The Evolution of English Dance
The dances of the Regency era come from the long tradition of English Country Dances and share their inheritance with Scottish Country Dancing, but the dancing is
smoother with an impression of swift lightness. Partners face each other in a line, and
dance a sequence of elaborate figures as they work their way from the top of the dance
to the bottom and back again. These are known as longways dances, or long dances.
There were also round dances of various forms, though most of these were not danced
by the Regency period. The English Country Dances date from the 16th century, and
were popular even then amongst the middle classes. The court dances such as the Gavotte and the Minuet had become ever more elaborate and stilted and the more lighthearted country dances were often performed to complete the evening. These were
the dances that the vigorous young gentry danced until dawn gilded the ballroom windows, and they were the dances that survived.
The long dances were danced to traditional tunes or to music adapted from popular
songs and stage works. These dances soon spread to France, where the English longways form became known as the Contredance Anglais, contrasting with the French
Contradanse where the ladies stand to the right of their partner.
In return, the Cotillion and the Quadrille were imported into England from France.
They are danced in a square formation. The Cotillion was introduced into England in
about 1770, and was thus danced alongside the country dances throughout the Regency period. In her youth Jane Austen would certainly have danced Cotillions and country dances. The Quadrille was a late-comer, formally accepted into English Society by
the ladies of Almack's in 1815 though there is evidence that they were danced in the
Duchess of Devonshire's house as early as 1803. The Quadrilles had their own lively
steps and were often quite flirtatious.
Though Waltz music was being used in country dances by the mid 18th century, this
must not be confused with the couple dance we now associate with Waltz music.
When the couple waltz was first introduced by Baron Neuman in 1812 it was regarded
as foreign and very shocking because of the physical contact involved. It only gradually
became accepted by the ladies at Almack's. Captain Gronow, speaking of the Waltz,
recorded in his memoires that "Baron de Neumann was frequently seen perpetually
turning with the Princess Esterhazy; and, in course of time, the waltzing mania, having
turned the heads of society generally, descended to their feet."
Source: RegencyDances.org
We are pleased to announce the long list of dances
from which your Dance Mistress will choose your
evening’s entertainment. Dances were thoughtfully
chosen reflect the time period in which Jane Austen
lived and penned her famous novels. And, to pay
homage to the cinematic renditions of Miss Austen’s
books, a few dances from Pride and Prejudice (both the
1995 and 2005 versions), Emma (1996), and Becoming
Jane (2007) will also be proffered for your dancing
pleasure. We are delighted that you can attend!
These wonderfully talented ladies bring their rapturous renditions of our beloved historic
dance tunes to life! They are:
Julia Hartman—Violin
Sue Polansky—clarinet
Jean Monroe—piano & percussion
Founded in 2008, the North River
Colonial Dancers is a historic
dance troupe that performs and
instructs English Country dances
from the late 17th through early
19th century at various venues
and historic sites. And, the
group conducts an adult education English Country dance class
in Ridgewood, NJ on Friday
nights. Visit www.northrivercolonialdancers.com to learn more about the
troupe and to sign up for the class!
When you are on your partner’s side, you are improper.
Right and left, 4 changes: Partners give R hands and change across the set, usually
in 4 steps. Give L hand to neighbor and change, moving up or down the set. Partners give R hands and change. Neighbors give L hands and change. Dancers end the
figure where the started. Sometimes just 2 or 3 changes are specified.
Right-hand star, left-hand star: diagonally opposite dancers join R hands in a shakehands hold. They dance around clockwise. Similarly, a counter-clockwise move for a
LH star.
Straight Heys: Three couple longways dances often have straight heys on the sides.
In these the top and middle dancers face up and down, and pass right, then while
the original middle person turns round to the right the original top and bottom
dancers pass left, then while the original top turns round to the left at the bottom
the other two pass right. In some dances the hey stops at that point (half a hey on
the side) with the end dancers having swapped places and the middle one back
home. In other dances the hey continues until everyone is back where they started.
Turn: Partners take 2 hands (2H) and turn clockwise the specified amount, which
can be halfway, once around or once and a half around.
Steps
There are many steps that were used to execute figures in early American country
dances. Here are just a few:
Balance: Step forward and back.
Balancé: From plié, step forward on the R and rise. Plié and step back on the L foot
and rise. Can be done in combination with balancé followed by setting.
Up a Double and Back
Facing `up' you go forwards for four beats of music, and then backwards for four,
which gets you back where you started. Since you are usually doing it with your
partner beside you it makes sense to hold your partner's hand as you do it; indeed
the figure is often called Lead up a Double.
