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Folks :
Given the vagaries of the Post Office, I thought it would be kind to
offer multiple ways to get dance directions for this year's BACDS
Playford Ball. So I will be sending you these directions in the mail -
but here they are as email, too.

I've attached a Word file to this email. I've also included the text in
this email, for those whose mail servers don't deal happily with
attachments -- but the text below may wind up weirdly formatted. Either
way, I hope you'll find these useful.

You'll probably find many of these are familiar dances. It's a very
traditional program, as fits the 20th BACDS Playford Ball. There are
only two dances (Graie's Inn Maske and Trip to Greene)which are not in
the second edition of Barnes. I'll send a copy of the sheet music for
those two in the paper copy.

The timing numbers refer to beats / steps for nearly all of these. The
two exceptions are Jovial Beggars, and the final section of Graie's Inn
Maske, where I've used bars of music. 6/8 is confusing sometimes...

Feel free to ask questions. I hope to see all of you at the Ball!
regards,
-- Lise
   ldyckm@ix.netcom.com

=====
Apley House, duple minor
1702, reconstructed by Cecil Sharp 1922. (Barnes)

A1 4 Gentlemen, taking hands with neighbor, fall back a double
         4  and come forward while turning single;
A2 4 Ladies, taking hands with neighbor, fall back a double
4 and come forward while turning single.
B  4 Right hand star halfway,
4 and all turn single up;
8 couple 2 casts down and comes in towards the middle to form the center
of a line of four across the set WHILE couple 1 move up the center and
casts to the outside of this line of four.
C 4 All lead up a double,
4 fall back (at the last bar couple 1 curl up to meet in original
place);
8 couple 1 cast into progressed place and change places with partner
WHILE couple 2 cross to own side as they move up to progress.
(This ending is as it’s been traditionally done in “our village” – there
are other variations that may be familiar to your dancers.)


Draper’s Gardens (tune “The Margravaine’s Waltz”), duple minor
1702, reconstructed by Bernard J. Bentley 1965. (Barnes)
A 1 6 First corners set forwards,
6 turn single right back to place,
12 turn both hands once around.
A 2  6 Second corners set forwards,
6 turn single right back to place,
12 turn both hands once around.
B  6 Gentlemen turn neighbors both hands, halfway around;
6 ladies turn neighbors both hands, halfway around;
12 all four circle halfway and fall back into lines on the side (with
neighbor);
12 facing partner to start, two changes rights and lefts (with hands),
12 couple 1 lead up and and cast back to progressed place.
(The challenge of this dance is to do it smoothly without succumbing to
the temptation to dance it mincingly, like a windup music box
automaton.)


Geud Man of Ballangigh (tune “Hunt the squirrel”), duple minor.
1696, reconstructed by Cecil Sharp 1922. (Barnes)
A 1 8 Couple 1 lead down between couple 2 and cast back to place;
8 gentlemen lead through the ladies and cast back to place;
A 2 8 Couple 2 lead up between couple 1 and cast back to place;
8 ladies lead through the gentlemen and cast back to place.
B 1 8 First gentleman sets to his corner and turns single back to place;

8 first lady sets to her corner and turns single back to place;
B 2 4 Circle four halfway,
4 falling back with neighbor along the sides;
8 all set forward to partner and change places with partner.
(The cloverleaf leads & casts in part A should all flow from one to the
other.)
 Graie’s Inn Masque, 3 couple longways set
Pre-1651, reconstructed Fried de Metz Herman 1995. Published in Ease and
Elegance.
Part I
A 1 8 With partner, all lead up a double and fall back,
8 set to partner, turn single;
A 2 8 All lead down a double and fall back,
8 set to partner and turn single.
B 8 Gentlemen face away from partners (ladies face the gentlemen’s
backs) –
in lines of three, lead a double to that side, fall back,
8 gentlemen turn right to face partners and all set to partner, and
change places with partner
by right shoulder.
C 8 Long reverance (honor) to partners right, left.
D 8 Turn partner once and a half by both hands.
E  (tempo change) Gentlemen hey for three on their side, starting with
the top two passing right
shoulders.
Part II
A 1  8 Side-by-side right with partner,
 8 set to partner, turn single;
A 2 8 Side by side left with partner,
 8 set to partner and turn single.
B 8 Ladies face away from partners (gentlemen face the ladies’ backs) –
in lines of three, lead a double to that side, fall back,
 8 ladies turn right to face partners and all set to partner, change
places with partner by right shoulder.
C 8 Long reverance (honor) to partners right, left.
D 8 Turn partner once and a half by both hands.
E  (tempo change) Ladies hey for three on their side, starting with the
top two passing right
shoulders.
Part III
A 1  8 Arm right with partner,
 8 set to partner, turn single;
A 2 8 Arm left with partner,
 8 set to partner and turn single.
B 8 Everyone face away from partners
– in lines of three, lead a double away, fall back,
8  set to partner, change places with partner by right shoulder.
C 8 Long reverance (honor) to partners right, left.
D 8 Turn partner once and a half by both hands.
E  (tempo change) Circular hey for six (no hands) – begin by top couple
facing while the others
face up / down along the side, and all pass right to start.
(The long reverance is a like the slow step and honor in Epping Forest.
Part E should be done with a skip change, and explosively.)


Jack’s Maggot, duple minor.
1702, reconstructed by Cecil Sharp 1922. (Barnes)
A 1 16 First gentleman and ladies hey for three on the ladies’ side of
the set, starting with the
first gentleman passing the second lady by the right shoulder, ending
with the first
gentleman returning to place;
A 2 16 First lady and gentlemen hey for three on the gentlemen’s side of
the set, starting with the
first lady passing the second gentleman by the left shoulder, ending
with the first lady
returning to place.
B 1 8 Right hand star once around;
 8 left hand star back (skipping).
B 2 4 First corners change places,
4 second corners change places
 8 couple 1 cast WHILE couple 2 lead up into progressed places.


The Jovial Beggars, large circle (mixer)
1651, reconstructed by Cecil Sharp 1922. (Barnes)
Part I   bars
A1     6 Slipping circle left; turn single.
A2     6 Slipping circle right; turn single.
Chorus:
B1     8 With partner, fall back and come forward a double;
        Gentlemen cast left and move around circle one place
counter-clockwise
WHILE ladies turn single left, all skipping.
B2     8 With a new partner, fall back and come forward a double;
Ladies cast right and move around circle one place clockwise as
gentlemen turn single right, all skipping.
Part II   bars
A1     6 With the next partner, swirl siding (Sharp siding); turn
single.
A2    6 All that again.
Chorus: as before.
Part III   bars
A1     6 With the next partner, arm right;  turn single.
A2     6 Arm left with current partner; turn single.
Chorus: as before.
 (I’ve put the timing as bars and not steps, because often it’s hard to
hear a strong beat on this one – but you can usually hear the A & B
melodic structure.)


Juice of Barley, duple minor.
1686, reconstructed Cecil Sharp 1916. (Barnes)
A 8 Back-to-back partners all;
 8 all turn partner once around with both hands.
B 1 8 Gentlemen half figure eight through the ladies, with the first
gentleman crossing first;
 8 all clap and circle four once around;
B 2 8 Ladies half figure eight through the gentlemen, with the first
lady crossing first;
 8 all clap and circle four once around.


Kelsterne Gardens, three couple longways set.
1727, reconstructed by Tom Cook 1975. (Barnes)
A 1 16 Mirror hey for three, starting with couple 1 between couple 2.
A 2 16 Top two couples do a full double figure eight, couple 1 crossing
down and casting up to
s