From the Holmain MS (dated sometime between 1710 and 1750):

First Cross hands and go 3/4 round and cast down below the first pair then Cross hands with the third pair set below them and cast up one pair, then right & left, then sett to the 2d woman, She to the first man & turn them then to the 1st woman She to the 2d man & then reel the man with the two women & the woman with the two men then Sett to their partner & turn her.

Originally spelled "Lennons Love to Blanter".

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st pair goes cross hands round with the 2^d pair then back again & casts off, then the 1^st woman and the 1^st man leads up and sets to the 2^d pair then leads down and sets to the 3^d pair; then the 1st woman turns the 2^d man & sets to her partner, then turns the 3^d man and sets again to her partner who was doing the same on the woman's side: then reels at the sides, & falls into their places.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man turns 2^d woman & casts off, then the 1^st woman does the same then the 1^st pair goes figure of eight through the 2^d pair; then the 1^st man sets to the 2^d woman & turns her, then the 1^st woman the same; then the 1^st pair goes four hands round with the 2^d pair & right & left

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man leads up the 3^d woman to the top & she casts off, then the 1^st woman does the same, then both 1^st and 3^d pair dances down the middle; & the 3^d pair turns each other round while the 1^st pair dances up again & casts off; then the 1^st pair leads down between the 3^d pair and casts up.

The Castle Menzies manuscript entitles this "He'll Aye Be Welcome Back Again".

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man sets to the 2^d woman & turns her the 1^st woman does the same then the 1^st pair dances down two couple & up again (the woman going down the midle the man behind backs, & returning the contrary way) then casts off; then the 1^st man turns the 3^d woman, then his own partner half round, then turns the 2^d woman, the 1^st woman does the same on the man's side att the same time; then the 1^st pair leads out at the sides

The Castle Menzies manuscript entitles this "You'r Wellcome Charly Stuart".

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st pair sets to each other & casts off then the 2^d pair does the same then goes cross hands, back again & casts off, then sets cross, & reels att the sides

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man goes figure eight round the 2^d man & the 3^d woman the 1^st woman does the same round the 2^d woman & 3^d man then the 1^st pair leads forward to the 2^d pair then leads up & casts off, then does the same below and casts up; then the 1^st woman goes round the 2^d man & turns her partner, who was doing the same round the 3^rd woman then she goes round the 2^d woman then the 1^st pair leads out att the sides

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

From the Holmain MS (dated sometime between 1710 and 1750):

First sett & cast down, sett & cast down again, then lead up & cast down one pair, then right & left, then sett to the 2d woman, she to the 1st man, & turn them, then set to the 1st woman, she to the 2d man, & turn your partner, then lead down & cast up & turn your partner, lead up & cast down & turn your partner.

Skillern (1776), Longman & Broderip (1790), Bartholomew Cooke (1796), Bland & Weller (1800), and Wilson (1809, 1816) published dances with this name, but their figures do not match that of the RSCDS.

From the Holmain MS (dated sometime between 1710 and 1750):

1st Part.

Cross right hands & go round all four; cross left hands & go back to your place, then sett to your partner, & cast off one pair, the right and left.

2nd Part.

First go down on the Woman's right side then come back to her left, & again to the right, then sett round & clap hands, & then go to the next woman.

Originally spelled "Cald Kale".

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

[1^st man] casts off & turns the 3^d woman then the 1^st woman the same, then cross hands above & below, the 1^st pair sets cross & reels at the sides.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man sets to the 2^d woman, & casts off, then the 1^st woman does the same, then the 1^st man turns the 3^d woman by the right hand & goes half round his partner, who was turning the 2^d man by the right hand then the 1^st man turns the 2^d woman by the left hand, while the 1^st woman turns the 3^d by the left hand; then the 1^st pair setts cross, & then to each other, & reels att the side.

The Register spells the sub-title "Will Ye Marry Kitty".