QUADRILLE GLOSSARY
Promeñade de Quatre: The opposite couples at A B- and E F cross hands and
promeñade round (within the side couples) to places
Long balance “a droite et,a gauche”: Skipping side step to the right and to the
left., facing your partner
Chain Anglais; Demi Cha
in Anglais: 4 changes of Rights and lefts; 2 changes of Rights and Lefts
Vis-as-vis : person across the set from you
Head Couples: In a square formation, the first couple and the 2nd couple (across)
Ladies Chain: This typically involves two facing couples, each with the man on the
left. The women cross over giving each other right hands, and do a left hand turn
about three quarters with the opposite man to end up beside him where the other
woman started from. This is quite a difficult figure for the women as they start off
aiming to the other woman's right, but then have to go round the man's left. The
men can help, first by moving to their right so the women coming to them don't
have so far to go, and then by swinging them round firmly in the left hand turn. The
turn can either be a real turn (in many older dances written for polite society), or a
courtesy turn by the man putting his arm round her waist (she can grab his right
hand with hers if she wants to avoid being tickled), and they can swing round as a
couple. (Sorry, that should read "she can hold her hand palm outwards at the intersection of the right hand seam and her waistline to receive his hand.")
Head Couples: In a square formation, the 1st couple and the 2nd couple
Side couples: In a square formation, the 3rd couple and the 4th couple (across)
Sprigs of Laurel, (1794)
“A longways country dance in duple minor. “Sprigs of Laurel” is a tune that appears in a few
country dance collections at the end of the 18th century.
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Partners set twice, then right-hand star once around
Partners set twice, then left-hand star once around
1s down the middle and back up to place, then cast off to 2 nd place while 2s
moves up.
All right hand turn with partner, then left hand turn
Source: Thompson, Twenty Four Country Dances for the Year 1794. in Norris & Sawyer’s Village Fifer (Exeter, N.H., 1808).
Bang Up (1801)
A longways Country Dance in duple minor. The term ‘bang-up’ generally means ‘very good’
or ‘excellent.
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1s cross the set, passing by right shoulder and turn single,
1s repeat to place
1s lead down the middle and back, and casts off into second place
Top two couples four changes of a circular hay (4 beats each)
Repeat whole dance from progressed position
Source: 24 Country Dances for the year 1801, by Thomas Preston
Madame Cordè's Frolic (1794)
A longways Country Dance in duple minor.
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W1 sets twice to the M2, then right hand turn
her partner
M1 sets twice to W2 then right hand turn his
partner.
1s cross and cast into second place and turn 1.5
times (16)
Both couples four changes of a circular hey
Repeat whole dance from progressed position
Source: 24 Country Dances for the Year 1794, by Preston &
Son.
Country Dances were by far the
most popular and most common
dance of Austen's lifetime and
would have been the
overwhelming majority of the
dances at any ball or evening of
dancing at home.
(What Did Jane Austen Dance? Susan de
Guardiola/Capering and Kickery,
November 1, 2009)
Jack’s Alive (1802)
A longways Country dance in duple minor.
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Woman set twice to partners, then dance clockwise around their partners
Man set twice to partners, then dance clockwise nd
around their partners
1s lead down the middle, lead back and cast to 2 place as the 2s move up
Partners allemande R&L
Source: A Treatise on Dancing, Saltator 1802. Originally a triple minor.
Notes on Dance Instructions:
In the early 1800s, longways dances were generally danced in triple minor formation (groups of 3 pairs). To make the dances more interesting for modern recreational dancers, most dances will be performed as duple minors (groups of 2
pairs). Historically correct footwork for country dances can be very elaborate. For
modern recreational dancers the footwork has been simplified.
Glossary of Figures
Allemande Right: Partners stand R shoulder to R shoulder, place own L hands
behind their backs, palm out, ready to receive partner’s right hand. Entwine
arms, as if doing a right-elbow turn, take hands and turn once around (8 counts).
Allemande Left: as above but hands and arms are reversed.
Cast off: Face up. Separate from partner and go down the outside one place. Usually the neighboring dancers move up into the vacated spot. A cast can be long (8
steps) or quick (4 steps).
Change: Exchange places by passing R shoulder. Partners can change across. Corners can change on the diagonal.
Circle: Join hands in a ring of three or four as specified, move to the left once
around. Move back to the right if specified.
Corners (as in turn, or set, or swing corners):
First corners are the 1st man with
the woman standing below his partner;
1st woman with the man above her partst
ner. The second corners are the 1 man with the woman above and the first
woman with the man below.
