A running step should be used through out.

The book says that this should be danced to 40 bar music (even though the dance takes 42 bars) and the last move of the active couple should extend into the next minor set, and on the fourth iteration the active couple should merely cross the set.

The website says when dancing to 32 bar music, the second couple should begin on bar 32 (while the active couple is dancing with the 3s).

Please see SCDDB for a discussion of the provenance of this dance.

An early version of this dance may be found in D. Anderson's Ball-Room and Solo Dance Guide, from ~1897:

16 Bars of Music 2-4 Time, and 16 Bars of Music, Strathspey Time.

The top couple going down the dance commence always at the gent's side. Each gent, in turn crosses over to partner, and always have partners on right hand before commencing.

Top lady cross over to partner.

Second Gent. cross over to partner.

First and second couples rights and lefts.

Second gent. down the centre with the two ladies arm-in-arm, top gent. following behind.

Ladies change to top gent., lead up to top of dance arm-in-arm, with ladies, second gent, following behind.

Gents. face partners, ladies outside gents inside, back to back.

Set to partners (eight bars of music, Strathspey), then reel four across the dance, second gent, finishing at the gent.'s side, second lady at ladies' side, and pass up 1 couple.

Top couple repeat with third couple, etc.

On a second chord before the dance begins, the first lady moves into the second man's place. The second man into the second lady's place, and the second lady into the first lady's place. This is like a counter-clockwise becket dance with everyone standing on the same side of the set as his/her partner (ladies on their partner's right).

At the end of the first iteration (bars 31-32), during the reel, the first lady moves into the third man's place. The third man into the third lady's place and the third lady into where you'd expect the first lady to be (the original place of the second lady).

The step suggest for the setting is Forward on right, hop; back on left, hop; step behind with right, step left, right and hop.

Common tune for dancing in both the UK and the US; Thompson, Wilson, Howe, Washburn, Squire, and Schell all have figures set to it, but I have found none which seems to match this one.

The RSCDS says this was collected in Perthshire and Argyll.

The Thompsons published a dance called The Prince of Wales in ~1770, but it does not match this figure.

The Scotch Reform act passed in 1832 so presumably the dance was devised around then.

The RSCDS attributes this dance to Wilson, but I have my doubts.

In 1816 Wilson in A Companion to the Ball Room, London, gives three figures to this tune, in 1830 Smyth in A Pocket Companion... gives a figure, as do Anderson (1897) and Allan (~1900). But none of those figures seems to match the RSCDS figure.

The RSCDS claims this dance was collected in Shetland.

The RSCDS claims Wilson is the source for this dance; I have my doubts. He certainly wrote dances with this name, but if his work is the source, it has been so modified by the interpretation that almost nothing of the original is left. The second "single figure" seems the closest, but even it only shares half of the first figure...

Wilson, on page 37, 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 & set to the top Cu:

OR THUS The 1^st lady meets & turns the 2^d. gent: the 1^st. gent: meet & turn the 2^d lady lead down the middle up again & allemande

DOUBLE FIGURE (Tune played twice thro' with repeats)
Set & change sides with 2^d. Cu: set & back again 1^st lady meets and turns the 3^d. gent: the 1^st. gent: meets & turns the 3^d. lady promenade 3 Cu: & whole poussette

Wilson's music consists of 2 four bar strains, both repeated. Wilson's dance is not set to strathspey time.

Wilson spells his title "The Haughs of Cromdale" rather than "The Haughs O' Cromdale".

A dance named Highland Laddie was published by Walsh, Wright and also Johnson in 1740. Its figure is unlike this dance.

The RSCDS attributes this dance to Wilson, 1816, but I have my doubts. Wilson

Wilson did publish dances called Highland Laddie in both 1809 and 1816. Two of those dances start with a cast down two couples followed by a lead back to the top.

