Circassia is (or was) a region on the northeastern shore of the Black Sea.

In Baltimore in 1820 George Willig Jr. published a dance called "The Circassian" in a pamphlet called Admired Cotillions (in the US the distinction between Quadrilles and Cotillions was often lost, and I think this is actually one set of a quadrille. It isn't in a circle and it is not progressive.

Forward two cross over. Chasse. cross. to place. Balance and turn partner. Ladies Chain. promenade and half right and left to place.

The figure for this dance is said to come from Le Pantalon in Payne's 1st Set of Quadrilles. The first 24 bars match and the last 8 have been changed to make the dance progressive. The idea of dancing in a circle, and the name "Circassian" come from G.M.S. Chivers.

In 1822 in his book The Modern Dancing Master, G.M.S. Chivers introduces a style of dancing he calls "Circassian Circle". He then publishes four dances to be done in this style, none of which is called "Circassian Circle" itself.

Chivers's version is different from the modern way of dancing. At the time, in longways sets, only the top two couples would start dancing, in this circle dance only the two couples closest to the music would start, they would pass each other, and then each would dance with the next couple in their direction of motion. And so on.

Any number of persons can join in the Dance, observing that there is an even number of couples; the odd numbers stand on one side, and the even numbers on the other, forming a circle, thus:

The 1st and 2nd couples face each other, who perform the Figure and exchange places: then the 1st and 4th couples, and at the same time, the 2nd and 3rd couples do the same, and so continued all round. Each Dance terminates when all have been through it.

Each lady to stand on the right of her partner throughout the Dance. All the odd numbers face the same as No. 1, and the even numbers face the same as No. 2.

— The Bodleian Libraries, University of Oxford, Harding Mus F 346

Note this is simply a general description of how to dance in a circle. It is followed by four figures for this format. the one which most closely matches the modern version is called "La Daphne":

Right and left set and turn partners ladies chain half pousette into each others place, and turn partners under the arm

— The Bodleian Libraries, University of Oxford, Harding Mus F 346

The next version I can find is Lowes' Ball-Conductor and Assembly Guide (Edinbourgh, ~1831) where they write:

The Circassian Circle

Is a circular Country Dance, for which the party is arranged, as for Quadrilles, across the room; the four at the top commence first, and change sides at the end of the figures, they continue to repeat them with all the couples down the opposite sides of the room, crossing over at the bottom, and continuing till they arrive at their original places; all the other couples must also continue, after they commence, till they make the circuit of the room; and when all have regained their places, the dance is finished

First Circassian Circle

Ladies chain, set and turn partners, right and left, hands four half round, and turn partners, changing places.

I think the Lowes are describing a hall full of two couple quadrille sets (that is improper duple minor lines), lined up along each side wall of a building. As with Chivers, and in keeping with the staggered start in use for country dances at the time, only one set start dancing, the one at the top, they pass each other, and one moves down the right wall, and one down the left, as they move down the lines the dancers behind them will also start, then when they reach the bottom instead of becoming 2s and working their way up, the cross over to the other line, and work their way up. When they reach the top of the other line they stop and wait until everyone else has reached their original position.

In ~1842 Tilt & Bogue published The Ball-Room Preceptor (Third Edition) containing a description of the Circassian Circle very like Chivers's. Only two couples dance at the start, and no specific figure is provided. (In ~1844 Coulon (London), in 1848 George Appleton, Philadelphia, and in ~1850 Kent & Co., Nottingham copy their description word for word)

The next version I've found is Wilson, 1852.

Wilson writes:

Couples vis-a-vis; form a circle round the room; figure, right and left or hands across; set and turn partners; ladies chain; waltz pass on to next couple; repeat.

Wilson defines "Right and Left" on page 15 of The Art of Dancing and it involves no hand clasps.

Sometime between 1850 and 1853 in Lowe's Selection of Popular Country Dances:

Any number of Couples can join in this Dance, the Couples arranging themselves along each side of the room, (the Ladies standing on the right of their partners) and all facing the top of the room, except the first Couples who face each other across the dance.

FIGURE

Ladies chain by top couples. (8 Bars) Balancez and turn partners. (8 bars) Right and left. (8 bars) Hands four half round, then turn parners and face the next couples on the sides of the dance (8 Bars) This figure is repeated with every couple, all down the sides of the dance across the bottom, and up the other sides to places, every couple after they commence keep going on till all have regained their own places.

Courtesy of National Library of Scotland, licensed under:

Joseph Lowe is still recommending the old style progression where only the top couples start. But he now calls this dance "Circassian Circle" rather than one of several dances in that style.

In 1897 in D. Anderson's Ball-Room and Solo Dance Guide, (Dundee)

The couples stand in a circle round the room, two and two, couples facing each other, and backs to other couples. Gentlement have partners always on right hand.

Rights and lefts to places.

Set and turn partners.

Ladies' chain.

Pousette into opposite places.

Repeat figure with next couple round the room.

Courtesy of National Library of Scotland, licensed under:

Given the way he sets up the dance, Anderson must have everyone starting at once.

Note that in Le Pantalon of Payne's 1st Set of Quadrilles the four bars of setting to partner (which come after the rights and lefts) are two different setting steps: Balancé and Sissone Balotté Jetté and Assemblé. The first is an advance and retire movement (toward and away from partner) and the second a side to side movement (to the right, and back to the left).

Thompson (1786) writes:

Right hands across half round left hands back again Lead down the middle up again & cast off Allemande with your partner Right & Left

Wilson (1809) writes:

Double Figure

Chase round one couple, and back again , Hands across and back again , down the middle, up again, allemande , and lead outsides .

A different version may be found in Kate Hughes's Dancing Book from Ireland in 1867

1. The tow top couples swing four (8 bars)
2. Top couple pousette to bottom and form an arch (8)
3. Ladies cast off by the right gents by left and meet at bottom with partners (8)
4. All promenade round (16)

Wilcock (1868) writes:

1. First and second couples give right hands across, and back with left.
2. First couple lead down the middle and up again,
3. Ladies cast off to the right, gentlemen to the left, meet at bottom, and lead up
4. All promenade
5. First couple pousette to bottom

In 1790 Longman & Broderip published a dance named Duke of Perth's Reel, but it has a different figure.

Rutherford published a dance named "Keep the Country, Bonny Lassie" in 1775, but with a different figure.

Pease Straw has an even longer history with Johnson publishing a dance of that name in 1744, but again with a different figure.

According to the Fletts (Traditional Dancing in Scotland, 1964, p. 247) William Boag was the first to publish this figure under the title "Keep the Country, Bonny Lassie".

First Cu Swing the Right hand and cast off one Cu: Swing the Left hand round Swing the Corners and your Partner each time Set Corners and turn lead outsides.

The Fletts also quote the Blantyre MS. (~1805), titled "Duke of Perth":

Hook right hand with partner — turn round — throw off a couple. Hook with partner with left turn round downmost Ladies with right partner with left uppermost Lady with right partner with left twice round, Sett cross p^r reels.

The (R)SCDS claims this dance comes from J. P. Boulogne's The Ball-Room, or the Juvenile Pupil's Assistant; Containing the Most Fashionable Quadrilles, with Les Lanciers of Sixteen, As Danced in the Public & Private Assemblies in Paris, Glasgow, 1827, titled "Duke of Perth" or "Keep the Country, Bonnie Lassie".

1. The first couple turn by the right hand and pass one couple, they turn left hands, the lady turns the second gentleman, and the gentleman the third lady; the first couple turn again with the left hand, the gentleman the second lady, and the lady the third gentleman, they turn half round. (16)
2. Set at corners and turn. (8)
3. Reel of three. (8)

Kate Hughes (in Ireland) recorded a slightly different version in 1867:

1. The top couple turn by the right hand and pass one couple turn with the left hand
2. The lady turns the seceaond gent and the top gent turn the seceaond ladie
3. The first couple turn agin with the left hand
   The gent turns the seceaond ladie and the top ladie turns third gent
4. Set to corners and turn
5. Reell of three

J. F. Wallace, in ~1872, published:

1. The first couple turn by the right hand and pass one couple; they turn with left hand, the lady turns the second gentleman, and the gentleman the third lady. The first couple turn again with the left hand, the gentleman the second lady, and the lady the third gentleman, turn half round, (16)
2. Set at corners and turn, (8)
3. Reel of three, (8)

D. Anderson, 1897 published something almost word for word from Wallace:

1. The first couple turn by the right hand and pass one couple; they turn with left hands, the lady turns the second gentleman, and the gentleman the third lady. The first couple turn again with the left hand, the gentleman the second lady, and the lady the third gentleman—turn half round. (16)
2. Set at corners and turn. (8)
3. Reel of three. (8)

Note that by Blantyre's time the "lead out sides" has become a reel.

RSCDS Book1 attributes this dance to J. P. Boulogne's The Ball-Room, 1827, but it has earlier roots. Preston published a version in 1793, and Thompson published something rather different in 1790 named La Triomphe. Preston's version has three lead up abreast, but has not yet developed the triumphal arch over the woman.

Preston writes:

The 1^st. Lady set to the 2^d. Gentⁿ. & turn The 1^st. Gentⁿ. set to the 2^d. Lady & turn The 1^st. Lady take the 2^d. Gentⁿ. by the right hand & lead him down to the 3^d. Cu^s. place · The 1^st. Gentⁿ. cast off & his Part^r. all 3 lead up to the top together ·· the 1^st. Cu lead down the middle up again & cast off ··

Wilson writes:

3 PARTS

Single Figure.

The second Gentleman leads down the top Lady, at the same time the top Gentleman crosses over and leads down outside on the Ladies' side, the two Gentlemen then lead the Lady up in triumph to her place ··, then the top Gentleman leads down the second Lady, and the second Gentleman crosses over and leads outside on the Ladies' side, the two Gentlemen then lead the Lady up to her place in triumph ··, lead down the middle, up again, and right left .

Or thus:

Set and change sides ··, the second Gentleman leads down the top Lady, at the same time the top Gentleman crosses over and leads down outside the Ladies' side, the two Gentlemen then lead the Lady up in triumph to her place ··, down the middle, up again, and right and left .

RSCDS Book 2 says "Walsh's Caledonian Country Dances 1748-1760.

The crib diagram says this comes from Walsh, 1760.

Both Walsh and Jackson published collections entitled Caledonian Country Dances around this time, but I can't find anything by either from 1760. The collections I can search do not contain a dance with this name.

The RSCDS says this dance was "Collected in the town of Lanark", and also states it is found in A Companion to the Reticule, published, London, ~1840 (for young Ladies and Gentlemen, whose birth, connexions, or society, can lay claim to any district NORTH of the TWEED. While the Companion claims this was danced all over Scotland prior to the year 1815.

The SCDDB says the dance was devised by Walsh in 1754, and Book 2 says the dance was published in Walsh's Caledonian Country Dances 1748-1760. As far as I can tell Walsh did not publish a dance called "The Bumpkin", but he did publish "The Country Bumkin" in ~1750, but the figure is nothing like this one.

Walsh writes:

Two Cu. fall back•foot it and change over the like again cross over twice to below lead to the top•foot it and cast off•

However, William Campbell did publish The Country Bumpkin in his 14th Book (~1799), and he writes:

Six Ladies and 3 Gentlemen in 3 Lines — the middle Gentleman dances with his Hat on — all nine foot up the Room to the top in 3 Lines and turn and foot back again to their places — then the Gentleman in the middle sets to the Lady at the right hand corner, turn her the set to the Lady on the left hand corner and turn her and Hey:— the other two Gentlemen do the same with their corners and Hey at the same time then fall back to their places and foot up the Room as Before and then down again then the Gentleman in the middle foots to the other right hand corner turn round and Hey the other two Gentlemen do the same with their other corner and turn round and hey all at the same time then fall back to their places foot up as before and back again then the three Gentlemen foot to the three Ladies on their right hand turn then to the three Ladies on their Left turn and all Hey then foot up as before and back again then the middle line set to the bottom line turn round and set to the top line then turn round and all Hey up and down the room the Gentleman in the bottom line takes the Hat off the Gentleman of the middle line then falls into the middle line with his two Ladies repeats all the Figure over again the Gentleman of the top line then takes the Hat off the Gentleman of the middle line and with his two Ladies falls in the middle line and repeats all the figure over again — then finish with a threesom Reel across the Room.

Is Campbell making a distinction between "heys" (in the first parts of the dance) and "reels" in the last line, or is he just careless?

As written in the Companion to the Reticule:

4	3	8
9	5	1
2	7	6

This favourite SCOTCH DANCE is performed by six Ladies and three Gentlemen, arranged as the annexed figure, with their backs near the extremity of the room. The centre Gentleman (King), wearing a hat is represented by the figure 5, and the other two by 3 and 7, while the six outside figures represent the Ladies; and it may be remarked, that by adding these figures up or down, across or by the corners, the result will always amount to FIFTEEN.

It is necessary to premise, that the figure of the BUMPKIN consists of three separate parts, viz.,

THE (DANCING) PROMENADE, THE SETTING, AND THE REELING;

that the Bumpkin tunes consist also of three Parts, and that each of these must be played TWICE over. When the "Old Country Bumpkin" (p. 30) begins, the whole nine promenade to the further end of the room, the Gentlemen holding each of their partners by the hand;— they then all turn round by the right, join hands again, and return promenading to their starting place during the first part of the tune. While the second part is played, 5 sets to and turns 8 & 2 — 3 do 4 & 9 — 7 do 6 & 1; and so soon as the third part begins 3, 5, 7 reel with those they had set , and then return to their places as before. The tune is now begun for the third time, and the whole start again, turn and return as formerly, during the first part • When the second part begins, 5 sets to 9 & 1 — 3 do to 8 & 4 — 7 do to 6 & 2 and the gentlemen (3 5 7) now reel with their own partners during the third part of the tune, and return to their original places as before. The same tune being begun a fourth time, 5 sets to 3 & 7 — 9 do. to 2 & 4 — 1 do. 6 & 8 and after reeling during the third part, 4, 3, 8, exchange places with 9, 5, 1; and 3 (now King) taking the Hat, the Bumpkin is now danced over again in the very same manner to the tune of "Ailsey Marley" (p.30). Upon 4, 3, 8 then exchanging places with 2, 7, 6, and 7 (now King) taking the Hat, the Dance is repeated to the tune of the "New Bumpkin," (p.30), and carried on as formerly to where the second part of the Old Bumpkin tune has begun for the third time, viz., at this mark • 5 now sets to 9 — 3 do. to 4, — 7 do. to 2; and at that moment there additional Gentlemen join the Dance by setting to the unoccupied Ladies, 8, 1, 6, the music omitting the third part of the tune, and changing to the common time reel of Tullochgorum, which is played three times over; and thus concludes the BUMPKIN, as danced all over Scotland prior to the year 1815.