Cross over one couple: active dancers cross the set passing R shoulders and move
down the outside one place. They are progressed and improper.
Cross over two couples: Active dancers cross the set passing R shoulders and
move down the outside one place. They cross again and move down the outside
once place more.
Diagonals: The right diagonal for the women is the person standing in line just
above her partner. The left diagonal is the person standing in line just below her
partner. Conversely for the men, the right diagonal is the person standing just
below his partner, and the left diagonal is the person standing just above his partner.
Down outside: 1st couple cast off and travel down the outside of the set. Come
back home on the same path.
Lead down the middle: Active dancers face down the center taking inside hands.
They dance down the center of the set, turn to face up changing hands, and
dance back to their starting places and cast off
Lead out: Pirouette to face out and neighbors take hands to lead out. Pirouette to
face back and lead
back to places. (16 beats)
Lead outsides: 1st man joins his partner, and the 1s lead out between the neighboring #2 women, separate around them, meet in the middle. 1s lead out between the neighboring #2 men, separate around them, and return to progressed
places
Longways set: two lines of dancers, who face across to their partners. At the start
of each walk-through, modern dancers take hands in groups of fourst people to
identify their working groups. With eachndround of the dance, the 1 couples progress one place down the set, and the 2 couples progress one place up the set
to move on and dance with a new couple. Nearly all our longways dances will be
in groups of four, or duple minors. In Jane Austen’s day, groups of six, or triple
minors, were standard.
Poussette (draw style): Partners take 2 hands. 1st man dances backwards, drawing his partner with him, traveling counterclockwise
all the way around the standing 2s and back to place. At the same time 3rd woman dances backward drawing
her partner with her around the standing 2s and back to place.
Proper, improper: When you are on your own side of the dance, you are proper.
Money in Both Pockets (1790)
A longways Country Dance in duple minor. “Money in Both Pockets” is one of the dances
that appears on the “Caricature Fan” in the British Museum and its origin is likely in the
British Isles. Dance interpretation is by Colin Hume, 2008.
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The Northdown Waltz (1820)
A longways Country dance in duple minor.
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1s taking inside hands set R and L twice to W2 , then circle hands 3 clockwise.
1s taking inside hands set R and L twice to M2 , then circle hands 3 counterclockwise.
1s down the middle and back and cast off
Four changes of a circular hey
Source: American manuscript, circa 1800
2nd corners take right hands, balance forward and back, then change places.
Repeat above to places.
1s lead down center, lead back to 2nd place, 2s moving up.
In ballroom position, couples poussette around each other CCW, 1 st man
pushing, exactly once, to end progressed.
Modern Source: The Playford Ball / Kate Van Winkle Keller and Genevieve Shimer. Historical
Trip to Paris (1771)
The Young Widow (1788)
A longways Country Dance in duple minor. English.
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1s cross, cast around the 2s and around the 3s; then cross and cast around the
2s, and cast home
Top 2 couples turn a right hand star, and back with the left hand
Both couples set then pass and turn single
Repeat back again
1s cross, cast and turn into second place
Four changes of a circular hay with the 2s
Repeat whole dance from progressed position
Source: Twenty Four Country Dances for the Year 1771. The melody was published by
Charles and Samuel Thompson in theirrd Compleat Collection, vol. 3 (London, 1773). Like numerous tunes from the Thompson’s 3 collection, it was entered into the 1788 music manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Thompson
(Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 90. X:1
A longways Country dance in triple minor. Before Queen Victoria made her dear Albert’s
death the occasion for a lifetime of sour seclusion, the widow was a provocative figure. In the
seventeenth and eighteenth centuries, the widow often enjoyed a better legal status than a
mere daughter or wife. She might well have control over her late husband’s money; she could
be a woman of enterprise, taking over her husband’s business. Still more dangerously, to the
prurient (and misogynist) imagination of the time, she had been offered a taste of carnal
satisfaction but been denied its daily bread (—hence the procession of lusty and merry widows down almost to our own day).
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1s and 2s right hand star and left hand back
1s lead down the center, turn lady to opposite side and lead back up and cast,
2s move up.
Hands along the sides, set forward and then in place.
Circle 6 halfway
End couples face, set forward and then in place (facing up & down)
Active couples (on ends) 2 changes of rights and lefts to progress.
Source: 1788’s Collection of The Newest and Most Fashionable Country Dances and Cotillions
The Physical Snob (1801)
A longways Country Dance for three couples.
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Jane Austen
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Women join hands and W1 leads the ladies round the men from the top of the
set.