In The Treasures of Terpischore, Wilson, on page 43, writes:

Single Figure
Hands across, and back again down the middle, p again, and right and left
Double Figure
Cast off two couple and up again set and change sides , down the middle, up again, allemande , and foot contrary corners .

While in Companion to the Ball Room, Wilson, on page 36, writes:

SINGLE FIGURE (Tune played straight thro')
Set & hands across with 2^d. Cu: set and back again lead down the middle up again & right & left

OR THUS Hands 3 round on the ladies side & the 2^d. lady passes under to her own place hands 3 round on the gent: side & the 2^d. gent: passes under to his place & whole poussette

DOUBLE FIGURE (Each strain repeated)
Cast off 2 Cu: & back again promenade 3 Cu: lead down the middle up again allemande & the double triangle
* Note there is another Highland Laddie but it could not be admitted into this collⁿ. as it savours to much on the song style to be useful as a coun^y. dance. promenade 3 Cu: & whole poussette

The RSCDS says "collected in Peebles-shire."

The RSCDS attributes this to Rutherford, but I have my doubts.

Playford (1701), Johnson (1751) and Rutherford (1756) published dances called "The Punch Bowl" but none has a figure with matches this one.

The RSCDS says "collected in Perthshire," and attributes the tune to Bremner.

The RSCDS says "collected in Caithness."

RSCDS Book 6 claims this was "collected in Oxton, Berwickshire."

RSCDS Book 6 claims this was "collected in Rothesay, Isle of Bute."

RSCDS Book 6 claims this was "collected in Roxburghshire."

Clearly based on The Eightsome Reel just as in quadrilles where The Lancers for 16 was based on The Lancers.

RSCDS Book 6 claims this was "collected in Perthshire and Angus."

This is not the traditional version recorded by the Fletts, nor the versions found in Wilson, 1808.

Often the center dancer holds a ribbon in each hand, with the side dancers holding the ribbon rather than the center dancer's hands.

The RSCDS instructions say that after the circling motion the dancers end where they started. All the example videos show the dancers advancing, and then only circling half, facing the opposite direction and on opposite sides of the center dancer. The dance repeats advancing in the back where they came from and turning.

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

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

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

Longman & Broderip published a dance called The Braes of Bushbie in 1795, but its figure does not match this one.

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

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

On the second cord the 1s cross down as the 2s move up.

Campbell (~1795), Bland & Weller (~1800), Preston (1804), Wilson (1809 & 1816) and Tegg (1825) all published dances with this name, but none matches this figure.

RSCDS Book 9 attributes the dance to Blantyre MS, 1805. A claim I cannot verify.

RSCDS Book 10 says "collected in Roxburghshire."

Rutherford (~1756) published a dance called Scots Bonnet, while in ~1757 Thompson published the same figure and called it Scotch Bonnet, but their figure does not match this one.

Wilson in 1809 published several figures called Scotch Bonnet, but, again, none matches this one.

RSCDS Book 10 says "collected in Roxburghshire."

RSCDS Book 13 says "collected in the Borders.

RSCDS Book 13 says "collected in Angus.

The earliest source I can find for this was published in London, in 1844. The next two sources I have were both published in 1848. One in the US, and the other in the UK.

John Johnson published a dance with this name in 1744, David Rutherford published one in 1756 but they both have a different formation and figure.

In his The Ball-Room Polka, Polka Cotillon, and Valse à Deux Tems. (London, 1844), page 63, Eugene Coulon writes:

What is called the HIGHLAND REEL is danced to a three-part tune. Those taking part in it are arranged in parties of three, down the room as follows :— A lady between two gentlemen facing the three opposite, all advance and retire; each lady then performs the reel with the gentleman on her right, and the opposite gentlemen to places; hands three round and back again; all six advance and retire; then lead through to the next three, and continue the figure to the bottom or the room. It is generally danced with the Highland step.