D. Anderson's Ball-Room and Solo Dance Guide, Dundee, ~1900 calls it simply "The Reel of Nine":

This Dance is done with either a majority of ladies or gentlemen, but ladies are more suitable.

Stand in three lines of three, each gentleman facing down the hall between two ladies; Reel of three across (i.e. each gentleman with his two partners) finishing in places — This occupies 8 bars.

All set and turn both partners, one after the other — other 8 bars.

Reel of three at corners, at same time the other three at the corners go hands round to left and back to right — other 8 bars.

All set and turn both partners, one after the other — other 8 bars.

These movements are repeated round the whole square, occupying 96 bars.

All join hands and go round to left, with the exception of the gentleman between the middle three (or where the gentlemen form a majority, the lady between the middle three) who sets to the others as they go round to the left.

The SCDDB says that the reels are left shoulder reels, though I can find no indication of this in RSCDS Book 2, nor in any of the original sources.

Campbell's 15th book does contain a dance with this name, but I have been unable to find more than a table of contents and can't verify the choreography.

I can't track down Boag's publication, but I have found it in Lowes' Ball-Conductor and Assembly Guide in ~1830 published by the Messrs. Lowe who write:

First couple turn by the right hand, and the Gentleman passes one couple down the middle; then turn quite round by the left hand, and set, three and three, in lines across the dance; turn round with both hands; then the Lady goes between the second and third Gentlemen, and the Gentleman between the second and third Ladies; set, holding the hands; set corners, and reel.

The Lowes title it Greig's Pipes, or the Cameronian Rant.

Wilson writes in 1820:

The top Lady at A and bottom Gentleman at B advance, meet at F, Courtesy and Bow to each other, and then retire to places at A D; then the Lady at C and top Gentleman at B do the same: the top Lady and bottom Gentleman advance to the same Situation and swing with right Hands; the top Gentleman and bottom Lady do the same: then the top Lady and bottom Gentleman swing with left Hands; the top Gentleman and bottom Lady do the same: the top Gentleman and bottom Lady meet and turn with both Hands; the top Gentleman and bottom Lady do the same: then the top Lady and bottom Gentleman meet and Allemande round each other; the top Gentleman and bottom Lady do the same.

The top Couple at A B, bass each other at E, and cross over every Couple till they come to the Bottom, the Lady moving in Direction C D, and the Gentleman in the Line little c and d.* (Should the set be very long, they may cross over every other Couple, missing a Couple ever time; in crossing, the Lady passes in front of the Gentleman, that is, always passing the Gentleman on her Right Hand.)

The top Couple, by crossing over, will now be at the Bottom; they Cross Hands and Promenade up the middle, in the Lines c d; all the Couples follow them, beginning from the Bottom: the Ladies all follow the Lady that commenced the Dance in Line G; and the Gentlemen follow her Partner in the Direction H, by which means they all regain their Situations, except the Couple that begun the Dance, who will now be at the Bottom of the Room.

N.B. This Dance may be performed by any Number of Persons.

In A Pocket Companion, for Young Ladies and Gentlemen..., Smyth, 1830 calls the dance The Haymakers and writes:

The top Lady and bottom Gentleman advance to the middle, and turn by the right hand: the first Gentleman and last Lady do the same. The same couple repeat the same with the left hand, These again repeat the same by both hands. The first two advance and pass back to back, and return to their places. The other two do the same. The first Lady and bottom Gentleman advance, bow and curtsey, and return to their places; the others do the same. The whole chassé from top to bottom. the first couple half pousette with each couple till they reach the bottom of the Dance.

In Ball-Room Guide: A Manual of Dancing, H. D. Willock, 1868 calls the dance Sir Roger de Coverly, or The Haymakers and writes:

1. The first lady and last gentleman turn by the right hand, then by left hand, then by both hands, the back to back, then bow and courtesy. The above movements are repeated alternately by the partners of the leading couples . . . 40
2. Ladies cast off to right, gentlemen to left, meet at bottom; the first couple join hands, forming an arch, the others pass under to places . . . 8

The last part may be done thus:—
Ladies cast off to right, gentlemen to left, meet at bottom, and lead up,
First couple pousette to bottom.

In Kate Hughes's manuscript from Dundalk Ireland, 1867 it is also called "Hay Makers".

The RSCDS attributes this to Mozart Allan's Allan's Reference Guide to the Ball-Room, Glasgow, ~1895, and a dance with this name and figure is in that work, but it occurred elsewhere earlier.

Published by Goulding & D'Almaine in 1827 as Blue Bonnets are over the Border. I do not have access to the original text. but Robert Keller gives the figures as:
Change sides
Change sides (again)
Lead down and back
Poussette

Smyth, in 1830, page 31, calls it Blue Bonnets Over the Border and writes:

First Lady and second Genlemen advance and retire, and pass back to back, the first Gentleman and second Lady the same Down the middle and up again, and poussette.

So where is the progression in this dance? Either in the poussette or in "down the middle and up again". If you look at Mrs McLeod (page 33) you will see that, for Smyth, "down the middle and up again" is progressive.

Smyth (an Edinburgh dancing teacher) classifies this as a "Scotch Country Dance".

The RSCDS attributes this to Mozart Allan's Allan's Reference Guide to the Ball-Room, Glasgow, ~1895, and a dance with this name is in that work, and also to J. P. Boulogue, 1827, but it occurred elsewhere earlier.

Skillern & Challoner in 1807 write:

Hands 3 on the Gentlemens side, the same on the Ladys side, down the middle up again, and All'mand.

The Lowes in ~1831 write:

Three hands round on the Ladies' side; ditto on the Gentlemen's; down the middle, up again; set, and turn corners; set, and turn partners.

(Allan copies the Lowes word for word)

Rutherford spells the dance "Lady McIntosh's Rant" and writes:

Cast off one Couple Cast up Again Lead down two Couples up again, foot it foot it & cast off Right Hand and Left

Rutherford's music consists of a two bar strain and a four bar strain.

Campbell did publish a dance with this title in his 19th Book, but I do not know whether its figure matches that of the RSCDS dance.

On the other hand, in Thompson's Compleat Collection of 200 Fashionable Country Dances, Vol. III", ~1773, Charles and Samuel Thompson write:

Cast off two Cu. and clap hands cast up and do the same cross over two Cu. lead up to the top and clap hands lead down two Cu. up again and cast off and clap hands

Campbell did publish a dance with this title in his 19th Book, but I do not know whether its figure matches that of the RSCDS dance. Campbell is also said to be the devisor (and not just the publisher) of this dance.

The RSCDS attributes this to the 9th edition to the Dancing Master.

This dance has a rather confusing history in the Dancing Master. In 1651 (the first edition) Playford called essentially the same tune "Stingo, or The Oyl of Barly". This dance had a completely different figure though.

Then in 1689 addition to the 7th edition he published two dances with different figures but the same tune: "Juice of Barley" and "Cold and Raw". In the 9th edition (1695) the dance originally titled "Juice of Barley" became "Cold and Raw". The original "Cold and Raw" disappeared from the 9th through the 16th editions, and then reappeared as "Cold and Raw" in the 17th edition (1721) while the "Juice of Barley" figure then vanished.

The RSCDS version appears to be based on the "Juice of Barley" figure.

Playford writes:

The 1. cu. go back to back with their Partners, and the 2. cu. do the same at the same time.

---

The 1. cu. take hands with his Partner and turn her round, the 2. cu. doing the same at the same time.

---

The two we. stand still whilst the 1. man goes round about the 2. wo. into the 2. man's place, and the 2. man goes round about the 1. wo. into the 1. man's place, then all clap hands, then all four take hands and go quite round, the we. doing the like.

Although Playford explicitly specifies a two hand turn, the RSCDS has chosen to do a right hand turn.

RSCDS Book 5 attributes this to "Caledonian Country Dances, c. 1754". Both Johnson (1750) and Walsh (1748, 1751, 1755) published books called "Caledonian Country Dances" around the 1750s, but none of those books has a dance with a name like "Culloden's Fancy". There may, of course, be other publishers or publications of which I'm not aware.

Note: RSCDS Book 10, for the dance The Lady's Breist Knot has a more nearly complete attribution: "Jno Johnson Caledonian Country Dances Vol. II, c. 1754" but I still can't find it.

Note: RSCDS Book 28, for the dance Not I contains the comment "The source given is Caledonian Country Dances, 1754 but attempts to trace this manuscript have been unsuccessful.

However in ~1756, Thomas Collett in Twenty Four New Country Dances. Published by Subscription published a dance with that name, and according Robert Keller's site, that dance has the following figures: Foot it/ Turn/ Hands across half/ Partner Change/ Lead up and Cast down. Which is a pretty got match to the RSCDS figures (the only differences being that the "hands across half" becomes a "right and left half", and the partner change becomes a two hand turn once and a half, in both cases people end in the same places).

The RSCDS attributes this to "Caledonian Country Dances, c. 1754". Both Johnson and Walsh published books with "Caledonian" in the title in the 1750s, but none of those books has a dance with a name like "Duke of Hamilton's Reel". There may, of course, be other publishers or publications of which I'm not aware.

Note: RSCDS Book 10, for the dance The Lady's Breist Knot has a more nearly complete attribution: "Jno Johnson Caledonian Country Dances Vol. II, c. 1754" but I still can't find it.

Note: RSCDS Book 28, for the dance Not I contains the comment "The source given is Caledonian Country Dances, 1754 but attempts to trace this manuscript have been unsuccessful.

Rutherford (1750 & 1759), Bride (1770), and Longman & Broderip (1781) all published dances with this name, but none matches the RSCDS figure.

Wilson writes (on page 40):

SINGLE FIGURE (Tune played straight thro')
Hey on your own sides lead down the middle up again & set to top Cu:

OR THUS Set & change sides with the 2^d. Cu: set & back again lead down the middle up again & right & left with the top Cu:

DOUBLE FIGURE (Each strain repeated)
The 3 ladies lead round the 3 gent: the 3 gent: lead round the 3 ladies lead down the middle up again allemande & set 3 across & set 3 in your places

Wilson usually gives multiple figures for a tune, the (R)SCDS appears to have conflated the first figure and the last. They seem to have taken the first 8 bars from the first figure (the hey), and added the last 16 bars of the final figure, except these have been reinterpreted to take up 24 bars.

The music consists of two 8 bar strains.

Wilson defines most of his figures in his An Analysis of Country Dancing.
Hey on your own sides is only defined as part of "Hey Contrary Sides, and Hey of your own Sides" on page 83 and he shows a mirror/reflection hey.
The 3 ladies lead round the 3 gent: may be found on pages 48-49 and means: "all the ladies take hands, lady 1 leads counter-clockwise above, and then behind the men, at bottom looping back to original places."
lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
allemande may be found on page 7 and appears to mean going about your partner in a circle. In a later edition of Analysis Wilson adds the phrase "back to back".
This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
set 3 across & set 3 in your places is only described as "set three in their places and set three across" (opposite order) and is found on pages 76-77, and means: "Two lines of three across set, the ones move to their own places, everyone sets again." Wilson does not say whether they take hands when setting. Wilson does not indicate whether the corners set when the 1s move.

A "bawbee" is not, as I had assumed, a baby, but according to Wikipedia it is a small coin, a Scottish sixpence, worth about an English half-penny.

Wilson writes (on page 67):

SINGLE FIGURE (Each strain repeated)
Set & half right and left with 2^d.Cu: set & back again lead down the middle up again & allemande
OR THUS Hands 6 quite round & back again lead down the middle up again & set to top Cu:
DOUBLE FIGURE (Tune played twice thro' with repeats)
Set & change sides with 2^d.Cu: set & back again promenade 3 Cu: whole poussette & whole figure contary corners

Wilson usually gives multiple figures for each tune, the RSCDS appears to be following the first SINGLE FIGURE.

The music consists of two 4 bar strains. I assume the music should be played at 2 beats per bar and that "" indicates two repetitions of each strain.

Wilson defines all his figures in his An Analysis of Country Dancing.
right and left may be found on pages 39-44 and does not mean what I expect, instead: "2nd corners change by left shoulders, 1st corners right, 2nd corners change back by left, 1st corners by right."
lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
allemande may be found on page 7 and appears to mean going about your partner in a circle. In a later edition of Analysis Wilson adds the phrase "back to back". Wilson does not define a "back to back" figure. His allemande is a bit rounder than a normal back to back but perhaps that is the closest equivalent.
This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.

The RSCDS attributes this to "Caledonian Country Dances, c. 1754". Both Johnson (1750) and Walsh (1748, 1751, 1755) published books called "Caledonian Country Dances" around the 1750s, but none of those books has a dance with a name like "Lady Susan Stewart's Reel". There may, of course, be other publishers or publications of which I'm not aware.

Note: RSCDS Book 10, for the dance The Lady's Breist Knot has a more nearly complete attribution: "Jno Johnson Caledonian Country Dances Vol. II, c. 1754" but I still can't find it.

Note: RSCDS Book 28, for the dance Not I contains the comment "The source given is Caledonian Country Dances, 1754 but attempts to trace this manuscript have been unsuccessful.

RSCDS Book 5 attributes this to Caledonian Country Dances, ~1754. Several people were publishing works with that title around that time, but I can't find this dance in any of them (or none that I have access to).

Note: RSCDS Book 10, for the dance The Lady's Breist Knot has a more nearly complete attribution: "Jno Johnson Caledonian Country Dances Vol. II, c. 1754" but I still can't find it.

Note: RSCDS Book 28, for the dance Not I contains the comment "The source given is Caledonian Country Dances, 1754 but attempts to trace this manuscript have been unsuccessful.

Johnson calls the dance The Scotch Ramble and writes:

First Cu. cast off two Cu. Lead up to the Top and cast off Hands 4 round with the 3^d. Cu. Right hands and Left with the 2^d. Cu. foot it at both Corners & turn Lead out on both sides and turn

The websites attribute this to Preston and he did publish two dances with this name, the first published in 1790 does not match this figure, the second published in Preston's Selection of the most favorite Country-Dances, Reels, 1798 does match this figure.

However, Campbell published that same figure earlier, in about 1788, and Longman & Broderip did so in 1790.

All of these seem to start the dance with partner changes without setting, but otherwise they match.

The Lowes published a dance with this name, but the figure does not match.

According to The Regency Dance site in his book Campbell's 11th Book of New and Favorite Country Dances & Strathspey Reels there is a dance "The Bob of Fattercairn". But I don't have access to the original to verify that the figures match.