Men join hands and M1 leads the men round the ladies from the top of the set
Poussette:
1s and 2s change (M1 going forward) and 1s and 3s change (M1 going
back).
Poussette back.
1s and 3s change (M1 going forward), and 1s and 2s change (M1 back).
1s cross and continue round the 2s, cross again in the middle and continue
round the 3s to the bottom of the set.
1s lead up the middle to the top and cast to the bottom of the set.
Source: The melody dates to c. 1800. Barnes (English Country Dance Tunes), 1986.
The Shrewsbury Lasses (1765)
Dover Pier (1791)
A longways Country Dance in duple minor. Shakespeare mentions Dover Pier in the beginning of Act III of Henry V, which opens with the chorus setting the scene, asking the audience
to "suppose that you have seen the well appointed King at Dover pier...the hempen tackle,
shipboys climbing. Hear the shrill whistle...(and feel the) creeping wind." The name Dover
itself is derived from one of the many words for water in the language of the Celtic Britons
(before the time of the Romans who called the same place Dubris). Julius Caesar landed at
Dover in 55 BC, and it subsequently became a Roman port. William the conqueror hastened
to finish fortifying the castle just after the battle of Hastings in 1066 to consolidate his victory, although the castle that exists today was build by Henry II in the 1180's. Dover Castle
became noted for its royal meetings and romances.
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Partners set twice
Right hands across half-way; fall back into opposite place
Partners set twice
Left hands across half-way, fall back into opposite place
1s cross and go down outside into 2nd place while 2s lead up
1s turn two-hands 1 ½ times
Four changes of rights and lefts, starting with partner
Source: Preston’s Twenty Four Country dances for the Year 1791
A longways Country Dance for 3 couples. English, Country Dance Tune (2/2 or cut time).
D
Major. Standard tuning. AABB. Shrewsbury, England, has been in existence since the 5 th
century when the former Celtic inhabitants of the Roman town of Wroxeter moved to a
more easily defensible place. It was the capital
of the Welsh kingdom of South Powys but
was conquered by the Mercians in the 8th century, but it remained a border town for centuries. It was at Shrewsbury where Henry IV defeated the rebellious Percys of Northumberland in 1403. Note: Dance was shown in 1995’s “Pride and Prejudice”
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M1 slow set to the right and honor to W2 then set to the left and honor. (2 nd
lady does not set back, may honor)
M1 and W2 2-hand turn once around.
W1 repeats with M2.
1s casts (2s leads up)
Circle left once around with 3s
1s skips clockwise ½ way round to end improper in 2nd place and 2-hand turn
½ times to end proper.
3s casts up to 2nd place (1s leads down)
Circle left once around with 2s
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Source: Published before 1730 according to Raven, though Barnes dates it to 1765.
Barnes (English Country Dance Tunes), 1986. Fleming‑Williams & Shaw (English Dance
Airs; Popular Selection, Book 1), 1965; pg. 14. Raven (English Country Dance Tunes), 1984;
pg. 20.
Voulez Vous Dansez Mademoiselle (1815)
A longways Country Dance in triple minor. Probably an old ballroom dance, though later the
tune had currency as a march.
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The top two couples change places passing right shoulders
Then change places back again
1s lead down the middle and return to second place, seconds move up.
1s allemande turns
All 6 circle left all the way around.
Repeat whole dance from progressed position
Storace (1800)
A longways Country Dance in triple minor.
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Top two couples half a right hand star, and back again;
Top two couples change sides and back again
1s leads down the middle and back, and casts into second place,
1s allemande turns
1s half turn with the right hand, turn their right corner with the left hand,
1s half turn partner with right, and left corner with the left hand.
Repeat whole dance from progressed position
Source: From Dale's Selection of favorite Country Dances, by Joseph Dale, 1800
Source: Button & Whitaker's Selection of Dances Reels and Waltzes No 18, c.1815
The Fantocini (1773)
A longways Country Dance in duple minor. Fantocini was the plural of the Italian fantoccio,
and refers to puppets moving on wires, or a puppet show with such objects.
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1s and 2s change sides and back
1s down the center, come back and cast off
1s and 3s right hands across and back
1s allemande right and left
Source: The melody was first published by Charles and Samuel Thompson in their Compleat
Collection, vol. 3 (London, 1773). Country dance instructions for “The Fantocini” were printed
in John Griffith’s Collection of the Newest and Most Fashionable Country Dances and Cotillions (Providence, R.I., 1788).
