My favorite 48 bar dance is Seth Tepfer's dance 40 years of Penguin Pam, 
which can be found on his website.
http://www.dancerhapsody.com/Calling/Dances.html#PP40Years (also pasted 
below)

I think part of the way that it gets around being too much for the 
dancers to remember is the pattern it establishes with all of the 
diagonal moves.  It's not nearly as hard as it would seem, and you're 
actually never more than one hands 4 away from your partner.  Note that 
you do have a shadow that you spend a fair bit of time chaining to or 
following through heys.  If multiple shadow pairs are new, it can get a 
little messy....


    40 Years of Penguin Pam

Formation: 	duple minor, becket, quintuple progression
Level: 	med
Author 	Seth Tepfer
Composed: 	January, 2007
A1: 	(6) circle left 3/4; (10) swing neighbor
A2: 	(6) circle left 3/4; (10) with partner, two hand turn 1.5, end 
facing left diagonal*
B1: 	(8) on left diagonal, right and left thru; (8) across the set, 
right and left thru
B2: 	(8) on left diagonal, ladies chain; (8) across the set, ladies 
chain (to shadow)
C1: 	(8) on left diagonal, ladies start 1/2 hey (passing right 
shoulder); (8) across the set, ladies start 1/2 hey (passing right 
shoulder)
C2: 	(16) partner, balance and swing
Notes: 	

This dance requires a 48 bar tune - AABBCC; ask the band before planning 
on using this dance. Preferably a week or two prior so they can heat up 
a couple 48 bar tunes. If you wish, you can chop off the A1/A2 to make a 
32 bar dance. However, I feel this loses the neighbor interaction. 
Written to celebrate Pam Eidson 40th birthday.

The dance works particularly well to "Hangman's Reel" (aka Reel Du 
Pendu). Yes, Hangman's Reel is 48 bars. I promise.

*The dance as originally written had a partner swing in A2. It was a bit 
confusing for dancers to determine which partner swing they were at, so 
this was changed to "allemande Right 1.5, end by gents giving a gentle 
push to hand for lady to twirl to face left diagonal." This required far 
too much teaching, so I took it back to two hand turm. I am happiest 
with this solution; zesty dancers can decide to swing if they are so 
inclined without my direction. :-)




On 1/29/2010 1:34 PM, Ridge Kennedy wrote:
> For the dance at Glenside last night featuring the old time music from
> the Run of the Mill String Band, Bob Isaacs created an AABBCC dance
> that he calls Triple Play.
>
> For the record, it goes like this:
>
> ***********
> Triple Play
> by Bob Issacs
> Improper, double
>
> A1.  N1 balance, swing
>
> A2.  Circle L 1/2, gents roll partner across, circle L 1/2, gents roll N1 along
>
> B1.  Cross trail through, N2 swing
>
> B2.  Gents allemande L 1 1/2, 1/2 hey (PR, LL, N2R, GL)
>
> C1.  Partner balance, swing
>
> C2.  Ladies chain to N2, star L
>
> N1 = neighbor 1; N2 = neighbor 2
>
> **********
>
>   the choreography for the dance worked very well -- all in all a good
> dance experience but it was a challenge for the dancers to the entire
> sequence into memory. Bob had to continue prompting key points
> throughout the dance. Over time, if we danced three part tunes all the
> time, that problem might go away. But for now, it seems as though
> adding to the length of a Contra dance might not be a good thing --
> certainly not all the time.
>
> On the other hand, we also experimented with Contra dance in waltz
> time. The portions of the dance where I anticipated the possibility of
> a waltz time walking swing were generally turned into short free
> waltzes. overall however the dancers seemed to enjoy the dance and it
> did provide a really nice change of pace in the middle of an old time
> music dance program.
>
> In the future, I'll probably be a little bit reluctant to program
> AABBCC dances but I will give consideration to mixing in a dance in
> 3/4 time.
>
> R.
>
>
> ------------------------------------
>
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>
>
>
>    


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