I can't track down Boag's publication, but I have found it in Lowes' Ball-Conductor and Assembly Guide in ~1830 published by the Messrs. Lowe who write:

The first Gentleman follows his partner round two couples; the first Lady goes down backs two couples, while the Gentlemaan goes down the middle; The Lady then goes up the middle; and the Gentleman up behind the back, passing in between the second and third couples; six hands round; swing corners.

According to The Regency Dance site Campbell wrote:

Foot it & cast off 2 Cu Foot it & cast up again lead down 2 Cu up again & cast off Sett Corners & turn lead outsides

Wallace published a dance with this name, but it has a different figure.

Longman & Broderip entitle their dance "Captn. Mc.Donald's Fancy" and its figure is lead, lead, circle, turn, turn, turn, turn. The RSCDS seems to have turned the circle into hands across, but otherwise the figures match.

In about ~1792, William Campbell published "Capt. Mc. Donalds Fancy" in his Campbell's Seventh Collection of the newest & most Favorite Country Dances and Cotillions but its figure does not match this one.

The Regency Dance site confirms that Campbell did publish a dance named "The Highland Plaid, or the Tartan Plaiddie" in his 3rd collection, but it does not describe the figure.

In Dale's Selection of the Most Favorite Country Dances and Reels he published a figure similar to the RSCDS's one:

Change sides and back again; Hands across and back again; Lead down the middle, up again; cast off and Allemand.

Campbell writes:

Cast off 2 Cu. up again ·.· Lead down the middle up again Poussette quite round with the 2^d. Cu. swing corners hands four half round Right & Left ::

The RSCDS's interpretation is pretty accurate, except for the perennial problem that, for Campbell, "lead down the middle and up" is progressive while "poussette" is not progressive.

Playford writes:

The 1. cu. meet and set, and cast off into the 2. cu. place Then meet and set again, and cast off into their own places The 1. man cast off below the 2. man, and go above the 2. wo. into the 2. man's place, his wo. folloing him at the same time Then the 2. wo. cast up above the 1. wo. and go below the 1. man into her own place, the 1. man following her at the same time Then the 1. cu. and 2. man go the Hey till they come into their own places Then the 1. cu. and 2. wo. go the Hey on the other side, and so cast off into the 2. cu. place

Walsh writes:

The 1st Cu. foots it and cast off The 1st Cu. foots it again, 1st Man casts down and the 1st Wo. cast up The 1st Man Heys with the 2d and 3d Wo. 1st Wo. Heys at the same Time with the 2d and 3d Men First Man Heys with the 2d and 3d Men, 1st Wo at the same Time Heys with the 2d and 3d We. The 1st Man foots it with the 3d Wo. and turns her, the 1st Wo. does the same at the same Time with the 2d Man Then the 1st Man foots it with the 2d Wo. and turns her, the 1st Wo. does the same at the same Time with the 3d Man The 1st Cu. leads through the 2d and 3d Men, and turn in the 2d Cu. Place Then the 1st Cu. leads through the 2d and 3d We. and turn in the 2d Cu. Place.

Walsh's music consists of four 4 bar strains, each repeated.

Walsh spells the title "Athol Brays".

The RSCDS attributes this dance to David Rutherford, but John Johnson published the same figure a few years earlier.

The first Couple casts of two Couple cast up again Cross over & half figure right hand and Left quite round with the second Couple foot it Corners and turn foot it the other Corners and turn Lead through the Mens side and turn your Partner Lead through the Womens side and turn it out

William Campbell published a dance of this name in his 19th book, but I do not know if the figure matches.

RSCDS Book 8 says this was "collected in Moray."

Wilson, on page 54, writes:

SINGLE FIGURE 1^st strain repeated 2^d. played straight thro' & D.C.
Swing with right hands round 2^d. Cu: then with left lead down the middle up again & right & left with top Cu:

OR THUS Set & hands across with 2^d. Cu: set & back again lead down the middle up again & set to the top Cu:

DOUBLE FIGURE (Tune played played twice thro as marked)
The 1^st. Cu: cast off at the same the 3^d. Cu: set & lead up then the 3^d. Cu: cast off & the 1^st. Cu: set & lead up to places cross over 1 Cu: half figure round the 3^d. Cu: set contrary corners lead thro the bottom hal pou^e.

Wilson usually gives multiple figures for each tune, the RSCDS appears to be following the DOUBLE FIGURE.

Wilson defines most of his figures in his An Analysis of Country Dancing.
Except that the first figure is not explicitly defined.
Cross over 1 Cu: is not defined either, but Cross over 2 Cu: may be found on page 22 and means "cross go below 2s, cross again, go below 3s". (so presumably crossing 1 Cu: means stopping below 2s.)
half figure may be found on page 54 and means "the active lady loops around the man below ending in her partner's place, as the active man loops the woman below ending in his partner's place. set contrary corners may be found on pages 55-57 and means "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back.
lead thro the bottom is half of through bottom and top on page 23 and means "the active couple take hands, lead down below the bottom, drop hands, and cast up to their own places.
half poussette not defined. A full poussette is defined on page 53 going once and a half around the neighbor couple. But half of once and a half doesn't make sense here. Dancers have already progressed so going a full circle is probably what he wants to happen.

The RSCDS attributes this to William Campbell, and he did publish a dance named Tulloch Gorum, but I can't check whether the figure matches.

In 1796 Skillern published Tulloch Goram and Skillern (again), Bland and Wilson all published dances named Tulloch Gorum whose figures do not match.

Smyth and the Lowes (~1830) published a dance called Tullochgorum but again the figure does not match that of the RSCDS.

Allan (~1895) also published a Tullochgorum but his figure does not match that of the RSCDS.

RSCDS Book 9 says that Walsh published this in Caledonian Country Dances, ~1748, but the earliest I have been able to find is ~1760.

Walsh writes:

First Cu. hey contrary sides then on your own sides the 1st Cu. foot it to the 2d Wo. and turn her the same to the 2d Man the 1st and 2d Cu. foot it and Right hands across Foot it and Left hands across back again cross over one Cu. and turn Right and Left at top

Walsh spells "Canongate" as "Conongate".

Cannongate is a major street in historic Edinburgh (gate=street), and a "cadger" is a carter who brings produce to market.

RSCDS Book 9 says "collected in the Border Country."

Longman & Boroderip first published a dance called "The Duchess's Slipper" in 1790, and republished it in 1796 (with the same figure) in Twenty Four Country Dances for the Year 1796.

The 1^st. Lady hay with her partner and the 2^d. Gent: The 1^st. Gent: hay with his partner and the 2^d. Lady Lead down two Cou: up again one Cou: Allemande

The music consists of a four bar strain and an eight bar strain, both repeated.

As always, note the lead down and back is progress in the original, while the allemande is not.

The instructions say the 1s should lead down, but dancing down with nearer hands joined flows more easily from the two hand turn, and that's what the videos I've watched show, so that's what I'm doing here.

Longman & Boroderip this dance in 1790, and according to Robert Keller's coded notes, the RSCDS figure matches the original.

Wilson writes (on page 76):

SINGLE FIGURE Each strain repeated
Set & change sides with the 2^d. Cu: set & back again lead down the middle up again allemande & set contrary corners

OR THUS The 1^st. Lady lead down the 2^d. gent: the 1^t. gent: lead down the 2^d Lady lead your partner down the middle up again & right & left with top Cu: & the double triangle

The music consists of three 4 bar strains. I assume the music should be played at 2 beats per bar and that "" indicates two repetitions of each strain.

Wilson usually gives multiple figures for a tune, the RSCDS has interpreted the first figure he describes.

Wilson defines most of his figures in his An Analysis of Country Dancing.
Set & change sides with the 2^d. Cu: may be found on pages 26-27 and means: set to neighbor, and change sides with partner (ladies between the men), set to neighbor again, and change back (ladies between men). Wilson does not say that hands should be taken.
lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
allemande may be found on page 7 and appears to mean a gypsy (or perhaps a back-to-back). This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
set contrary corners may be found on pages 55-57 and means "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back, but I expect modern dancers would want to.

In his Rutherford's compleat Collection of 200 of the most celebrated Country Dances both Old and New, Vol. 2, ~1759, David Rutherford published The Isle of Skie, and dance which begins with "set, cross, set, cross", but the rest of the dance is different. His music consists of 2 four bar strains.

In his Treasures of Terpsichore, 1809, Thomas Wilson published Isle of Sky:

Set and change sides down the middle, up again, and turn your partner

In his A Companion to the Ball Room, 1816, Thomas Wilson published a different Isle of Sky:

SINGLE FIGURE 1^st. strain repeated 2^d. played straight thro
The 1^st. lady turns the 2^d. gent: the 1^st. gent: turns the 2^d. lady lead down the middle up again & half poussette with the top Cu:

OR THUS The 3 ladies join hands the 3 gent: join hands set and lead thro set & back again lead down the middle up again & set to the top Cu:

Wilson's music consists of a four bar strain (repeated) and an eight bar strain (not repeated).

Wilson defines his lead down the middle up again may be found on pages 10-11 of his An Analysis of Country Dancing, and it means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.

Some sources show a two hand turn with the 2s at the end, some a right hand turn. (Wilson's original has no turn).

Rutherford spells the title "Lady Jane Murray's Rant".

Rutherford writes (in dance 139)

The first Man casts off, & the 2^d Woman casts up at the same time & turns The first Wo. and 2^d Man does the same Hands a cross with the 2^d Couple & back again Foot to your Partner & right Hands & Left

The music consists of 2 four bar phrases, each presumably played at 4 counts per bar.

RSCDS Book 10 attributes this to "Jno Johnson Caledonian Country Dances Vol. II, c. 1754". According to Robert Keller's site, Johnson published "A Choice Collection of 200 Favourite Country Dances" Vol. 6&7 in ~1751, and Vol. 8 in ~1753. None of these has a dance called "Briest Knot" or "Breast Knot" or anything similar. Johnson did publish a "24 country dances for the year ..." series. The one for 1755 does not have a dance with this name. (I don't have access to any of the others). He also published "Caledonian Country Dances", the one published in ~1750 does not contain a dance with this name. He may have published other books but I do not have access to them.

However, in ~1759, Rutherford published "Rutherford's compleat Collection of 200 of the most celebrated Country Dances both Old and New, Vol. 2" which contains a dance called "The Ladies Breast Knott" whose figure matches that of the RSCDS.

Rutherford writes (in dance 79)

First Cu cast off & hands across with the 3^d Cu the 2^d Cu does the same Hands round 6 lead down two Cu: & cast up into the 2^d Cu^s: Places & turn your Partner

Thompson also published a dance called The Breast Knott in 1771, but its figure does not match.

In his A Companion to the Ball Room, page 41, 1816, Thomas Wilson published several versions of Maggie Lauder:

SINGLE FIGURE
Hands 3 round on the ladies side hands 3 round on the gent^s. side. lead down the middle up again & allemande

SINGLE FIGURE (Tune played straight thro')
The 1st. lady leads down the 2d. gent: the 1st. gent: leads down the 2d. lady lead down the middle with your partner up again & set to the top Cu:

OR THUS Set & hands across quite round with the 2d. Cu: set & back again lead down the middle up again & right & left with the top Cu:

DOUBLE FIGURE (Each strain repeated)
Swing with right hands round 2d. Cu: then with left set 3 across set 3 in your places hands 6 round & back again lead thro' the bottom & half poussette with the top Cu:

TRIPLE FIGURE Tune repeated & then played straight thro
The 3 ladies lead round the gent: the 3 gent: lead round the 3 ladies lead down the middle up again half poussette with top Cu: set contrary corners swing corners & the double triangle

The music consists of 2 eight bar strains, each potentially repeated.

The RSCDS has chosen the third figure (the one labelled "OR THUS") which Wilson intends as a 16 bar reel, but the RSCDS decided on a 32 bar strathspey.

Wilson says the hands across should be "quite round", but the RSCDS has them be half round. I would concur with this when trying to fit the dance into 16 bars, but am confused by it in the 32 bar strathspey case.

In his A Companion to the Ball Room, 1816, Thomas Wilson published Lady Mary Douglas:, wherein he writes:

SINGLE FIGURE Tune played straight thro and Da Capo
Whole figure at top lead down the middle up again turn your partner & lead outsides

OR THUS Cross over 2 Cu: cross up 1 Cu: towards the top and half figure round the top Cu: & the double triangle

DOUBLE FIGURE Tune played twice thro and Da Capo
Hey on your own sides chain figure 6 round lead down the middle up again lead thro the top Cu: whole figure round the bottom Cu: turn corners whole figure contrary corners

The music consists of 2 eight bar strains. The RSCDS has chosen the DOUBLE FIGURE which means the music should be played ABBABB (I think). "" indicates a strain.

Wilson defines his figures in his An Analysis of Country Dancing.

• Hey on your own sides is only defined as part of "Hey Contrary Sides, and Hey of your own Sides" on page 83 and he shows a mirror/reflection hey.
• Chain figure of six may be found on page 78 of the 3rd edition of the Analysis (1811). The top couple face their partner, as the others face their neighbor then everyone does rights and lefts until they return to where they started. Wilson does not specify how to fit the 6 changes into 8 bars of music.
• lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
• lead thro the top Cu: is half of through bottom and top on page 23 and means "the active couple take hands, lead above the top, drop hands, and cast up to their own places.
• whole figure round the bottom Cu: is defined as whole figure at top (that is when the 1s are at top so they figure through the couple below them) may be found on pages 12-13 and means "the active lady starts and crosses down, looping around the man below her then she again cross between the couple below, looping around the woman below and casts up to her own place. The active man starts a little after her and mirrors her motions, looping the woman below and then the man below."
• turn corners may be found on pages 28-32 and appears to mean: the 1s pass partner right shoulder to turn first corners with both hands, then pass each other right shoulder to turn second corners (presumably again with both hands, though Wilson does not specify), finally passing each other left to return to places.
• whole figure contrary corners is found on page 104 of the 3rd edition of the Analysis (1811). Rather awkwardly, Wilson provides two different (contradictory) directions. In the first "the 1s cross down, W1 in front of M1, W1 around M3, M1 around W3, then cross up, W1 around W2, M1 around M2, and return home". In the second the "1s cross up, W1 around M2, M1 around W2, then cross down W1 around W3, M1 around M3, and return home.