In his The Ball-Room Companion, A Hand-Book For The Ball-Room And Evening Parties (New York, 1848), page 61, George Appleton writes:

What is called the HIGHLAND REEL is danced to a three-part tune. Those taking part in it are arranged in parties of three, down the room, as follows:— A lady between two gentlemen facing the three opposite, all advance and retire; each lady then performs the reel with the gentleman on her right, and the opposite gentlemen to places; hands three round and back again; all six advance and retire; then lead through to the next three, and continue the figure to the bottom of the room. It is generally danced with the Highland step.

This is exactly the same as the RSCDS version (except that the RSCDS has men in the middle, and women on the outside, and is a round the room dance.

In London, at the same time, Charles Mitchell published A Guide to the Ball-Room & Illustrated Polka Lesson Book:

(As danced at Blair Athol.)

Usually danced by two couples; but being a favourite, the admission of many is not unusual. The company form parties of three along the room; the lady's position being between two gentlemen, and fronting the opposite three: all then advance and retire, each lady performing the reel with her right-hand partner and the opposite gentleman to places: hands three round, and back again: all six advance and retire; after which lead through to the next three, continuing the figure to the end of the room.

Adopt the Highland step, and music, of three parts tune.

The wording is almost the same on both sides of the Atlantic

In London, ~1857, in Milner and Sowerby's Etiquette for Ladies and Gentlemen, they write:

This is a favourite dance, and is easily learned. It is performed by the company arranged in parties of three, all down the room, in the following manner: a lady between two gentlemen facing the opposite three; they all advance and retire, each lady then performs the reel with the gentleman on her right hand, and the opposite gentleman, to places; hands three round and back again; all six advance and retire; then lead through to the next trio and continue the figure to the bottom of the room, as in the Spanish Dance.

And his note at the end of The Spanish Dance reads:

The dance is executed either in a line or in a circle; and sixteen or twenty couples may engage in it.

In his Complete Ball-room Hand Book (Boston, 1858), page 88 Howe writes:

Form: a lady between two gentlemen facing three opposite; the same up and down the room. All forward and back, each lady executing the reel with her right hand partner, and then with her left hand partner to place — three hands round, and back again — all forward and back, all forward again and pass to the next couple, (as in the Haymakers.)

Basically the same as Appleton except that the reels are with the people in the trio instead of with the left hand person in the opposite trio.

In his Squire's Practical Prompter: or, Ball Room Call Book (Cincinnati, 1887), page 75, A. Squire writes:

Form: a lady between two gentlemen facing three opposite; the same up and down the room. All forward and back, each lady executing the reel with her right-hand partner, and then with her left-hand partner to place; three hands around and back again; all forward and back, forward again and pass through opposite and face next three.

Which is basically a repeat of what Howe wrote.

In his The Excelsior Manual of Dancing, Glasgow, ~1872, J. F. Wallace writes:

This dance is arranged in three's, a lady between two gentlemen, facing the opposite three. As many as the room will accomodate may thus be arranged.

1. They all advance and retire twice (8 bars)
2. Each lady then performs the Reel with the gentleman on her right hand, and the opposite gentleman to places, (8 bars)
3. Three hands round and back, (8 bars)
4. Six advance and retire, then lead through to the next three, (8 bars)

Continue until the bottom is reached

RSCDS Book 14 attributes this to Dale, in 1799, but I cannot find the original. However it was published by Cahusac in Cahusac's Annual Collection of Twelve favorite Country Dances With their Basses for the Year 1801 as The Devil among the Taylors., and he writes:

The 1^t. & 2^d. sett all four & right hands across do the same back again lead down the middle up again & allemand hands 6 round

RSCDS Book 17 says "from an old book of Scottish-Irish dances (title page lost).

RSCDS Book 17 says "from an old book of Scottish and Irish dances (title page lost).

Bartholomew Cooke published a dance called Lucy Campbell in about 1790 in his book Tracy's Selection Of The Present Favorite Country Dances, but his figure does not match that of the RSCDS.

