 bars)
• The second figure would be siding. First right shoulder siding, then left shoulder siding. If set and turn single where included in the up a double, then they will be here too, and in the same way.
• The last figure is arming. First right arming, then left arming. Again set and turn single will appear if it did in the up a double.

Each of these standard figures will be followed by the rest of the part. Occasionally all parts will have the same chorus, but more often each has a unique sequence.

This style of dance was quite common in the dances of the Lovelace MS, and the early Playford dances, but almost none was published after 1670.

Dances using this structure appear in the Lovelace Manuscript and in many early Playford dances. The 4th edition of the Dancing Master (1670) is almost the last to print any new dances of this format. The one exception is Fairy Queen published by John Young in 1726.

Marjorie Heffer & William Porter revived the style in Maggot Pie, published 1932. Pat Shaw's Monica's Delight is another such dance from the early 1930s. Since then a number of modern authors have used it.