In his A Companion to the Ball Room, 1816, Thomas Wilson published There's Nae Luck About the House:, wherein he writes:

SINGLE FIGURE (Each strain repeated)
Hands 3 round on the ladies side hands 3 round on the gent: side lead down the middle up again & right & left at top

OR THUS Set & change sides with 2^d. Cu: set & back again lead down the middle up again & hands four round at top

DOUBLE FIGURE (Tune played twice thro' with repeats)
Cast off 2 Cu: & back again swing with right hands top & bottom set contrary corners & the double triangle.

The music consists of 2 four bar strains, both repeated. The RSCDS has picked the third figure (the one marked "DOUBLE FIGURE") which means the music should be played AABBAABB. "" indicates two repetitions of a strain.

Wilson defines his figures in his An Analysis of Country Dancing.

• Cast off 2 Cu: (& back again) is defined on pages 8-9 and means: "active couple cast down, go outside the set, passing two other couples, then turn away from each other to face up, and return to places."
• swing with right hands top and bottom this is defined on pages 87-88: "Partner right turn half, using the momentum to loop round your partner's place, and cast down below the 2s to meet in the middle between them and the 3s, again right turn half casting up on their own sides back to original places.
• set contrary corners may be found on pages 55-57 and means "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back.
• the double triangle does not appear until the 3rd edition of the Analysis on page 113 and means: the middle couple loop first corner right shoulder pass outside partner's place, then loop 2nd corner right shoulder and return to place.
  This is completely different from the RSCDS version of double triangles.

The RSCDS attributes this figure to Walsh (who did print it in The Compleat Country Dancing Master in 1718, but Playford published it considerably earlier. Playford (and Walsh) spell the title "Dainty Davy" rather than "Davie".

Playford's music is a 32 bar reel rather than a 16 bar strathspey.

Playford writes:

The 1. cu. clap hands and cross over below the 2. cu. and turn to your own sides The 2. cu. do the same The 1. cu. cross over below the 2. cu. and Figure through the 3d. cu then Figure through the 1. cu. and turn in the 2. cu. place Each Strain twice.

Clearly having the 1s figure eight through the 1. cu. is a misprint, presumably the 2s are meant (or perhaps the couple now standing in the 1s place - which is the 2s)

Monymusk is an estate in Aberdeenshire is Scotland.

Cracking Chestnuts says the tune was written by Daniel Dow and published in Thirty Seven New Reels and Strathspeys in 1776. Francis Werner set figures to the tune in his 8 Cotillions, 6 Favorite Contry Dances and two Minuets, with their proper Figures for the Harp, Harpsichord and Violin Book xvii for the year 1785. John Preston in 1786 published a different set of figures in 1786 and this version of the dance appears to be based on those.

Hugh Thurston in Scotland's Dances (1954) claims: "'Monymusk' is not a traditional Scottish dance. It was resurrected in 1934 (out of a book published in England in 1786) and there is no evidence that it was ever danced in Scotland before that date." (as quoted in Cracking Chestnuts)

Werner Book XVIII For the Year 1785 (London, 1785) writes:

Turn your partner with the right hand; quite round, and cast off one Cu. Turn with the left quite round, Set three and three top and bottom, and turn your Partner, Set three and three sideways and turn your Partner. Hands six quite round and back again Lead out sides and turn your Partner with both hands.

John Griffiths in The Gentleman & Lady's Companion (Norwich, CT, 1798) has a different figure:

Six hands half way round and back, first and second gentlemen balance together and turn round, the 1st and 2nd ladies do the same, down the middle, up again, cast off, right and left

In A Treatise on Dancing (Boston, 1802) Saltator writes:

First couple cross over, down the out side, promenade round the gentleman, fall between the second couple, the lady between the third, six dance address, first couple promenade and fall below the second, six demicircinate, right and left atop.

Wilson Treasures of Terpsichore, page 80 (London, 1809)

Single Figure

Whole figure at top down the middle, up again, and foot it to the top couple .

Double Figure

The top couple swing with right hands round one couple, then with the left set three across and three in your places hands six round and back again , and lead through bottom and top .

Howe Complete Ball-room Hand Book, page 82 (Boston, 1858)

First couple join right hands and swing once and a half round, go below second couple (the first lady goes below second gentleman on the outside) (first gentleman at the same time goes below and between second and third ladies) — forward and back six, first couple swing three quarters round — first gentleman goes between second couple (on the inside) first lady goes between third couple (on the indside) forward and back six, first couple swing three quarters.

Burchenal American Country-dances, page 55 (New York/Boston, 1912)

Swing Once and a Half Around
Cast
Forward and Back Six
Swing Three-Quarters Around
Forward and Back Six
Swing Three-Quarters Around to Place
Right and Left

The RSCDS attributes this to David Rutherford, but it was actually published by John (Rutherford), and, in any case was published earlier with the same figure by Thompson.

Rutherford writes:

Turn right hands and then left lead you Partner down and bring up the third Wo. then the first and third Cu. turn right hands & then left lead the third Wo. down and your Partner up & cast off.

For once the RSCDS interpretation seems to match the original closely.

RSCDS Book 12 attributes this to Johnson's Caledonian Country Dances of 1748 but it appears earlier.

According to Robert Keller's site this appeared in Walsh's 2nd Edition of Caledonian Country Dances, but I only have access to the 3rd wherein Walsh writes:

The 1st Cu. foots it and casts off then foot it again, and the Man casts off, and the Wo. casts up figure contrary sides figure on your own sides Foot it corners and turn ∴ foot it other corners and turn ∵ Hey contrary sides foot it to your Partner and turn it out.

Johnson published the same figure in about 1742.

The music consists of four 4 bar strains.

There are 8 sub-figures with a mark between them, suggesting that each strain should be repeated. Unfortunately the figures seem take different amounts of time. I'd expect The 1st Cu. foots it and casts off to take 4 bars, but I'd expect figure contrary sides to take 8.

So perhaps Walsh means only half of a figure of eight. That would take 4 bars.

But we still have Hey contrary sides. That takes 8 bars (or maybe 6, but not 4). Could we do half a hey? No, that leaves the corners in the wrong place. Could the 1s do half a hey while everyone else does a full hey? Then we need to make sure the 1s don't bump into the 2s+3s as the 1s set and the corners finish.

This solution does not seem a good one, but I can't think of a better. I doubt it's what Walsh intended.

Could the final strain be played 3 times? Walsh does use a pecular mark at the end of this sub-figure. That just seems worse.

Does Walsh intend the music to be played at four counts per bar rather than two? But most of the sub-figures fit into 4 bars...

The RSCDS attributes this dance to Rutherford (1775), but the figure is nothing like Rutherford's figure. Thompson (1770) published the same figure as Rutherford, and Bride (1775) published yet another figure (none matching the RSCDS figure).

Hands four quite round back again cross over two Cu. lead up to the top and cast off hands four at bottom right and left at top

The RSCDS attributes this dance to Johnson (who published it in ~1748), but Walsh published it first.

Walsh writes:

Hey on the Men's side Then foot it to Partners then to sides turn single after Each then the 1st Man turn 3d. Cu. half round and cast up into the 2d Place The Wo. do the same back again change sides and foot it cast up change sides and foot it cast off

The music consists of two 4 bar strains.

Walsh published a dance called Jenny Dang the Weaver in his book Twenty Four Country Dances for the Year 1736 (and in several later books), but it has a different figure from this dance.

Johnson published his version first in about 1742 in A Choice Collection of 200 Favourite Country Dances, Vol. 2nd, and also in later books. Johnson called it Musselborough, or Jenny bang the Weaver.

Johnson writes:

Each Strain twice

The 1^st. Man and the 2^d. Wo. take Hands and swing Then the 2^d. Cu. being at top they do the same then 1^st. Cu. lead down to the bottom and cast up to the top and turn then Right and Left.

The music consists of two 4 bar strains. The dance appears to need 64 counts of movement, so I presume the strains are intended to be played at 4 counts per bar.

After the first turn, Johnson says: Then the 2^d. Cu. being at top. Only the 2s aren't at the top. Only W2 is at the top (and that's assuming that the turn in the previous figure is once and a half. So we assume that Johnson left out how far to turn and that the 2nd corners should do the same as the first. Only then will the 2s be at the top. The RSCDS also made this choice.

Johnson says to take Hands which implies a two hand turn, but the RSCDS chose a right hand one.

Johnson has the lead down followed by a cast up to the top, while the RSCDS has a lead down, lead up to 2nd place.

Johnson's then Right and Left would have to be three changes (because the 1s are at the top and they need to progress) rather than the four used by the RSCDS.

RSCDS Book 12 attributes this to Johnson's Caledonian Country Dances of 1748 but it appears earlier.

Walsh published Kiss Quick Mother's A'Comeing (sic) in his The Compleat Country Dancing-Master Book 2, 3rd Ed. ~1740 Given that this is the third edition, the dance may well have appeared earlier but I don't have access to the earlier editions.

Johnson republished it a few years later in his Caledonian Country Dances of ~1748.

In 1735 Walsh a different figure named Kiss me fast my Mother's coming. The Merry Medley, 1749 published yet another figure named Kiss me quick my Mother's coming.

Anyway in 1740 Walsh writes:

Each strain twice

First Man kiss quick the 2d Wo. and cast off and go the whole figure round the 3d Cu. and stand in 2d Cu. place And the 1st Wo. do the same 1st man heys with 3d Cu. at the Bottom and the 1st Wo. heys at top with 2d Cu. at the same time Then 1st Cu. cast up to top and go the whole Figure and cast off into the 2d Cu. place

Music consists of two 8 bar strains both repeated.

Note the kiss has been replaced by a bow

The 1^st. Cu. cast off one Cu. right hands across with the 3^d. Cu cast up and left hands across with the 2^d. Cu. lead down between the 3^d. Cu. the 2^d. Cu. follows cast up into your own places cross over one Cu. right & left

RSCDS Book 12 attributes this to Johnson's Caledonian Country Dances of 1748 but it appears earlier.

According to Robert Keller's site in Walsh's Caledonian Country Dances, 2d Edition he published a dance called The Reel of Glames with essentially this figure. Then in his The Second Book of the Compleat Country Dancing-Master, The 3d. Edition, ~1736, he published a dance called The Cleaver Lad, or The Gin I was a Bonny Lad with the same figure.

In Wright's Compleat Collection of Celebrated Country-Dances, Vol. 1 he published a dance called The Reel of Glamis with the same figure. And this one I can find online.

Later Johnson published the same figure and called the dance The Reel of Glamis.

Wright writes:

Each Strain twice

The 1st Man turns the 2^d Wo. and fall back and turn S. the 1st Wo. sett to the 2^d Man, and fall back and turn S. the 1st Man change places with the 2^d Wo. then the 1st Wo. change places with the 2^d Man, then all four meet and turn S. then the 1st Cu. being in the 2^d Cu. place, lead thro' and cast off

The music consists of 2 four bar strains, both repeated. Given that they need to be played at four counts per bar to fill out the figure.

There is one big problem with this description of the figure: both the 1s and the 2s end the corner changes progressed by improper, and there is nothing in the description to get them proper. But the description doesn't quite fill up the music, and there is easily room to throw in hole in the wall cross with partner.

Walsh writes:

The 1st Man Heys with the 3d Cu. his Partner at the same Time heys with the 2d Cu. Then the 1st Man Heys with the 2d Cu. 1st Wo. at the same Time Heys with the 3d Cu. First Cu. leads thro' the 2d and 3d We. and turn in the 2d Cu. Place First Cu. leads through the 2d and 3d Men and turns at Top The 1st Cu. Back to Back and cast off and turn The 2d Cu. does the same First Man leads the 2d Wo. off and turns her First Wo. leads the 2d Man off and turns him, 1st Man cast off at the same Time.

Walsh spells the dance "Soldier Ladie" rather than "Sodger Laddie".

Walsh uses a 32 bar jig tune repeated twice, while the RSCDS has cut the dance length in half.

RSCDS Book 12 attributes this to Johnson's Caledonian Country Dances of 1748 but it appears earlier.

According to Robert Keller's site Walsh published a dance called The Yellow Hair'd Laddie in his Caledonian Country Dances. Book the Second published ~1737.

Some years later Johnson published a dance with the same name and figure in his Caledonian Country Dances...ye 3d. Edition with Additions. A copy of this is online.

Johnson writes:

The 1^st. Cu. lead thro' the 2^d. Cu. & turn in their own Places, then Back to Back and turn The 2^d. Cu. do the same with the 3^d. Cu. Then the 1^st Cu. cast behind the 3^d. Cu. and lead up to the Top and turn then Back to Back and Right Hand & Left to the end of the Tune —

The music consists of 2 eight bar strains, both repeated.

What to make of The 1^st. Cu. lead thro' the 2^d. Cu. & turn in their own Places? What are "their own Places"? Sometimes that means their original places, and sometimes it means their progressed places. The RSCDS thinks it means their progressed places (which means the 2s must move up), but the next instruction The 2^d. Cu. do the same with the 3^d. Cu. suggests that the 2s and 3s are adjacent, which won't happen if the 2s have moved up. RSCDS seems to assume that's a misprint, and that Walsh means "1s" instead of "3s".

But if we assume Walsh meant what he wrote we still get a consistent dance. I think The 1^st. Cu. lead thro' the 2^d. Cu. is probably an abreviation for "1s lead down and cast back to place". We've got 4 bars of music at 3 counts a bar, and even at minuet pacing that's a lot of music just to lead down one couple, but it's about right to lead down and cast up. Then the 1s can do their turns and back-to-back "in their own Places" at the top of the set. And then the 2s can do the same with the 3s.

In the second half of the dance Walsh says Then the 1^st Cu. cast behind the 3^d. Cu. and lead up, but the RSCDS has them casting down 1 couple and leading up, not the 2 couple cast Walsh asks for

Some sources say the turns in the first 32 bars should be right hand, and some say both hand.

The crib diagram shows the "down the middle" to be with near hands joined but the online instructions say "lead".

The RSCDS attributes this to Bremner's work: A Second Collection of Scots Reels or Country Dances, which they date variously to ~1757 and ~1765. In ~1765 Bremner published A Collection of Scots Reels or Country Dances; a work which only contains tunes with no figures. According to Hugh Thurston the second collection was published in London in 1769. As far as I can tell, what was published in London was actually titled: For the Year 1769. A Collection of Scots Reels or Country Dances. At any rate, that work contains this dance.

Robert Bremner writes:

The 1^st Cu: cast off one Cu: hands four round with the 3^d. Cu: cast up and hands four round with the 2^d. Cu: cross over two couples lead up to the Top, foot it and cast off turn corners with your right hands and turn Partner with your left the other corners the same Hey contrary sides then your own sides

The RSCDS claims this comes from A Collection of Scots Reels or Country Dances and it may be in that, but I know it is in For the Year 1769. A Collection of Scots Reels or Country Dances (both by Bremner).

