YOUNG DAMON'S FLIGHT
3-cpl longways  Key Bm, Meter 9/8, 104 bpm
Kynaston 1717
Andrew Shaw, the She Favourite / The Playford Assembly
Red Barnes 148

A 1-2: M1, taking inside hands with M2, draws him CW above and
       behind W1&W2 WHILE they balance back (3 beats), then come
       forward to the men's line and turn individually R into ..
  3-4: Circle 4 halfway (men are home, women are swapped)

A 1-2: Repeat, W2 (above) in lead above and behind the men (CCW),
       who balance back, come forward to woman's line, turn 
       individually L into a circle R hafway (all 2 1 3)

B 1-2: All set to partner
  3-4: 1s (in middle) cross RSH and loop R 
       outside the set (around first corner)
       WHILE
       2s and 3s meet partner and turn single toward the center 
       of the set (a sort of reverse cloverleaf)

  5-8: 1s coming in from the outside initiate LSH heys for 3 ACROSS,
       M1 with M3 and W1 with W2; 1s finish between the end couples,
       facing each other up and down.  

B 1-4: 1s fall back and cast right into 2nd  place proper

  5-6: 1s half figure-8, man up through 2s and woman down,
       into second place improper
  7-8: 1s 2H turn halfway and lead to third place WHILE
       3s cast up.

Bruce's teaching notes

* In the A, the dancers circling start toward the top both times.
The dancers crossing turn individually, not as a couple, to join the circle.

* In B1:1-2, any type of setting is fine (don't fuss)

* Note that the heys are only four bars long.  You're used to more time than that;
  keep it compact.

* In B1 5-8 (Bruce says B2 1-4)  Shaw gives permission to start the heys 
  a bit early, and to steal time from the fallback and give it to the cast.
  I [Bruce] recommend this, since it saves space and since bars 5-6 can
  use a bit more time.  I don't recommend finishing the heys inside the set
  (nearer to partner) because that makes 5-6 even more of a stretch.

* Dancers can make up time in 7-8 but that figure fits its music so well that
  its a shame to spoil that.