Stony Point, late (Late 1780s)
A longways Country Dance in duple minor. “Stony Point” commemorates an embarrassing event for the British commander Sir Henry Clinton, his 1779 defeat at the fort at Stony
Point, New York, at the hands the American forces commanded by General "Mad" Anthony Wayne.
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1s set twice to W2 (8); then allemande right (8)
1s set twice to the M2 (8); then allemande left (8)
1s lead down the center (4), turn toward partner to face up (4), lead up (4),
and cast off (4)
Active couples R&L 4 counts, setting in between (16)
Historic source: the manuscript collection of Captain George Bush (1753?-1797), an officer
in the Continental Army [Keller]
Sir Roger de Coverley (ca. 18th century)
Duke of Kent’s Waltz (1801)
A Reel for 4 or 5 couples.th Sir Roger de Coverly was the name of a rakish character in popular
literature in the early 18 century. He was supposedly a country squire from Worcestershire,
and a member of a small club which ran the popular newspaper The Spectator that appeared
daily from 1711 to 1712, and his grandfather was said to have invented the dance that went
by his name. Tune was originally published by Playford. It is the name of an English country
dance and a Scottish country dance (also known as The Haymakers). The Virginia Reel is probably related to it. The name refers to a fox, and the dance's steps are reminiscent of a hunted
fox going in and out of cover.Sir Roger de Coverley is mentioned in Charles Dickens' A Christmas Carol (1843) when the Ghost of Christmas Past shows Scrooge a party from his apprenticeship with Mr. Fezziwig. "...the great effect of the evening came after the Roast and Boiled,
when the fiddler ... struck up 'Sir Roger de Coverley'. Then old Fezziwig stood out to dance
with Mrs. Fezziwig."
A longways Country Dance in duple minor, waltz time. This melody, written in 1802, was one
of the first waltzes to appear in the British Isles. The Duke of Kent at the time was Edward
Augustus (1767-1820), fourth son of king George III, and father of Queen Victoria. He served
as commander-in-chief of the British forces in Canada from 1799 to 1800.
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Take hands along the lines, step forward, bow and/ or curtsy, and step back.
That's the first and last time we do that.
Now we start with the top woman and the bottom man, step forward, bow
and/or curtsy. The top man and bottom woman do the same. Top woman and
bottom man turn by right hands. The top man and bottom woman do the same.
Repeat by left hands, both hands, and no hands.
Next comes the fun part called lacing the boot. The top couple cross by right
shoulders and go behind the next couple, and so on down the set, on reaching
the bottom they take hands and slip up to the top, cast to the outside, walk to
the bottom of the set while the rest follow, make a bridge* for the couples to
go under, and we start again with a new head and foot couple.
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Right hand star and left hand star
1s do 2 waltz steps down the inside and back, cast up to 2 nd place, 2s move up
(progression)
Take right hands with partner, balance forward and back; Gentlemen turn partners under their arms
Repeat movement with left hands
Look immediately to your right diagonal turn that person by the right (if no one
to your right stand still
Turn your partner by the left
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Historical source: W.M. Cahusac’s Annual Collection, 1801
The waltz as a couple dance (as opposed to waltz music, which was already well
known) came to England in the early 1810s, towards the end of Austen's
lifetime. It was considered quite scandalous, since the couple actually "embraced"
on the dance floor rather than courteously limiting touch to hands. It was
introduced from the top of society downwards and from major urban centers
outwards. Austen was not of top-flight society; even the wealthier characters in
her novels are not earls or dukes. She did not go to Almack's, the exclusive social
club of upper-class London society where foreign dignitaries helped introduce the
dance, or travel on the Continent, where the waltz was established much earlier
on. And by the time the waltz came to England, she was a spinster in her late
thirties. Her characters do not waltz either; the one time waltz music is mentioned
in one of her novels (Emma) it is in the context of using it for a country dance,
which had been the practice in England since at least the early 1800s:(What Did
Jane Austen Dance? Susan de Guardiola/Capering and Kickery,
Source: An early version was published in The Dancing Master, 9th edition (1695)
Pavillion Waltz (1820)
A longways Country Dance in triple minor, waltz time.
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Introduction and Honours (4 bars)
W1 right hand turn with M2
M1 right hand turn with W2
All three couples face up and promenade round to left with partner back
home
First two couples half poussette
First two couples two hand turn with partner
1s two hand turns with right hand corners
1s two hand turns with left hand corners
The same couple now repeat the dance from progressed position with the
next dancers in the line
Source: Wilson's Companion to the Ballroom, 1820, page 144
“Without music, life would be a blank to me.”