The RSCDS attributes this to Bremner's work: A Second Collection of Scots Reels or Country Dances, which they date variously to ~1757 and ~1765. In ~1765 Bremner published A Collection of Scots Reels or Country Dances; a work which only contains tunes with no figures. According to Hugh Thurston the second collection was published in London in 1769. As far as I can tell, what was published in London was actually titled: For the Year 1769. A Collection of Scots Reels or Country Dances. At any rate, that work contains this dance.

Robert Bremner writes:

The first Cu: foot it to the 2^d. Wo: and hands round 3 the same to the 2^d. Man lead down one Cu: up again and cast off foot it ℵ hands round 4 with the 3^d. Cu: foot it and hands round 4 with the 2^d Cu: lead up to the Top ℵ cast off right ℵ left at top

The RSCDS claims this comes from A Collection of Scots Reels or Country Dances and it may be in that, but I know it is in For the Year 1769. A Collection of Scots Reels or Country Dances (both by Bremner).

The RSCDS attributes this to Bremner's work: A Second Collection of Scots Reels or Country Dances, which they date variously to ~1757 and ~1765. In ~1765 Bremner published A Collection of Scots Reels or Country Dances; a work which only contains tunes with no figures. According to Hugh Thurston the second collection was published in London in 1769. As far as I can tell, what was published in London was actually titled: For the Year 1769. A Collection of Scots Reels or Country Dances. At any rate, that work contains this dance.

Robert Keller Bremner titled this dance Straglass House - Strathspey.

Robert Bremner writes:

The 1^st, 2^d, and 3^d Cu: foot it and hands round Six the same back again cross over two Cu: lead up to the Top and cast off Turn corners with your right hands ℵ turn partner with your Left the other corners the same lead outsides and turn

The RSCDS claims this comes from A Collection of Scots Reels or Country Dances and it may be in that, but I know it is in For the Year 1769. A Collection of Scots Reels or Country Dances (both by Bremner).

Thompson writes:

The 1^st. Cu. Foot it and turn then Foot it sides and turn then lead down two Cu. cast up one and Foot it and Right hands and Left at top The 1^st. Man hands 3 round with the 3^rd. Cu. and the 1^st. Wo. hands 3 round with the 2^nd. Cu. then the Man hands round with the 2^nd. Cu. and the Wo. with the 3^rd. Cu. lead out sides and turn

There seems to be some doubt as to the turns in the first 8 bars, some sources say they are right hand turns, some say both hand turns.

Rutherford spells this dance as "The Crocked Horn'd Ewe".

The first Cu. Lead thro the 2^d. Cu. & cross over into y^e. 3^d. Cu.^s Place The 2^d. does the same The 3^d. Cu. casts off into their own Place, then the 3 Men turns their Partners & the first Cu. cross over two Cu. Lead up to the Top foot it & cast off Lead thro y^e. 3^d. Cu. cast up into y^e. 2^d. Cu.^s Place & turn your Partner

The RSCDS attributes this dance to David Rutherford, but John Johnson published the same figure a few years earlier. He and Rutherford used the same words, and Rutherford is online. Rutherford writes:

The first Man sets to the 2^d. Wo. & turn her His Partner does the same with the 2^d. Man Cross over 2 Cu. Lead up to the Top foot it & cast off · Back to Back with your Partner Right Hand and Left Quite round with the 2^d. Couple ··

The instructions as printed by Rutherford do not work, they end with the 1s improper.

To avoid this I have changed the cast off at the end of B1 to a cross and cast.

The threes are idle. And the "cross 2 couple, lead to top" seems too much to fit in four bars. The dance cries out to be a duple minor (as is done in the Scottish interpretation).

Thompson writes:

The 1^st. and 2^nd. Cu. hands across Left hands back again 1^st. Cu. cast off. the Man hands round with the 3^rd. and the Wo. with the 2^nd. the 1^st. Man heys with the 3^rd. Cu. and the Wo. with the 2^nd. Cu. Set contrary corners and turn lead thro' Bottom & Top and turn

Thompson writes:

The 1^st. Cu. cast off half Figure with the 2^nd. Cu. cast off half Figure with the 3^rd. Cu. lead up to the Top Foot it cast off Right and Left

May be found in the Vaughan Williams Memorial Library online collection: Johnson Vol. 8.

Johnson writes:

First and 2^d. Cu. foot Partners then foot sideways Cross over 2 Cu. Lead up to the Top and cast off the Man whole figure at Bottom and Wo. the same at top at the same time Hands across at Bottom Right and Left at Top

The original music consists of a 4 bar A strain and an 8 bar B strain. The A music appears to be repeated 4 times, the B twice.

Johnson's book is undated, Robert Keller provides 1752 as a date. The RSCDS attributes this dance to Thompson, 1755, but Johnson probably published the figure (the same words even) earlier.

The RSCDS has changed Cross over 2 Cu. Lead up to the Top and cast off (which means, 1s cross by right, go below 2s, cross by left, go below 3s, then lead up and cast down) into a weaving pattern through the other couples which catches the spirit of the movement if not the exact nature of it.

They also changed the figure of eights into reels, which basically follow the same tracks for the 1s but give the others something to do.

Finally they have changed Right and Left at Top to a "left hands across". The right and left would have needed to fit into four bars, instead of the normal 8, and 70% of the time Johnson follows a right hands across with a left hands back, so RSCDS may be right to consider this a misprint.

The RSCDS attributes this dance to Skillern, but Bride published the figure first, then Skillern, Longman & Broderip, and Thompson published it as well. The only one I can find is Thompson, who writes:

The 1^st. Lady turns the 3^d. Gent 1^st. Gent. turns the 3^d. 1^st. Lady Allemand Right & Left with the 2^d Gent. at the same time the 1^st. Gent. Allemands with the 2^d Lady Sett 3 & 3 top & bottom the same sideways hands six round back again lead out sides

The original music consisted of 3 eight bar strains, all repeated.

Thompson writes:

The 1^st. Cu. Foot it to the 2^nd Wo. hands three round Foot it to the 2^nd Man hands all four round lead down two Cu. and the 2^nd. and 3^rd. follows cross over and turn your Partner

Rutherford published an earlier version of this dance:

Foot it all four & Hands across quite Round Foot it and the same back again Gallop down the Middle & up again & Cast off Right Hand & Left

RSCDS Book 14 attributes this to Preston, ~1800, but Longman & Broderip published it in 1790.

Longman & Broderip named the dance What a Beau Your Granny Was. As did Bland & Weber in 1797, Preston in 1798 and Dale in 1800.

I can't find Longman & Broderip, but in ~1800, in Dale's Selection of the Most Favorite Country Dances and Reels (dance 17), Joseph Dale writes:

The three Ladies lead round the three Gent: at the same time the three Gent: set and hands three round.
The three Gentlemen lead round the three Ladies, at the same time the Ladies set and hands three round.
The first Cu: Poussette with the second Cu: into 2^d. Cu^s. place and turn there Part^rs. half round with both hands.
Right and Left at top.

Johnson published this in his 5th volume of Country Dances (1750), and Rutherford published essentially the same figure in 1759. Both Johnson and Rutherford spell this dance as "Willie with his tartan Trues". The RSCDS credits this dance to Rutherford

Hey Contrary sides Hey on your Own sides Cross over two Couple Lead up to Top, foot it And Cast off Foot it Corners & turn Foot it the Other Corners & turn Lead out Each side & turn your Partner

RSCDS Book 15 says "from an old book of Scottish and Irish Dances (title page lost)."

Longman & Broderip published Platt's Six Cotillions and 12 Country Dances, for the Year 1791 which contains a dance with this name and essentially this figure (according to Robert Keller's site.

In 1792 Bland and Longman & Broderip published a different figure giving it the same name.

Johnson published this in his 6th volume of Country Dances (1751), and Rutherford copied him word for word in 1756. The RSCDS credits this dance to Rutherford.

Both Johnson and Rutherford spell this dance as "Campbel's Frolick".

Foot it all 4 and Hands across & cast off The same with the 3^d. Cu. Lead up to the Top foot it & cast off Hands round all 6 & turn your Partner

Hey contrary sides Hey on your own sides Then the Man falls in at Bottom & the Wo. falls In at Top Foot it all six & turn your own Partner Then the Wo. falls in of the Man's side & the Man on the Woman's side foot it all 6 & turn y^r. Partn^er

The crib diagram attributes to Wilson, 1825. According to The Regency Dance site Wilson didn't publish anything in 1825. The Scottish Country Dance Database also gives a date of publication as 1825, but gives no devisor.

Quite a number of people published dances named I'll gang nae mair to yon town but none matches the RSCDS figure: Thomas Wilson, 1809, Hime, 1810, Chivers, 1821, Chivers, 1821 (different work), R. Hill, 1830.

According to the Regency Dance site, Button & Whitaker published a dance with this name in their 26th selection, and their page on Thomas Wilson indicates that he was the deviser of the Country Dances in that selection. Sadly I do not have access to the figures of these dances.

Thompson writes:

The 1^st. Cu. gallop down two Cu. up again and cast off the 2^d. Cu. do the same the two Men lead between the two We. and turn the We. do the same between the two Men the 1^st. Cu. heys with the 2^d. Wo then with the 2^d Man cross over half figure Right and Left

The RSCDS attributes this dance to Button, Whitaker & Beadnell, in the book Twenty Four Country Dances with Figures by Mr. Wilson for the Year 1816, but no dance with either name is listed in the Regency Dance site's list of all dances published by Button & Whitaker. Nor can I find any reference to a dance with either of the names Waverley and Fergus McIver in any other place.

On the other hand the use of double triangles does imply Wilson is the deviser (Assuming that was part of the original figure)

Wilson defined all his figures in his book The Analysis of Country Dancing. Double triangles appear in the 3rd edition of that work. Wilson's double triangles are completely different from those of the RSCDS. Wilson probably invented the figure and used the term to mean: the middle couple loop first corner right shoulder pass outside partner's place, then loop 2nd corner right shoulder and return to place.

SINGLE FIGURE (Each strain repeated)
Set & change sides with the 2^d. Cu: set & back again
whole poussette
DOUBLE FIGURE (Tune played twice thro' with repeats)
Set & change places with 2^d. Cu: allemande
swing corners
set contrary corners
& the double triangle
OR THUS Cast off 2 Cu: & back again
swing with right hands round 2 Cu:
half figure up to the top allemande
lead down the middle up again & right & left with the top Cu:

Wilson usually gives multiple figures for each tune, I am following the second DOUBLE FIGURE.

The music is two 4 bar strains, each repeated, and then the whole tune repeated.

Wilson defines most of his figures in his An Analysis of Country Dancing.
Cast off 2 Cu: (& back again) is defined on pages 8-9 and means: "active couple cast down, go outside the set, passing two other couples, then turn away from each other to face up, and return to places."
swing with right hands round 2 Cu: this is defined on pages 104-105: "Right turn half, using the momentum to loop round your partner's place, then cross the set and loop around the same sex person in the couple below. This leaves you on the same side but having moved down 1 couple. Then you repeat the process, going down one more couple."
half figure up to the top, is, I think, what Wilson calls "Half figure eight on your own sides" on page 67 and means: "weave up through the two couples above, inside the closest, outside the next ending home."
allemande may be found on page 7 and appears to mean a gypsy (or perhaps a back-to-back). This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
right and left may be found on pages 39-44 and does not mean what I expect, instead: "2nd corners change by left shoulders, 1st corners right, 2nd corners change back by left, 1st corners by right."

Wilson, on page 101, writes:

SINGLE FIGURE Each strain repeated
Swing with right hands round the 2^d. Cu: allemande lead thro the bottom & right & left with the top Cu

OR THUS Lead thro the 2^d. Cu. lead down the middle & up again turn your partner & half poussette with the top Cu:

DOUBLE FIGURE Tune played twice thro with repeats
Cross over 1 Cu: half figure round the 3^d. Cu: cross up 1 Cu: half figure round the top Cu: chase round the 3^d. Cu: lead thro the top Cu: foot corners with the bottom Cu: & hands 4 round with the top Cu:

This is an interpretation of the DOUBLE FIGURE. The music is two 4 bar strains. The strain marks suggest to me that the music should be played ABABABAB, while the text suggests AABBAABB. The figures suggest that each bar has two beats, not four.

Wilson defines foot corners on page 75 of An Analysis of Country Dancing as the four dancers move to the center and foot together. He does not say so but presumably they must return to places.

A dance with this name was published by Button & Whittaker, but whether it matches the figure I do not know. The RSCDS attributes this dance to the publishers but Wilson was the deviser: see the Regency Dance site's paper on Button and Co. The use of double triangles does suggest Wilson was the choreographer.

A dance with this name was published by Button & Whittaker, but whether it matches the figure I do not know. The RSCDS attributes this dance to the publishers but Wilson was the deviser: see the Regency Dance site's paper on Button and Co. The use of double triangles does suggest Wilson was the choreographer.

In his A Companion to the Ball Room, 1816, Thomas Wilson published Lady Harriet Hope's Reel:, wherein he writes:

SINGLE FIGURE (1^st. strain repeated 2^d. played straight thro')
Swing with right hands round 2^d. Cu: then with left lead thro the bottom & half poussette with top Cu:

OR THUS Set & hands across quite round with 2^d. Cu: set & back again lead down the mid: up again & right & left with top Cu:

DOUBLE FIGURE (Tune played twice thro' as marked)
Set ¿3? hands 6 round & back again whole figure at top lead down the middle up again set to top & whole figure contrary corners

The music consists of a four bar strain and an eight bar strain. The RSCDS has picked the third figure (the one marked "DOUBLE FIGURE") which means the music should be played AABAAB. "" indicates two repetitions of a of the first strain, and "" indicates one repetition of the second (each accounting for 8 bars of music).

Wilson defines most of his figures in his Analysis of Country Dancing, but he does not define what he means by set 3 hands 6 round & back again. It seems unlikely that he would have people do two bars of setting, then three bars circling left and three right; the RSCDS's suggestion of set, circle left half, set, circle right half seems better.

The RSCDS has changed the first figure eight into a reel of four, and made it progressive.

Wilson's lead down the middle up again takes only four bars, not the 6 given to it by the RSCDS and doesn't involve changing sides. Wilson's set should be for four bars, not two (he liked things in four bar chunks).

Wilson's whole figure contrary corners means half figure eight down around the 3s then half figure eight up around the 2s (see his description). The RSCDS has turned this into a finishing reel with a cross by the right.