Campbell and Dale both published a Miss Campbell's Reel but it doesn't match either.

Although my copy of RSCDS Book 17 gives no attribution for this dance, both the Scottish Country Dance Dictionary, and the Scottish Country Dance Database attribute it to William Campbell, but The Regency Dance site's list of his dances does NOT include one with anything like this name.

RSCDS Book 18 says "collected in Orkney."

The starting position is best described by looking at the crib diagram.

1. L1 is where M1 normally is
2. M1 is where M2 normally is
3. L2 is where L1 normally is
4. M2 is where L2 normally is
5. L3 is where she normally is
6. M3 is where L4 normally is
7. L4 is where M3 normally is
8. M4 is where he normally is

The axum reel is best described by looking at the crib diagram.

1. The person where M1 normally is moves to L2's normal place (across the set and down one) and faces up.
2. The person where M2 normally is moves to M1's normal place (and faces down).
3. The person where M3 normally is moves to M4's normal place (and faces up).
4. The person where M4 normally is moves to M2's normal place.
5. The person where L4 normally is moves to M3's normal place (across the set and up one) and faces down.
6. The person where L3 normally is moves to L4's normal place (and faces up).
7. The person where L2 normally is moves to L1's normal place (and faces down).
8. The person where L1 normally is moves to L3's normal place.

The RSCDS attributes this to Johnson who did publish a dance with the name "Tweedside" in A Choice Collection of 200 Favourite Country Dances, ~1740 and again in Caledonian Country Dances, 3rd Ed, ~1748, but Walsh published the same figure earlier (1735). In any case their figure does not match the RSCDS's figure.

The music is a minuet.

Straight writes:

The 1^st & 2^d Cu set & change sides back again hands across quite round back again cross over 1 Cu right & left at top

Book 21 has a note: "Collected in Aberdeenshire."

Book 21 contains the note "Collected in Glenesk, Angus".

Book 21 has the comment "Collected from an old manuscript."

Playford published a dance called "The Maid in the Mill" in 1698, Thompson published a different figure in 1780. Walsh published a dance called "Maid of the Mill" in 1766, and Hime published a different figure in 1795. None of these matches the RSCDS figure.

Book 21 says "Collected from an old manuscript."

Both Walsh and Jackson published a dance with this name but a different figure (several publications between 1735 and 1755).

Book 21 has the comment "Collected from an old manuscript."

Book 24 has the comment: "Collected by Miss Jenny MacLaghlan."

Howe in Howe's Drawing-Room Dances (Boston, 1859) published a dance similar to this. It is not a round the room, but it does begin with the 1s improper, starts with balances and turns and includes a ladies chain. Probably not a source for this dance, but likely something derived from the same root.

Book 24 has the comment: "Collected by Miss Jenny MacLaghlan."

Book 24 has the comment: "Collected by Miss Jenny MacLaghlan."

The RSCDS attributes this to Ladies New Pocket Companion (with no date nor publisher). I have been unable to find this work.

Book 24 has the comment: "Collected by Miss Jenny MacLaghlan."

Book 24 has the comment: "Collected by Miss Jenny MacLaghlan."

Bourne, ~1820 in Admired Cottillions for Balls and Private Parties, 4th Sett (New York) published a dance with this name, but a different figure.

Book 24 has the comment: "Collected by Miss Jenny MacLaghlan."

In his Twenty four Country Dances for the Year 1789, Goulding published a dance called "Chapman's Dance", but it's figure does not match this one.

The Scottish Country Dance Dictionary attributes this to "Dorothy Arton".

The Scottish Country Dance Dictionary attributes this to "D Gracie".

RSCDS Book 26 says "collected from Mr. W Brown, Airdrie, Lanarkshire."

Walsh, and then Johnson, published a dance named Fairly Shot on Her, but the figure does not match this one. Johnson also published Fairly Shut of Her, but, again, the figure doesn't match.

In 1805 Preston published a dance called Miss Maxell's Reel, but the figure does not match.