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man sets to the 2^d woman & turns his partner with cross'd hands as in Jamaica then the 1^st woman sets to the 2^d man & then turns her own partner as above, then the 1^st pair casts down one couple & turns each other half round as before; then the 1^st woman goes round the 3^d woman & comes into her own place; the 1^st man does the same round the 3^d man at the same time

The only dance called Jamaica that I know is from Playford's 4th (and subsequent) editions of The Dancing Master, and it does indeed have a crossed hand turn.

The first man take his wo. by the right hand, then the left, ans so holding hands change places, then do the same to the 2. wo. ...

Note that in Jamaica, the turn is only half. From the comment here on the third turn I assume that is intended in this dance too — however, that leaves the 1s on the wrong sides, however the description, the 1^st woman goes round the 3^d woman & comes into her own place; the 1^st man does the same round the 3^d man at the same time sounds more like a half figure eight than it does like a lead down, and that would fix things.

Jamaica gives four bars for the half turn. Modern interpretations spend those four bars thus: 1 bar to take right hands, 1 bar to take left, 2 bars to turn half. In a strathspey you could achieve the same effect in half the number of bars.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

The 1^st pair goes back to back & casts off then back to back again & 2^d woman casts up, & the man down, then reels above & below then the 1^st pair sets hand in hand to the 2^d woman then to the 3^d man then to the 3^d woman & then to the 2^d man; then leads out att the sides.

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)

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 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

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".

From the Holmain MS (dated sometime between 1710 and 1750):

First sett to your partner, & cast off one pair, sett again, & she turns up & he turns down betwixt the third pair, she betwixt the 2d pair, then leads up joining three hands & meets, then 3 hands round, & reels, then he setts to the 2d woman she to the 1st man & turns them, then he setts to the 1st woman, she to the 2d man, & turn your partner, then 4 hands round with the 1st pair, & cast off, then meet and turn your partner.

Originally spelled "Argiles Bouling Green".

From the Holmain MS (dated sometime between 1710 and 1750):

Cross four hands & cast down one pair, cross hands again, & turn down another pair, then sett & lead up to the head, then cast down then sett, & turn your partner, then go round the 2d woman, she round the 1st man, then back to back, & go round the 1st woman she round the second man, then turn her, then set to the 2d woman, she to the 1st man, & turn, then sett to the 1st woman, she to the 2d man, & turn your partner.

Originally spelled "This is not My Own House".

In 1803 Preston published a dance with this name and a different figure.

From the Holmain MS (dated sometime between 1710 and 1750):

First Sett & cast off Sett again & turn your partner he sets to the man & she to the woman & turns them then Cross over & clap by turns; & the next pair does the same then Dance four hands half round & back again then set to the 2d woman & she to the 1st Man then sett & turn your partner.

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".

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.

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).

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

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

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.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st pair joins cross right hands & 1^st woman turns under her own right arm, then they join cross left hands & the 1^st man turns under his own left arm, then the 1^st pair leads down & up between the 2^d pair & casts off, then leads down between the 3^d pair & casts up, then goes the figure of eight, the man on the womans side & the woman on the man's side, (setting en passant to each other) & then foots it into their own places

The full title is "Couteraller's Rant a Strathspey Reel".

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.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st & 2^d women leads forward then falls back then leads through the 1^st & 2^d men; then repeats the same & the 1^st & 2^d man leads through them back to their places again; then the 1^st pair crosses over two pair down, & crosses up one pair & falls into their places then the 1^st man leads the 2^d & 3^d man forward, while the 1^st woman does the same on the woman's side, then the 1^st man turns the 3^d woman & falls in between her & the 2^d woman, the 1^st woman in the meantime turns the 2^d man & falls in between him & 3^d man & leads forward as before & turns his partner, then they go six hands round with the 2^d and 3^d pair then back again to their own places.

Note: There is a Playford tune and dance with this name from 1652, which is an 4 bar slip jig. This is not it.