In his A Companion to the Ball Room, 1816, Thomas Wilson published Lord Hume's Reel, wherein he writes:

SINGLE FIGURE (1^st. strain repeated 2^d. played straight thro')
The 1^st. lady leads down the 2^d. gent: the 1^st. gent: leads down the 2^d. lady lead your partner down the middle up again & right & left with top Cu:

OR THUS Set & half right & left with 2^d. Cu: set & back again lead down the middle up again & set to the top Cu:

DOUBLE FIGURE (Tune played twice thro' as marked)
Hands 3 round with 2^d. lady hands 3 round with 2^d. gent: lead down the middle up again allemande set 3 across set 3 in your places lead thro the bottom & chain figure 4 round with top Cu:

The music consists of a four bar strain and an eight bar strain. The RSCDS has picked the third figure (the one marked "DOUBLE FIGURE") which means the music should be played AABAAB. "" indicates two repetitions of a of the first strain, and "" indicates one repetition of the second (each accounting for 8 bars of music).

Wilson defines his figures in his An Analysis of Country Dancing. Many of them mean what you expect, but a few are surprising:

1. lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" So this involves progression, and it only takes 4 bars. Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
2. allemande may be found on page 7 and appears to mean going about your partner in a circle. In a later edition of Analysis Wilson adds the phrase "back to back". Wilson does not define a "back to back" figure. His allemande is a bit rounder than a normal back to back but perhaps that is the closest equivalent. Note this is not progressive and only takes four bars.
   This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
3. set 3 across & set 3 in your places is only described as "set three in their places and set three across" (opposite order) and is found on pages 76-77, and means: "Two lines of three across set, the ones move to their own places, everyone sets again." This takes 8 bars. Wilson does not say whether they take hands when setting. Wilson does not indicate whether the corners set when the 1s move.
4. Chain figure for four may be found on page 76 of the 3rd edition of the Analysis (1811) and boils down to what anyone else would call rights and lefts. This takes four bars.

In Treasures of Terpischore, Wilson, 1809, he published a danced called "Wilson's Hornpipe". In his A Companion to the Ball Room, 1816, he published "Mrs. Wilson's Hornpipe." I cannot find any dance of his called "Mr. Wilson's Hornpipe". "Mrs. Wilson's Hornpipe"'s figure is closest to the RSCDS version. Wilson writes:

SINGLE FIGURE Tune played straight thro
Set & change sides with 2^d. Cu: & back again lead down the middle up again & right & left with the top Cu:

OR THUS Cast off 2 Cu: & back again swing with right hands round the 2^d. Cu: & allemande

DOUBLE FIGURE Each strain repeated
Hey contrary sides Hey on your own sides lead down the middle up again lead thro the top Cu: set 3 across & set 3 in your places

OR THUS The 1^st. Cu: cast off at the same time the 3^d Cu: set & lead up then the 3^d cast off & the 1^st set & lead up to places. set & change places with the 2^d. Cu: turn your partner set contrary corners hands 4 round at bottom & half poussette with the top Cu:

The music consists of 2 eight bar strains. The RSCDS figure matches the last figure (the OR THUS of the DOUBLE).

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition. in this dance all the figures are pretty self-explanatory. The only two I shall reference are:

1. half poussette, as the RSCDS's version of poussette is rather different from Wilson's. It may be found on page 14 and means: "top two couples join hands with partner, circle (as a couple), counter-clockwise, around the other couple returning to their original places."
2. and set contrary corners defined on pages 44-46 "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back.

The dance was originally published in 1771, presumably in a "Twenty four country dances for the Year 1771", a work now lost.

SINGLE FIGURE 1^st. strain played straight thro 2^d. repeated
Hey on your own sides
swing with right hands round 2^d. Cu: then with left
OR THUS Cross over one Cu: half figure round the 3^d. Cu: & lead outsides

DOUBLE FIGURE Tune played twice thro as marked
Whole figure at top Chain figure 6 round lead down the middle up again & right & left with top Cu: & lead through the bottom & top

The music is an eight bar strain and a four bar strain. In the double figure (which is what the RSCDS uses) these should be played ABBABB.

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

1. Whole figure at the top may be found on page 39. The active lady starts and crosses down, looping around the man below her then she again cross between the couple below, looping around the woman below and casts up to her own place. The active man starts a little after her and mirrors her motions, looping the woman below and then the man below.
2. Chain figure of six may be found on page 78. The top couple face their partner, as the others face their neighbor then everyone does rights and lefts until they return to where they started. Wilson does not specify how to fit the 6 changes into 8 bars of music.
3. Lead down the middle, up again may be found on page 7. The top couple meet and join hands, then lead down to between the 3s, and lead back to 2nd place as the 2s move up. This usually takes 4 bars.
4. right and left may be found on page 46-49. It does not mean what I expect, instead: 2nd corners change by left shoulders, 1st corners right, 2nd corners change back by left, 1st corners by right. And all of this in four bars
5. Wilson does not seem to define lead through the bottom & top but it seems self-explanatory.

In Wilson's A Companion to the Ball Room, 1816, he published "Woo'd & Married & A'". Wilson writes:

SINGLE FIGURE (Each strain repeated)
Swing with right hands (round the 2^d. Cu:) then with left & set contrary corners

OR THUS Set & change sides with 2^d. Cu: set & back again down the middle up again & allemande

DOUBLE FIGURE (Tune played twice thro' with repeats)
Hands 6 quite round & back again promenade 3 Cu: whole poussette set 3 across & set 3 in your places

Wilson's music is a slip-jig with 2 four bar strains. The RSCDS uses the DOUBLE FIGURE so it should be played AABBAABB.

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

1. Hands 6 quite round & back again is defined on page 5 and means what you expect.
2. promenade 3 Cu: is defined on page 18 and means that all three couples take promenade hold and, with the 1s leading, travel in a counter-clockwise elipse around and back to places.
3. whole poussette is defined on page 15 and means: "top two couples join hands with partner, circle, counter-clockwise, one and a half times around the other couple to change places with them."
   Note: this is unlike a normal English Poussette as the couples travel once and a half around each other rather than once. And is quite different from the Scottish Poussette.
4. set 3 across & set 3 in your places is defined on page 21 and means: "L1 moves between the 2s as M1 moves between 3s, then the lines of three across set, then L1 moves back to her place and M1 back to his, and then lines of three on the sides set to each other.

Thompson writes:

Hey contrary sides Hey your own sides cross over 2 Cu. Lead up the middle and cast off Hands 6 round and right and left at Top

Thompson writes:

The 1^st. Cu. half figure down on their own sides and turn the same up again and turn Gallop down and up and cast off Right hands and Left

The standard progression is a little tricky here. I have the 1s pass both 2s and 3s in the final rights and lefts.

RSCDS Book 17 attributes this to "Caledonian Country Dances", 1754.

Walsh published books with "Caledonian Country Dances" in their titles in about 1735, 1737, 1740, 1745, 1748, 1751 and 1755, and Johnson published one in 1750. None of these works contains a dance with anything approaching this name.

Note: RSCDS Book 10, for the dance The Lady's Breist Knot has a more nearly complete attribution: "Jno Johnson Caledonian Country Dances Vol. II, c. 1754" but I still can't find it.

Note: RSCDS Book 28, for the dance Not I contains the comment "The source given is Caledonian Country Dances, 1754 but attempts to trace this manuscript have been unsuccessful.

Donald Bane is an anglicization of Domnall Bán (Donald the Fair) and was the great-grandson of the king killed by MacBeth.

Wilson writes (on page 80):

SINGLE FIGURE Each strain repeated
Hands 3 round on the ladies side hands 3 round on the gents side lead down the middle up again & right & left with the top Cu:

OR THUS Set & change sides with the 2^d. Cu: set & back again lead down the middle up again & allemande
DOUBLE FIGURE
Hey on your own sides swing with right hands round 2^d. Cu: then with left hands 6 round & back again set contrary corners

Wilson usually gives multiple figures for a tune, this is an attempt to understand the double figure he describes.

The music consists of two 4 bar strains. Wilson's usual statement for double figures (which he gives on the dance above this) is Tune played twice through with repeats. So the music should probably be played AABBAABB.

Wilson spells the dance "Donaldbane".

Wilson defines most of his figures in his An Analysis of Country Dancing.
swing with right hands round 2^d. Cu: then with left may be found on pages 85-86 and means: right hand turn half (swing) to cross the set, loop partner's starting place, cross the set again above the 2s, ending proper between 2s & 3s.
left hand turn half to cross the set, loop partner's place, crossing below the 2s and ending home.
Wilson does not specify which shoulder to use when crossing the second and fourth times. set contrary corners may be found on pages 55-57 and means "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back, but I expect modern dancers would want to.

It is not obvious to me where in this sequence Wilson expects progression to happen. Perhaps the first movement of set contrary corners has the 1s moving down and the 2s up.

Johnson published this in his 5th volume of Country Dances (1750), and Rutherford published essentially the same figure in 1756. The RSCDS credits this dance to Rutherford

Hands four all round with the 2^d Couple & cast off The same with the 3^d Couple foot it & right Hand & left up into the 2^d Couple's Place. & turn your Partner Hands round all six & turn your Partner

Rutherford's music has a 4 bar A part and an 8 bar B, both repeated.

The RSCDS attributes this to William Campbell, and he did devise and publish a dance named The Perthshire Highlanders, but I can't check whether the figure matches.

Rutherford writes:

First Man cast off and turn the 3^d. Wo: First Woman cast off and turn the 3^d. Man Hands round 6 that back again foot it corners and turn Lead out sides and turn

The big problem I have with interpreting this dance is what to make of the strain markers ( , , and . Given the variety of the markers I would expect the tune to have three strains, each to be played twice. But Rutherford prints a rather standard jig with an A and B strain both repeated. Is one of the strains to be repeated four times? AAAABB? but if so why not use , and for the third and fourth markers? I suppose AABBAA could be intended but that doesn't seem likely to me either.

AAABBB really doesn't match the markers.

The RSCDS interpretation suggests that first four marks should each represent half a strain, and in other dances Rutherford seems to take a relaxed approach to what the marks mean. And it does seem likely this is a normal 32 bar jig given how the music is printed.

The RSCDS interpretation of this dance is basically the same as the original, the only difference being that the circle six, might just have been a circle left.

The first Cu. Gallop down one Cu. & up again And cast off The same with the 3^d. Cu. and Cast off Hands round all six Lead up To the Top Foot it and cast off

Johnson published a dance titled Johnny Grot's House in 1750, but with a different figure.

The RSCDS attributes this to William Campbell, and he did devise and publish a dance named Lady Auckland's Reel, but I can't check whether the figure matches.

In his A Companion to the Ball Room, 1816, Thomas Wilson published Lady Bairds Reel:

SINGLE FIGURE Each strain repeated
Set & change sides with 2^d. Cu: set & back again lead down the middle up again & right & left with the top Cu:

OR THUS The 1^st. lady lead down the 2^d. gent: the 1^st. gent: lead down the 2^d. lady lead down the middle with your partner up again & set to the top Cu:
DOUBLE FIGURE Tune played twice thro with repeats
Promenade 3 Cu: whole poussette set 3 across set 3 in your places & the double triangle

Wilson's music consists of two 4 bar strains, both repeated. The RSCDS chose to interpret the DOUBLE FIGURE so the music should be played AABBAABB.

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

1. promenade 3 Cu: is defined on page 18 and means that all three couples take promenade hold and, with the 1s leading, travel in a counter-clockwise elipse around and back to places.
2. whole poussette is defined on page 15 and means: "top two couples join hands with partner, circle, counter-clockwise, one and a half times around the other couple to change places with them."
   Note: this is unlike a normal English Poussette as the couples travel once and a half around each other rather than once. And is quite different from the Scottish Poussette.
3. set 3 across & set 3 in your places is defined on page 21 and means: "L1 moves between the 2s as M1 moves between 3s, then the lines of three across set, then L1 moves back to her place and M1 back to his, and then lines of three on the sides set to each other.
4. the double triangle is defined on page 113 and means: "the middle couple loop first corner right shoulder pass outside partner's place, then loop 2nd corner right shoulder and return to place.
   This is completely different from the RSCDS version of double triangles.

The RSCDS interpretation seems basically the same as the original.

RSCDS attributes this dance to David Rutherford, but Johnson published the same figure earlier. Unfortunately I can't find his work online so I provide a link to Rutherford.

Both Johnson and Rutherford spell the title as "The Lasses of Dunce".

The first Man Cast of and the second Woman Casts up at the same time, and turns The second Man and first Woman does the same Lead Down two Couple foot it and half Figure with the third Couple Lead up to the top foot it and half Figure with the second Couple

Some sources say the 1s "lead" down (and up) while others say they "dance". This animation follows the ones which say "dance".

Although my copy of RSCDS Book 18 gives no attribution for this dance, both the Scottish Country Dance Dictionary, and the Scottish Country Dance Database attribute this dance to William Campbell, 1795. According to the Regency Dance site's paper on Campbell's dances, Campbell never published a dance called Prince of Wales, but in 1795 he did publish (and indeed devised) a dance called The Princess of Wales's Strathspey, perhaps that is the origin of this dance. (I do not have access to Campbell's book to check the figure so I can't be sure.

This is one of the few books by Campbell which can actually be dated, he took it in to the Stationer's Hall in 1795 to register the copyright.

The RSCDS attributes this dance to Johnson, and he did publish it in at least two books, but Walsh got there first and he published it in at least three books. Both of them spelt the dance Sulters of Selkerke.

According to Robert Keller's site these dances match the figure of the RSCDS interpretation.

Johnson published this in his 5th volume of Country Dances (1750), and Rutherford publishes essentially the same figure in 1756. Both Johnson and Rutherford spell "alewife" as "ale wife". Rutherford is online, so...

Cast off & turn your Partner Cast up again & turn Foot it & Hands across The same Back again First Man set to the second Wo. & turn her First Woman does the same Cross over figure In & Right Hand & Left

Rutherford calls this dance Just as I am in the Morning.

The 1st Cu. casts of one Cu. cast up again cross over and turn · the 2d Cu. does the same the 1st Man Leads his Partner off and Leaves her in the 2d Mans Place then turns the 2d Wo then Leads her thro the Mens side and turns her then the 1st Cu. half figures Round the 2d Cu. and turns

The Lowes published a dance called "The Deuks dang o'er my Daddie" in ~1831 but it has a different figure.