In his 9th book (~1794) William Campbell published a dance called Lord Elgin's Strathspey, but its figure does not match this one. (Bartholomew Cooke republished that figure in 1797)

Johnson in ~1751 published a dance called A Mile to Ride, but it did not match this figure.

Thompson, in 1771, Goulding, in 1808, and Wilson in 1809 and 1816 published dances called Ride a Mile, but none matches this figure.

RSCDS Book 26 says "the source previously given for this dance is The Collection of Robert Owen but we have not been able to verify this."

Thompson published a dance named "Two to One" in 1785, but it's figure does not match.

Thompson published another dance named "Two for One" in 1765, which contains the cross and turn corners figure, but does not match the rest of the dance.

Playford published a dance called "The Happy Meeting" in 1696 (and Walsh republished it later). Playford's dance begins with the 1s doing a normal figure eight, and then the 2s doing one, rather than having 1st corners figure eight, followed by second corners. That may be an early form of this dance, but it clearly has evolved a lot since then.

Playford writes:

The 1 cu. go the Figure thro' the 2. cu. and then cross over above into the 2. cu. Place, the other couple do the like. This to the first Strain play'd twice Both cu. clap Hands with their Partners, the 1. cu. cast off, then Right and Left with your Partners quite round; the 2. cu. being in the 1. cu. Place, clap Hands and cast off, then Right and Left as before.

The music is in 3/2 time and there are two 8 bar strains.

RSCDS Book 34 says "collected in Canada."

The Castle Menzies Register of Dances also contains a dance called O'er the Watter to Charly but it's figure does not match this one.

Thomas Wilson also published dances with this name, but again, none matches this figure.

Elias Howe, in Boston, also published a dance with this name.

Thomas Wilson published dances called "Captain White" in his L'Assemblée of 1819. But their figures are nothing like this one. Chivers published "Captain Wyke", in 1821, but it's figure doesn't match either.

Miss Milligan's Miscellany 1 attributes this to Wilkie's The Ladies' Pocket-Book for the Year 1794 but according to Robert Keller's site, that book contains no dance anything like "Charles Stuart" either in name or figure.

Both Johnson, in 1753, and Rutherford, in 1759 published dances with this name, but neither matches this figure.

In ~1860 Eugène Coulon published a dance named "Long Live the Queen" in his Coulon's Hand-Book, Containing All the Last New and Fashionable Dances, but it's figure doesn't match this one. (This version was frequently republished, even making it across the Atlantic where Howe published it in 1862.

In ~1872 Mr Layland published a different figure with this name in The Victoria Danse Du Monde and Quadrille Preceptor which is slightly more similar to the RSCDS version.

This is not like normal 4 couple dances. The first couple dances once through from the 1st position, then again from the 2nd position, and then (somehow) ends in the 4th position. You would think that would mean that the dance would run for 8 repetitions, but both the SCD dictionary and SCD database say there are only 4 iterations (MMM1 does not specify the number of iterations).

Straight writes:

Change sides & back again lead down the middle up again & cast off allemand with the right & left hand hands 6 quite round

The RSCDS gives no source for this dance, but Robert Keller's site says The Ladies' Pocket-Book for the Year 1794 contained a dance which consisted of two reels, lead down the middle, back and cast off, and then rights and lefts.

In 1796 Longman & Broderip published a dance called "The Marquis of Lorn's Strathspey", and in ~1799 (in his 14th book) William Campbell published a different figure with the same name. Neither one matches this dance.

The RSCDS attributes this to Thomas Skillern's Twenty Four Country Dances for the Year 1781 but according to Robert Keller that work does not contain any dance with a name like "Willie's Rare and Willie's Fair", nor does it contain a dance whose figure matches this one.

The RSCDS claims the dance "What You Please" is also found in the 1781 work, when, in fact, it is in the 1780 publication, so I checked that as well and found no dance with this name nor with this figure.