― Jane Austen, Emma
Knole Park (1788)
A longways Country Dance in duple minor. This country dance tune first appears in Henry
Bishop’s Six New Minuets and Twelve Country Dances (London, 1788). The name Knole,
Kent, is an Anglo-Saxon one, meaning knoll or hillock. Knole is said to be the largest private
house in England and is set in a deer park, enclosed in 1406. Knole Park [1] is one of the few
Tudor deer parks in England to have survived, and the only one in Kent.
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Circle four hands once around.
1st corners change places.
2nd corners change places.
Circle four once around
1st corners change places.
2nd corners change places.
1s lead down center, lead back, and cast down one place, 2s moving up.
Whole poussette counterclockwise, M1 (in 2nd place ) pushing.
Source: The tune appears in Philadelphia publisher George Willig's small (four page) collection Willig's Collection of Popular Country Dances, No. 1 (1812).
The Fitzwilliam (1794)
A longways Country Dance in triple minor.
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La Boulangère (1798)
Mentioned by Jane Austen in Pride and Prejudice and the only dance she mentions by
name
Fitzwilliam Darcy...
Quadrille (square) formation.
1s set twice and right hand turn half
generally referred to as Mr. Darcy,
way around
is one of the two central
then set twice and left hand turn back
again
characters in Jane Austen's novel
1s leads down the middle and back, and
Pride and Prejudice. He is an
casts off into second place
archetype of the aloof romantic
Then allemande turn right and left
1s lead through the bottom couple
hero, and a romantic interest of
Then four changes of a circular hey at
Elizabeth Bennet, the novel's
the top
protagonist.
Repeat whole dance from progressed
position
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The Boulanger, also known as the Boulangere, Boulangeries, etc. This was a
"finishing dance" for the end of an
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evening, and is actually not all that exciting to do. Couples would stand in a
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circle, and one dancer at a time would
go around the circle turning each danc
er of the opposite sex in alternation
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with her own partner. This would alternate with a figure where all the couples
circle first one way, then the other. About all I can say for this as a
dance is that it's certainly an easy one
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to do very late at night when exhausted
and with minimal energy or concentra
tion left. But we know for certain that

she danced it, as it is mentioned in her

letter of September 5, 1796, to her sister Cassandra: “We dined at Good
nestone, and in the evening danced two
country-dances and the BoulangerSource: Dale’s Collection of Reels and Danc- ies.” ( What Did Jane Austen Dance?
Susan de Guardiola/Capering and Kickes 1798-1803.
ery, November 1, 2009)
Source: Country Dances for the Year 1794, by Preston & Son
La Vaudreil Cotillion (1796)
Cotillion. Bars 48/48
2 bars
Introduction and honours
8 bars
CHANGE 1
Circle once round to the left
FIGURE Bars 9-39
Heads advance, with opposite pass through side couples and fall back to
8 bars
place
8 bars
8 bars
place
8 bars
8 bars
Head couples right hand star and chain at the corners (right turn)
Sides advance, with opposite pass through head couples and fall back to
Side couples right hand star and chain at the corners - left turn that person
CHANGE 2:
All right-hand turn partner and left-hand turn home
REPEAT AS DESIRED
Jane Austen and Cotillions
A cotillion was a dance for a square of four couples and would have
consisted of a specific set of figures which were repeated as a sort of chorus
between a series of "changes," which were simple figures (circle, grand right
and left, etc.) Austen mentions having danced cotillions in her youth in one
of her letters to her niece Fanny. (What Did Jane Austen Dance? Susan de
Guardiola/Capering and Kickery, November 1, 2009)
A1 Circle left all the way with a skipchange step (16)
A2 Circle right all the way with a
skip-change step (16)
B1 Couples take turns initiating the
following:
Active couple turns by the right,
That gent turns the next lady by the
left while the lady goes into the
center to wait for her partner for
the next 3 moves (he is moving in a
counterclockwise direction)
B2 Same gent back to turn partner
by the right, next lady by left
Partner right, then B3 (next lady)
Partner by right, then B4 (next lady)
First couple gets home and turns
partner back into place.
Then circles, then next couple initiates all of the above.
Lady Seymour’s Waltz (1804)
A longways Country Dance in triple minor
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W1 sets to M2, then 2 hand turns him;
M1 sets to W2, then two hand turns her.