On page 64 Rutherford writes:

The first Man sets to the 2^d. Wo. & turns her with his right Hand, & his Partner with his Left First Wo. does the same Lead down between the 2^d. Cou. & without Side the 3^d. turn your Partner, lead up to the Top, foot it, & cast off foot it Corners & turn foot it y^e other Corners & turn y^r. own Partner

The music consists of a four bar strain and an eight bar one. They both need to be played at four counts per bar to fit in all the movements.

Wilson writes:

SINGLE FIGURE1^st. strain repeat 2^d. played straight thro & D.C.
Set & half right & left with 2^d.; set & back again lead don the middle up again & half poussette with top Cu:

OR THUSHands 3 round on the ladies side hand 3 round on the gent: side lead down the middle up again & set to the top Cu:

DOUBLE FIGURE Tune played twice thro' as marked
Swing with right hands round 2^d. Cu: then with left set 3 across set 3 in your places whole figure contrary corners chain figure four round with top Cu: & allemande

Wilson has a different figure for this tune in his earlier book Treasures of Terpsichore, 1809. Preston has yet another figure in 1796. Cahusac gives two figures in 1795. Campbell has a figure in Campbell's 9th Book of New and Favorite Country Dances & Strathspey Reels from about 1794. While Rutherford, 1756 and Johnson, 1742 give the same figure (Rutherford's compleat Collection of 200 of the most celebrated Country Dances both Old and New, Vol. 1) — but the music they give is a different tune (for one thing it is a jig, not a reel).

The following is an attempt to understand Wilson's DOUBLE FIGURE which is the basis of the Scottish Country Dance.

In An Analysis of Country Dancing Wilson defines some of the terms he uses. A "whole figure" is just a "full figure eight" (as you might expect, Playford uses the same phrase). Wilson does not explicitly define "whole figure contrary corners" in his first edition, but he does in his second on page 104 of the 2nd edition of the Analysis (1811). Rather awkwardly, Wilson provides two different (contradictory) directions. In the first "the 1s cross down, W1 in front of M1, W1 around M3, M1 around W3, then cross up, W1 around W2, M1 around M2, and return home". In the second the "1s cross up, W1 around M2, M1 around W2, then cross down W1 around W3, M1 around M3, and return home.

Chain figure for four is also defined in the second edition, on page 76 and it is what anyone else would call rights and lefts.

Wilson gives a very unclear definition of "allemande" it might be a modern gypsy, or a back to back (he defines neigther of these figures). He says the two people doing the allemande walk in circles around one another, he does not mention taking hands, he does not say how their faces are oriented.

Wilson, on page 96, writes:

SINGLE FIGURE Tune played straight thro
Cross over 1 Cu: half figure round the 3^d Cu: & lead outsides
OR THUSCast off 2 Cu: & back again & whole poussette
DOUBLE FIGURE Each strain repeated
Hey on your own sides lead down the middle up again allemande turn corners & the double triangle

This is an interpretation of the DOUBLE FIGURE. The music is two 8 bar strains (jigs) both repeated.

Wilson defines most of his figures in his An Analysis of Country Dancing.
Hey on your own sides is only defined as part of "Hey Contrary Sides, and Hey of your own Sides" on page 83 and he shows a mirror/reflection hey.
lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
allemande may be found on page 7 and appears to mean going about your partner in a circle. In a later edition of Analysis Wilson adds the phrase "back to back". Wilson does not define a "back to back" figure. His allemande is a bit rounder than a normal back to back but perhaps that is the closest equivalent.
This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
turn corners may be found on pages 28-32 and appears to mean: the 1s pass partner right shoulder to turn first corners with both hands, then pass each other right shoulder to turn second corners (presumably again with both hands, though Wilson does not specify), finally passing each other left to return to places.
the double triangle does not appear until the 3rd edition of the Analysis on page 113 and means: the middle couple loop first corner right shoulder pass outside partner's place, then loop 2nd corner right shoulder and return to place.
This is completely different from the RSCDS version of double triangles.

According to the the Regency Dance site Wilson devised, and Button & Whitaker published, a dance with this name but whether its figure matches the RSCDS's, I cannot say.

Since the dance contains double triangles, it seems likely Wilson was its deviser.

According to the the Regency Dance site William Campbell published a dance with this name but whether its figure matches the RSCDS's, I cannot say.

Straight & Skillern published a dance with this name in 1769, but its figure does not match.

Thompson writes:

Set to your partner and turn foot it sides and turn Hands round Back to Back all 4 Gallop down one Cu: up again and cast off

Campbell writes:

The 1^st. Lady sets to the 2^d. Gent & turn at the same time the 1^st. Gent sets to the 2^d. Lady & turn The 1^st. Lady set to the 3^d. Gent & turn Lead up to the top & foot it & cast off hands 4 round & back again Right & Left at top

Campbell titles this Admiral McBride's Hornpipe, and he is said to be its devisor.

The interpretation seems close to the original.

The first Cu. sets to the 2^d. Wo. & Hands round all three The same to the Man Hands round all four with the 2^d. Cu. Right Hand & Left into the 2^d. Cu.^s place Foot it Corners & turn Hey Contrary sides Foot it to your Partner and turn it out

According to the the Regency Dance site Wilson devised, and Button & Whitaker published, a dance with this name but whether its figure matches the RSCDS's, I cannot say.

Since the dance contains double triangles, it seems likely Wilson was its deviser.

According to the the Regency Dance site Campbell did publish a dance with this name (well, he spelled Jig with two "g"s). Whether the figure matches I cannot check.

The Regency Site claims that Mr. Pollock was the devisor.

The RSCDS attributes this dance to William Campbell. According to the the Regency Dance site Campbell never published a dance called "Miss Burns's Reel". He did publish one called "Miss Weddenburns Reel" and perhaps that is what was intended. Whether the figure matches I cannot check.

The RSCDS attributes this dance to William Campbell, and he did publish it, but he attributes it to "D. Mackenzie".

On page 17 of book 10, Campbell writes:

The 1^st. & 2^d. Cu Reel on the Ladys side the same on the Gents. side the 1^st. Cu. lead down the middle up again to the top and Allemande.

The music consists of a four bar strain and an eight bar strain. I assume it is intended to be played AABB.

I think the RSCDS's interpretations of the reels is unlikely, given how crowded that would make the duple minor set.

On page 24 of book 10, Campbell writes:

The 1^st. & 2^d. Cu Poussette quite round to their own places Lead down the middle up again hands 4 round at bottom Right & Left at top.

The music consists of an eight bar strain and a sixteen bar strain. I assume it is intended to be played AAB.

Campbell spells the dance "Miss Ogleves Fancy".

The first Cu. sets to the 2^d Wo. and turns his own Partner Then sets to the 2^d Man & turn his Own Partner Gallop down the Middle & up again And cast off Right Hand & Left

Johnson and Walsh earlier published dances with this name, but a different figure.

This is almost the same as the original, except that, in turning the music into a strathspey, the two hand turns have become turn twice rather than once.

According to the the Regency Dance site Campbell did publish a dance with this name. Whether the figure matches I cannot check.

Thompson calls this dance And thou wart mine only Dear, and writes:

The 1^st. Cu heys with the 2^d. Wo. then with the 2^d. Man the 1^st. Cu lead down one Cu cast up and turn then the 2^d Cu. lead up and cast off and turn the 1^st. Man set across and turn the Wo. do the same Gallop down and up cast off Right Hands and Left

The music is a jig with two eight bar strains. From Thompson's markings I'm guessing it should be played ABABABAB.

Campbell writes:

1^st. Cu set & change sides Back again — Lead down the middle up again to the top then 1^st. & 2^d. Cu hands across half round back again — Poussette quite round with the 2^d. Cu hands 6 round Allemande.

Where does Campbell mean the progression to happen?

set & change sides Back again is not progressive.

What about Lead down the middle up again to the top? The "up again to top" does sound as if it returns the 1s to their original places. Yet if you look at Campbell's The new German Waltze (also in book 10) you will see him use those same words where that is the only move which could be progressive.

So I conclude that neither Poussette quite round nor Allemande is progressive.

Campbell's hands 6 round suggests a 3 couple dance, but all the other figures are either for the 1s+2s or the 1s alone, Changing the circle six to circle four easily makes for a 2 couple dance.

In Wilson's A Companion to the Ball Room, 1816, (page 33) he published "My Only Joe & Deary O". Wilson writes:

SINGLE FIGURE (Tune played straight thro')
Hey on your own sides lead down the middle up again & allemande

OR THUS Swing with right hands round 2^d. Cu: right & left with 3^d. Cu: lead thro the top & turn your partner

DOUBLE FIGURE (Each strain repeated)
The 3 ladies lead round the 3 gentⁿ. the 3 gentⁿ lead round the 3 ladies promenade 3 Cu: & whole poussette

Wilson provides 2 eight bar strains, presumable played as reels not strathspeys.

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

1. the three Gentlemen lead round the three Ladies is defined on page 16 and means "The gentlemen take hands, and, with M1 leading, dance clockwise around the ladies and back to places. As they do that the ladies take hands, advance into the middle, pause, and fall back."
2. the three Ladies lead round the three Gentlemen is defined on page 16 and means "The ladies take hands, and, with L1 leading, dance counter-clockwise around the gentlemen and back to places. As they do that the gentlemen take hands, advance into the middle, pause, and fall back."
3. promenade 3 Cu: is defined on page 18 and means that all three couples take promenade hold and, with the 1s leading, travel in a counter-clockwise elipse around and back to places.
4. whole poussette is defined on page 15 and means: "top two couples join hands with partner, circle, counter-clockwise, one and a half times around the other couple to change places with them."
   Note: this is unlike a normal English Poussette as the couples travel once and a half around each other rather than once. And is quite different from the Scottish Poussette.

John Young (Playford) published a dance called 'Twas Within a Furlong of Edinborough Town in 1696, but its figure does not match this one.

Cahusac published Within a Mile of Edenburgh in 1795 with a figure which does match.

The RSCDS attributes this to Skillern (with the SCDDB giving a date of 1795). I am aware of two dance books published by Skillern in 1795 (For the Year 1795 Twelve Country Dances & Cotillions, and Twenty Four Country Dances for the Year 1795) and neither contains a dance with a name like this one. Nor can I find any dances with a name like this in any of the other works by Skillern of which I'm aware. The RSCDS may know of other works, or they may have changed the name beyond my ability to guess.

Robert Bremner writes:

The first and 2^d. Cu: foot it and right and left half round the same back again lead down two Cu. up again ℵ cast off set corners lead outsides and turn

The Scottish Country Dance Dictionary and the Scottish Country Dance Database attribute this to Bremner, but there is no dance of that name in the one book by him that I have access to.

However, it does appear in Thompson's Twenty Four Country Dances for the Year 1774:

Turn Right hands & cast off 1 Cu. turn Left & cast off below 3^d Cu. hands round 6 lead up to the top foot it & cast off

Thompson writes:

Swing right hands & cast off one Cu the same again lead to the top & cast off lead to the bottom & cast up one whole figure at top & bottom then the same on your own sides 4 hnds round at bottom right and left at top .

Also published in The London Magazine:

Swing right hands and cast off one couple , the same again , lead to the top and cast off , lead to the bottom and cast up one , whole figure at the top and bottom , then the same on your own sides , four hands round at bottom , right and left at top .

Wilson published several figures named Rob Roy in his L'Assemblee of 1819 but none has a figure which matches the RSCDS version.

On page 73 of his The Dancers' Guide, 1821, Chivers writes:

Rob Roy Macgregor... First couple lead down the middle, the second follow, half right and left back again, and half right and left swing corners right and left at top

On page 69 of his The Excelsior Manual of Dancing, ~1872, J. F. Wallace writes:

1. First couple down the centre, the second couple follow, (4 bars)
2. Half right and left by couples No. 1 and 2 at bottom, (4)
3. Couples No. 1 and 2 back again and half right and left, (8)
4. Set at corners and turn partners, (8)
5. Right and left by couples No. 1 and 2, (8)

Wilson spells the title "Auld Langsyne".

SINGLE FIGURE (Each strain repeated)
The 3 ladies join hands & the 3 gent: join hands set & lead thro' set & back again set & change places with the 2^d. Cu: set & allemande
OR THUS Set & half right & left with 2^d. Cu: set & back again & whole poussette
DOUBLE FIGURE (Tune played twice thro' with repeats)
Cross over 2 Cu: set half figure on your own sides allemande at top whole poussette set contrary corners

Wilson usually gives multiple figures for each tune, the RSCDS appears to be following the DOUBLE FIGURE.

Wilson defines all his figures in his An Analysis of Country Dancing.
Cross over 2 Cu: may be found on page 22 and means "cross go below 2s, cross again, go below 3s".
half figure on your own sides may be found on page 67 and means "weave around the dancers on your own side, move between the couple above, then outside the next couple, finishing at top."
allemande may be found on page 7 and appears to mean a gypsy. This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
poussette may be found on page 53 and means "top two couples join hands with partner, circle, counter-clockwise, one and a half times around the other couple to change places with them.
set contrary corners may be found on pages 55-57 and means "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back.

Rutherford (on page 55, dance 109) writes:

Gallop down one Cu: up again & cast off down another Cu: up again & Cast off Hands round 6 back again Lead to the top & cast off Right & Left at top

The music consists of three four bar strains.

Playford published (and Walsh copied) a Salley's Fancy in 1718, but the figure is different.

Wilson, on page 59, spells this dance Shon Truish Willichan and writes:

SINGLE FIGURE Each strain repeated
Set & change sides with 2^d. Cu: set & back again swing with right hands round the 2^d. Cu: then with left set 3 across set 3 in your places lead thro the bottom & lead outsides

SINGLE FIGURE (Each strain repeated)
Set & hands across quite round with 2^d. Cu: set & back again promenade 3 Cu: whole poussett & set contrary corners

OR THUS Cast off 2 Cu: & back again set & half right & left with 2 Cu: set & back again lead down the middle up again set to the top Cu: hands 6 round & back again

* This is the Scotch & the only real Shon Truish _ the other tune usually confounded with this derives its name from the french words Chant Russe signifying a Russian Song or Air _ each has a particular dance Composed to it, the above is more a favorite among the Scotch, but the Chant Russe is more prevalent in the English ball room. _ these dances consist of a number of steps necessary to be taught by a master & therefore the figure here set to them are only to adapt them for country dances

The music consists of four four-bar strains, to be played AABBCCDD. Wilson expects a reel, not a strathspey.

The RSCDS appears to be interpreting the third figure (the one titled OR THUS).

