WITH NOTATION MARKS ADDED.

Steps used in 4-time music (whether simple or compound). The letters R and L signify right or left foot.

[Ill.u.s.tration: BEATS 1 2 3 4

STEPS R L R L]

This is called in the Notation--4/1.

[Ill.u.s.tration: BEATS 1 2 3 4 1 2 3 4

STEPS R R L L R R L L]

This is called in the Notation--4/2.

[Ill.u.s.tration: BEATS 1 2 3 4 1 2 3 4

STEPS R L R R L R L L]

This is called in the Notation--4/3.

[Ill.u.s.tration: BEATS 1 2 3 4 1 2 3 4

STEPS R R R R L L L L]

This is called in the Notation--4/4.

STEPS USED IN 6-TIME (i.e., COMPOUND 2).

WITH NOTATION MARKS ADDED.

[Ill.u.s.tration: BEATS 1 2 3 4 5 6 1 2 3 4 5 6

STEPS R L R L]

This is called in the Notation--6/1.

[Ill.u.s.tration: BEATS 1 2 3 4 5 6 1 2 3 4 5 6

STEPS R R L L R R L L]

This is called in the Notation--6/2.

[Ill.u.s.tration: BEATS 1 2 3 4 5 6 1 2 3 4 5 6 STEPS R L R R L R L L]

This is called in the Notation--6/3.

These steps are perfectly simple, and all but one may be learned at a glance, even by one who has no knowledge of music, for such a one has only to keep his eye upon the beats, which give the rhythm.

The exception--the only one that presents a difficulty at first--is the one marked 4/3 and 6/3, these two being one, since only the time differs; the feet step the same in each. A hint will make this step come as easily as the rest. Let the beginner in temporary difficulty with it bethink himself of the polka-step; sing a stave of the polka, and dance round the room to it. He will find that his feet are stepping exactly in order of the Morris 4/3 and 6/3 step--left, right, left, hop-left; right, left, right, hop-right, and so on. Now, all he has to do in order to adapt the polka to the Morris four-time step of 4/3 is, firstly to manage his feet as described, then to make the hop at end of each bar of the polka not as it were a dotted note, but in even measure with the other beats: for the last step of each bar to Morris four-time music is a hop, as in the polka, but in even time and in the Morris fashion.

Now, having adapted the polka step to the Morris 4/3, let the learner simply count six to the bar and step to it in exactly the same way. He will find, given just an average ear for rhythm, that he will soon be dancing thus, counting as he

1 2 3 4 5 6 dances--1, 2, 3, 4, 5, 6--Right--left, Right--right; 1 2 3 4 5 6 Left--right, Left--left.

Having mastered these, one last instruction may be given. The 4/3 Morris step is occasionally varied, so as to make it exactly like the polka-step--that is, with the final hop danced like a dotted note; like a quaver, if the music be in common time. This is a variation practised occasionally by the Morris men themselves, and the enthusiastic amateur will find himself dropping into it occasionally, following his enthusiastic leader. No instructions for this changing of the step will be given in the Notation, for it cannot be specified. The whole side will fall into it naturally, upon occasion: for instance, where there is a long stretch of the step, danced in one position, couples facing, arms swinging and handkerchiefs waving, as in "Blue-eyed Stranger." This is fairly intoxicating to the dancer, and here the hop will often suggest itself. And again, in hurrying, if one gets left behind a pace, as, for instance, in the Chain. But to hop, or not to hop, unevenly in the 4/3 step, that is a matter that will be easily arranged by the spirit of the dancers and the discretion of their leader. We desire merely to indicate a rule that, upon occasion, may be agreeably infringed.

POSITIONS, AND CHANGE OF POSITION.

The Morris side, when in position for dancing, stands in, or returns to, the positions as shown hereunder. The only exception to these is the Ring, as explained below.

POSITION 1 (COLUMN). POSITION 2 (Front).

^ ^ 1 2 1> <2 ^="" ^="" 3="" 4="" 3=""> <4 ^="" ^="" 5="" 6="" 5=""> <6>

Thus the six stand in two parallel lines of three each. The top, as the rule is in dancing, is set towards the music. The angles represent the dancers: the apex of each angle points as the dancer's face is turned; the numbers within the angles will be used throughout in describing movements of individual dancers.

The dancer at the top left-hand corner, No. 1, is _invariably_ the leader of the side. No figure is completed, and no dance can end, until No. 1 has returned to his place at the top left-hand corner.

It is the duty and privilege of No. 1 to call loudly and clearly the name of each figure or part of a figure as each falls due for performance--"Corners," "Chain," "Back-to-back," and so forth, and to announce the end of the dance by the call of "All in."

In Position 1, or Column, the dancers stand in two files, and all face the same way.

This is called in the Notation--Column, or Col.

In Position 2, or Front, the dancers are turned inward, and face each other in pairs.

This is called in the Notation--Front, or Fr.

The change of position, from Column to Front, or _vice versa_, whether made by jumping or by stepping to measure, is executed invariably thus:--

To change Column to Front the dancers turn inward. Thus, in Position 1, Nos. 1, 3, and 5 make a half-turn to the right; Nos. 2, 4, and 6 make a half-turn to the left.

To change Front to Column, in Position 2, Nos. 1, 3, and 5 will make a half-turn to the left; Nos. 2, 4, and 6 a half-turn to the right.

In changing from Column to Front when the column is reversed--that is, the dancers having their backs to the music--the half-turns as given above will be reversed also.

As for the distance to be maintained between individual dancers, whether in Column or Front, the files (i.e., odd and even numbers) should stand so far apart that, when arms are extended, the hands of each will overlap his neighbour's hands.

The distance between the files will vary according to the nature of the dance. In the Stick and Handkerchief dances, pairs (Nos. 1 and 2, &c.) stand near enough to clap hands or tap sticks with each other. In the Corner dances, as will readily be seen from the descriptions and Notation, the files must be well apart to give plenty of room for the necessary movements. The right distance will easily be found; roughly, the side should form a square measuring some twelve feet each way.

In the Notation, the term "Partners" is used to denote the pairs as they stand fronting or abreast, Nos. 1 and 2, 3 and 4, 5 and 6.

The term "Opposites" is used in referring to couples when they must change places, or re-change, as in Corners and Capers, Nos. 1 and 6, 2 and 5, 3 and 4. The latter couple, the centres, it will be noticed, will have both terms applied to them, according as the movement described is Corners or Capers, or another, such as hand-striking.

In some dances, as, for instance, in "Bean-setting," the side forms a ring, and many dances end in this formation. Instructions for this, as and where it occurs, will be found in the Notation, and will be marked under Formation, thus:--Ring.