1s leads down the middle and back,
and casts into second place and allemande turns
1s turn partner by the right, then first corner by the left
Then partner by the right and then second corner by the left
Repeat whole dance from progressed position
Source: 24 Country Dances for the year 1804, by Thomas Preston
Lady Mary Ramsey (2)
Hole in the Wall (1696)
Appeared in 2007’s “Becoming Jane,” starring Anne Hathaway and James McAvoy.
A longways Country Dance in duple minor. Originally a triple minor.
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M1 chases partner clockwise around the 2s back to place
W1 chases partner counterclockwise around the nd
2s back to place
1s lead down the middle, lead back and cast to 2 place as the 2s move up
Partners allemande L & R
Source: Treasures of Terpsichore, Wilson 1809
Duchess of York’s Waltz (1803)
A longways Country Dance in duple minor. The melody may appear in the English composer Purcell’s Abdelazar suite. Hole-in-the-Wall is a descriptive name for many pubs and taverns, to this day, usually denoting small, perhaps cozy establishments set within a building
row.
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1s cast down around 2s and lead up the center and back to place.
2s cast up around 1s and lead down the center and back to place.
1st corners cross; 2nd corners cross
Hands-4 half way round; 1s cast down while 2s lead up.
Source: Playford’s Dancing Master, c. 1725. Barnes (1986) dates the melody to 1698.
A longways Country Dance, in triple minor.
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W1 changes places with her corner, then M1 repeats
Then W1 changes places, then M1 repeats so all are back home.
1s lead down the middle and return to second place, 2s move up
1s sets and allemande turns
Circle left and back again
1s right turn right corner, then left turn partner
then right turn left corner, then left turn partner
Repeat whole dance from progressed position
Source: 24 Country Dances for the year 1803, by Thomas Preston
Though Waltz music was being used in country dances by the mid 18th
century, this must not be confused with the couple dance we now
associate with Waltz music.
Sleepy Moggy (1803)
A longways Country Dance in triple minor.
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3 ladies lead counter counterclockwise around the men and back to place
3 men lead clockwise around to the women and back to place
1s lead down the middle, lead back and cast to 2nd place as the 2s move up
Partners allemande R&L
Source: 24 Country Dances for the Year 1803, Composed by Mr. Gray, Thompson 1803.
Tune: Companion to the Ballroom, Wilson 1816
Mister Beveridge’s Maggot (1701)
Appeared in 1995’s Pride and Prejudice” starring Colin Firth and Jennifer Ehle
A longways Country dance in duple minor. English. . Beveridge was a court dancing master
whose hey-day was in the 1680's in England and who,
along with Issacs, began devising maggots--distinctive Late eighteenth and early nineteenth century people were fashlongways country dances to triple-time hornpipes. A
maggot was another name for a dram, a unit of liquid ionable and of the moment,
measure, but also meant a small thing of little conseculturally, paying attention to
quence or a plaything, from the Italian maggioletta.
what was new and up-toThe melody dates to 1701.
date. Collections of new coun-
try dance music (consisting of
hundreds of new tunes) were
published on an annual basis
during Austen's lifetime, and
the style of country dance music,
figures, and steps had changed
substantially from the late 17th

and early 18th century. Austen

was no more likely to dance a
75- or 100-year old dance than
Source: Barnes (English Country Dance Tunes), 1986.
she was to wear fashions from
Fleming‑Williams & Shaw (English Dance Airs; Popular a hundred years earlier. So,
Selection, Book 1), 1965; pg. 8. Raven (English Country despite their constant presence
Dance Tunes), 1984; pg. 28. Sharp (Country Dance
in movies and on CDs that
Tunes), 1909/1994; pg. 79.
purport to be Regency- or Austen-era, dances like "Hole in
Notation: Pat Show interpretation
the Wall," "Mr. Beveridge's
Maggot," "Childgrove," and
"Grimstock" (all dating from
1650 to 1710) are nothing
Jane Austen or her characters
would have been caught dead
dancing. ( What Did Jane
Austen Dance? Susan de Guardiola/Capering and Kickery,
November 1, 2009)
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1s cross then back to back with 2s.
1s turn single, turn R hands with neighbor
Left to partner and back to place.
1s cross again, go wide around the 2s who
are doing a back to back, and form a line of
4, 2s surrounding 1s
Up a double and back
1s cross cast and 2s move up.
Auretti’s Dutch Skipper (1756)
Appeared in the 1995 version of “Emma” starring Gwyneth Paltrow.
A longways Country dance in duple minor. “Aurettie’s Dutch Skipper” is by far the most
frequent name for the jig and commemorates Anne Auretti, a stage dancer in the mid-18th century London with whom the melody is strongly associated (see note for “Auretti’s Minuet”,
below, for more). A ‘dutch skipper’ was a type of country dance, in imitation of dances from
Holland, and known to the London stage since at least the season of 1709-10.