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

1. Cast off 2 Cu: & back again may be found on page 25 and means: top couple cast ending below the third couple, cast up and back to original places.
2. Set, and half right and left may be found on page 50 and means: Everyone sets in his or her place (he doesn't say whether this is to partner, neighbor or corner) then L1+M2 change by left, then M1+L2 change by right.
3. lead down the middle up again set to the top Cu: may be found on page 8 and means: Top couple leads down to between the third couple, 1s turn and lead up to 2nd place as the second couple move up (Wilson's pictures show them moving up the sidelines and not leading), then actives set (or foot it) to the second couple. (This seems to take 8 bars)
4. hands 6 round & back again may be found on page 5 and means what you expect. All take hands and circle left then right.

John Young calls the dance The Bonny Lass and writes:

Note: The first Strain is to be play'd twice, and the last but once.

The first Couple cross over, then Sett and cast off below the third Couple, and then cast above the third Couple, then Sett and cross up to the top. This to the first Strain play'd twice The two Men change places with the two Women, then Hands across all four half round, then first Man lead his Partner thro' the 3d Cu. and thro' the 2d Cu. and turn his Partner in the 2d Cu. place. This to the last Strain play'd once.

The original music is in cut time and consists of an 8 bar strain and a 16 bar strain, intended to be played AAB.

The RSCDS gives no source to this dance, but it appears to be derived from Nathaniel Kynaston's Mrs. Hill's Dance published by both Walsh and Playford in 1710.

Note: Each Strain is to be play'd twice over.

The first Cu. slip down the middle, and Sett a-cross to the third Cu. then first Man turn the third Wo. and the first Wo. turn the third Man Then Sett a-cross to the 2d Cu. then first Man turn the 2d Man half round, and the first Wo. turn the 2d Wo. at the same Time Then Right-hand and Left round, then turn Partners Proper Then the Man slips between the 2d Cu. and cast off, the first Wo. at the same Time go between the third Cu. and cast up, then both turn in the 2d Couple's Place

John Young calls the dance Pretty Poll and writes:

Note: The first Strain is to be play'd twice, and the second once, and so far as the Repeat again.

The first Couple cast off and turn Hands This to the first Strain play'd once The second Couple do the same This to the first Strain play'd twice Then the first Couple clap Hands and cast off below the second Couple, then all four change Places, and Right and Left half round and cast off This to the second Strain play'd once Then clap Hands and turn single This from the Repeat.

The original music is in 3/2 time and consists of a 5 bar strain and an 8 bar strain, intended to be played AABA.

Note: Each Strain is to be play'd twice over.

The first Couple cast off and fall in between the second and third Woman and Man, and lead backward and forward Then first Woman cast off and fall in between the third Man and third Woman, the Man cast up and fall in between the second Man and second Women at the same Time; then lead backward and forward The first Man and first Woman meet and fall back, the Man cast off round the second Woman, and the second Woman cast up round the third Man, then Righ and Lift quite round Back to Back with your own, then Back with the second Couple, then the Man lead his Partner up round the second Woman into their proper Places, Sett and cast off

The Tweed is a river on the border between Scotland and England, flowing into the North Sea.

The original is a 24 bar dance with 3 counts per bar; it has been adapted to a 48 bar jig.

In 1717 Kynaston devised a different dance with this name (also published by Walsh).

Walsh writes:

Note: Each Strain is to be play'd twice over.

The 1st Cu. take Hands, go thro' the 2d, and set to the 3d Cu. then turn about to the 2d Cu. and all four take Hands abreast, lead up and the 1st Cu. cast off The 2d Cu. do the same with the 3d and the 1st Cu. The 1st Cu. figure thro' the 2d Cu. all four take Hands and turn quite round The 1st Cu. cross quite round the 2d Cu. clap Hands and cast off into the 2d Cu. Place

The music consists of two 8 bar strains in cut time (not a jig).

Goulding spells the title The Land of Cakes.

The adaptation is rather loose.

I don't have access to the 1710 publication, but the same figure occurs in John Young's Dancing Master and in later publications by Walsh.

In 1729, John Young wrote:

Note: The first Strain twice, and the last but once.

The 1st Cu. Figure thro' the 2d Cu. Sett and cast off, then Figure thro' the 3d Cu. and turn in the 2d Cu Place The 2d Cu. do the same The 1st and 2d Men Sett to their Partners and change Places, the 1st Man turn the 2d Man with left-hand quite round, the 1st and 2d Wo. do the same at the same Time, then Right and Left half round, and the 2d Cu. cast off, then the 1st Cu. Sett and cast off.

The music consists of a 16 bar strain and a 20 bar strain to be played AAB.

Walsh (and Young) spell the title Lord Killmurry's Delight.

First published by Walsh in 1735, later by Johnson, and Wright in 1740, with more publications later.

Walsh writes:

Note: Each Strain twice.

The 1^st. and 2^d. Men lead thro' the two We. the We. lead thro' the Men and all turn S. the 1^st. Cu. whole figure thro' the 2^d. Cu. and sett and cast off cross over round 3^d. Cu. Lead thro' the 3^d. Cu. and thro' the 2^d. Cu. right and left with the 3^d. Cu.

The music is in cut time and consists of an 8 bar strain (repeated) and a 12 bar strain

SINGLE FIGURE Each strain repeated
Set & change sides with 2^d. Cu: set & back again lead down the middle up again & right & left with top Cu:

OR THUS Cast off 2 Cu: & back again lead down the middle up again & allemande

DOUBLE FIGURE Tune played twice thro with repeats
Hands 3 round on the ladies side, hands 3 round on the gent: side lead down the middle up again cast round the top Cu: set 3 across set 3 in your places half poussette with top Cu: & lead thro the bottom

The music consists of two eight bar strains. So if you repeat each strain you get 32 bars, which doesn't make sense for a SINGLE FIGURE. I think Wilson must have a misprint.

None of Wilson's figure's matches the RSCDS version very closely. The DOUBLE FIGURE at least begins with the two circles, followed by a lead down, up and cast. After that things are completely different.

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

1. Hands 3 round on the ladies side, hands 3 round on the gent: side this figure does not seem to be defined in any of Wilson's books - which is odd because Wilson uses it frequently. In The Sutherland Reel the RSCDS interpreted it as: "Hands three round at top on the Ladies' side, etc." which has the 1s circling with L2, and then the 1s circling with M2. Whereas in Ruffian's Rant they have the three ladies circling, and then the three gents - which seems a more obvious reading of the words.
2. lead down the middle up again cast round the top Cu: may be found on page 27 Top couple leads down to between the third couple, 1s turn and lead up to the top and cast down as the second couple moves up. (Wilson's pictures show them moving up the sidelines and not leading)
3. set 3 across & set 3 in your places is defined on page 21 and means: "L1 moves between the 2s as M1 moves between 3s, then the lines of three across set, then L1 moves back to her place and M1 back to his, and then lines of three on the sides set to each other.
4. half poussette is defined on page 14 and means "top two couples join hands with partner, circle, counter-clockwise, around the other couple to return to places."
   Note: that this is actually two thirds of the whole poussette as defined by Wilson, and what most people would call a full poussette.
5. lead thro the bottom does not seem to be defined. I assume it means lead through the bottom couple and cast back to the middle.

Kynaston writes:

Each Strain twice.

The 1^st. and 2^d. man go back to back with their partners, and turn each a whole round and a half then back to back sides and turn as before men being improper, the 1^st. cu. go right hands and left with the 2^d. cu. half round, all dance and turn single the 1^st. cu. lead through the 3^d. cu. cast up and turn partners quite round

Note: Each Strain is to be play'd twice over.

The 1. cu lead down between the 2. cu. and cast up into their places, then the 1. man take the 2. man with his right hand and lead through between the two we. and come into their own places. This to the first Strain play'd once

The 2. cu lead up through the 1. cu. and cast off into their own places, and the 1. wo. and 2. wo. lead through between the two men, and cast off into their own places. This to the first Strain play'd twice The 1. man set to the 2. wo. then fall back and turn S. the 1. wo. do the like to the 2. man, then all four hands half round, then set to your Partners and change to your own sides.

This is basically the same as Sharp's interpretation except that the "Women lead through Men" and "2s lead through 1s" have been switched, and both corners set rather than the 1s setting to their corners in B1.

SINGLE FIGURE (Each strain repeated)
Hands 3 round on the ladies side hands 3 round on the gent: side lead down the middle up again & set to the top Cu:

OR THUS Set & change places with 2^d. Cu: set & back again lead down the middle up again & cast round the top Cu:

DOUBLE FIGURE (Tune played twice thro' with repeats)
Set & half right & left with 2^d. Cu: set & back again promenade 3 Cu: whole poussette whole figure round contrary corners

The music consists of two 4 bar strains. Probably played as a reel rather than a strathspey.

The RSCDS is interpretting Wilson's DOUBLE FIGURE

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

1. Set, and half right and left may be found on page 50 Everyone sets in his or her place (he doesn't say whether this is to partner, neighbor or corner) then L1+M2 change by left, then M1+L2 change by right.
2. promenade 3 Cu: is defined on page 18 and means that all three couples take promenade hold and, with the 1s leading, travel in a counter-clockwise elipse around and back to places.
3. whole poussette is defined on page 15 and means: "top two couples join hands with partner, circle, counter-clockwise, one and a half times around the other couple to change places with them."
   Note: this is unlike a normal English Poussette as the couples travel once and a half around each other rather than once. And is quite different from the Scottish Poussette.
4. whole figure contrary corners is defined on page 104. Rather awkwardly, Wilson provides two different (contradictory) directions. In the first "the 1s cross down, W1 in front of M1, W1 around M3, M1 around W3, then cross up, W1 around W2, M1 around M2, and return home". In the second the "1s cross up, W1 around M2, M1 around W2, then cross down W1 around W3, M1 around M3, and return home.

John Young (of the Playford family) published two figures to this tune and with this name. The first was published in 1710, and the second in 1718. The RSCDS claims to be interpreting the second figure.

The first Cu. cast off and whole Figure at Top Then cast off and whole Figure at Bottom Then lead quite thro' the Top and cast off in the 2d Cu. Place, and Right and Left quite round with the 2d Cu Then cross over below the 3d Cu. and half Figure with the 3d Cu. and lead up thro' the Top and turn your Partner.

The music is in 3/2 time and consists of a 4 bar strain and an 8 bar strain, both repeated.

SINGLE FIGURE (Each strain repeated)
Hands 3 round on the ladies side hands 3 round on the gent^ns. side lead down the middle up again & allemande

OR THUS Set & change places with 2^d. Cu: set & back again & whole poussette

DOUBLE FIGURE (Tune played twice thro' with repeats)
Set & hands across quite round with 2^d. Cu: set & back again lead down the middle up again set to top Cu: swing corners chain figure four round with top Cu: & turn your partner

The music consists of two 4 bar strains. Probably played as a reel rather than a strathspey.

The RSCDS is interpretting Wilson's DOUBLE FIGURE

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

1. Set & hands across quite round is one figure which Wilson does not define. However he defines hands across on page 12 where he defines a normal hands across but says they only turn half round (with a footnote saying it is often done by turning completely round and then back again).
   So I'm going to assume that quite round actually means half round. So two bars of setting, followed by two bars to do half a hands across.
2. lead down the middle up again set to the top Cu: may be found on page 8 Top couple leads down to between the third couple, 1s turn and lead up to 2nd place as the second couple move up (Wilson's pictures show them moving up the sidelines and not leading), then actives set (or foot it) to the second couple. (This seems to take 8 bars)
3. swing corners is defined on pages 55-58 and appears to mean: the 1s turn partner by the right hand then 1st corners by the left hand, partner right, 2nd corners left and returning home the shortest way (by the left shoulder).
4. Chain figure for four may be found on page 76 and boils down to what anyone else would call rights and lefts.
5. Turn your partner may be found on page 2 and boils a two hand turn (Wilson calls a right hand turn "swing your partner").

Thomas Bray published a dance with this name in 1699, but its figure is very different.

Walsh published a different figure in 1745.

John Rutherford published a figure which seems to match the RSCDS version in 1775.

Wilson writes (on page 70):

SINGLE FIGURE Each strain repeated
The 1^st. lady lead down the 2^d gent. the 1^t. gent. lead down 2^d. lady lead your partner down the middle & up again & set to the top Cu:

OR THUSSet & change sides with 2^d. Cu: set & back again lead down the middle up again & allemande

DOUBLE FIGURE Tune played twice thro with repeats
Hey contrary sides swing with right hands round 2^d Cu: then with left set contrary corners & whole figure contrary corners

The music consists of two 4 bar strains. I assume the music should be played at 2 beats per bar and that "" indicates two repetitions of each strain.

Wilson usually gives multiple figures for a tune, this is an attempt to understand the first figure he describes.

Wilson defines most of his figures in his An Analysis of Country Dancing.
The 1^st. lady lead down the 2^d gent. may be found on page 20 and means: Lady 1 and Man 2 meet in the middle and lead down two couples and then return the same way.
The 1^t. gent. lead down the 2^d lady may be found on page 21 and means: Man 1 and Lady 2 meet in the middle and lead down two couples and then return the same way.
lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.

Playford's music is a slip-jig consisting of two 4 bar strains, both repeated.

Playford writes:

First man take the 2. man by the right hand, and turn a turn and a half, the 1 and 2 wo. do the same at the same time till they come into the 2. cu. place, back to back with your own, then turn your own, and back to back, sides-men go without-side the we. and come between them a quarter Figure, turn S. we. do the like

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Note: Each Strain is to be play'd twice over.

Interesting the the RSCDS is unwilling to use a turn single...

Walsh writes:

First Man foot it to the 2d Wo. and cast off into the 2d Man's Place, and the 2d Wo. cast up at the same time into the 1st Wo. Place — Then the 2d Man foot it to y^e 1st Wo. (he being at Top) and cast off into his Place, and the 1st Wo. cast up into her Place then the 1st and 2d Man foot it to their Partners, the 1st Cu. cast off one Cu. take Hands with the 2d. Cu. and lead up, foot it and cast off into the 2d Cu: Place.

The music is two eight bar strains, the first repeated, the second not.

Walsh spells "Glasgow" as "Glascow".

Davis also published this dance in 1748, and also spells "Glascow", I have no idea which published first.

Johnson writes:

Hands 4 across quite round the same back again 1^st. Man foot it to the 2^d. Wo and turn 1^st. Wo do the same 1^st. Cu. lead down two Cu. and cast up one lead thro' the 2^d. Cu. and cast off hands 4 round at Bottom Right and Left at top

Johnson's music consists of two 8 bar strains

Thompson also published this figure in 1757

Rutherford calls this dance Epie McNabb, and writes:

All the Company foot it & change sides Foot it & change sides back again First Cou. cast off & turn Hands round all Six