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1s lead through 2s and cast up to place
1s turn two hands
2s lead up through 1s and cast down to place
2s two hands
1s turn two hands
2nd corners turn two hands
Set twice in place to partner
Three quick changes circular hey (right-and-left), beginning with partner
Source: The tune was first published by David Rutherford in (Daniel) Wright’s Compleat Collection of celebrated country Dances, vol. 2 (London, 1742, pg. 100), Walsh’s Fourth Book of
the Compleat Country Dancing Master (London, 1747), Simpson’s Delightful Pocket Companion, vol. 2 (London, c. 1750), and in c. 1756 in Rutherford’s Compleat Collection of the Most
Celebrated Country Dances.
Quadrille: Paine Set 1 Dance 1 - Le Pantalon (1815)
24 bar Quadrille by James Paine, orchestra leader at Almack's, pub Dublin 1817 & London
1820 Almack’s
was the premier social club of London in the late 18th and early 19th centuries. 19 Mr. Paine was the orchestra leader at Almack’s for many years.7 Paine’s first set
was a popular
set of tunes published in 1815 for the five standard figures of the French
quadrille. 6 Harlequin, Columbine, and Lord Pantaloon were characters from the Italian
Commedia dell’Arte, which evolved into the "pantomime" theatrical form in England during the 18th century. Pantomime was highly popular during the Regency. Le Pantalon was
also the name of the first figure of the first set of quadrilles, said to have been named after
a dancing master who wore long trousers (pantalons in French) instead of proper knee
breeches. It is at least as likely that the reference was to the pantomime character. The
contrast emphasized is between the24gentry or nobility of the first line of the verse and
these lowly denizens of the theater L'Été is the second figure of the first set of quadrilles.
Its literal meaning is “summer”, which probably makes it a punning reference to
“summerset” in the previous line (courtesy of http://www.kickery.com/2008/03/rhymeswith-ter.html)
(8 bars) Introduction and honours (8 bars)
(8 bars) Head couples Chain Anglais
(4 bars)
Head couples set to partners a droite, a gauche
(4 bars)
and right hand turn
(8 bars)
Head couples Chain des Dames back to place
(4 bars)
Promenade halfway and change places
(4 bars)
Half Chain Anglais (rights and lefts) back home
The side couples repeat the dance.
Quadrille: Paine Set 1 Dance 2 – L’Ete (1815)
“Do you dance, Mr. Darcy?"
Darcy: "Not if I can help it!"
Sir William: "What a charming amusement for young people this is, Mr. Darcy! There is
nothing like dancing, after all. I consider it as one of the first refinements of polished
societies."
Mr. Darcy: "Certainly, sir; and it has the advantage also of being in vogue amongst the
less polished societies of the world; every savage can dance.” (:Pride and Prejudice)
Nelson's Victory (1816)
A longways Country Dance in triple minor.
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All hey on their own sides
1s lead down the middle and return to second place, 2s move up. 1s allemande turn.
1s turn by the right into lines across and all set, then turn by the left back
home and all set
Repeat whole dance from progressed position
Source: From Treasures of Terpsichore - 1816, by Thomas Wilson
24 bar Quadrille, repeated four times, led by each lady in turn by James Paine, orchestra
leader at Almack's, pub Dublin 1817 & London 1820
Introduction and honours (8 bars)
(4 bars) 1st lady and vis-a-vis advance and retire
(4 bars) 1st lady and vis-a-vis cross over (traverse) by the lady's R shoulder
(4 bars) 1st lady and vis-a-vis long balance (set towards each other passing in
front of their neighbors
(4 bars) 1st lady and vis vis cross over by the lady's L shoulder.
(4 bars) Head couples long balance to partners women almost facing
(4 bars) Turn partners home by right hand turn
Repeat dance for 2nd lady, 3rd lady and 4th lady
It is known that Jane was sent quadrilles by her niece Fanny from a
letter of February 20, 1816. “Much obliged for the quadrilles, which I
am grown to think pretty enough, though of course they are very inferior to the cotillions of my own day…” it is possible that in the last
years of her life, she did in fact dance a set of quadrilles. At that time,
it would have been the first set of French quadrilles: Pantalon, Été,
Poule, Trenise, Finale. New quadrilles such as the Lancers and Caledonians were still in the future. (What Did Jane Austen Dance? Susan
de Guardiola/Capering and Kickery, November 1, 2009)