The arms in all these movements described, should really be swung as far, both backward and forward, as possible. The Morris-men themselves swing the arms behind to an angle of 45 degrees or so; but in the forward swing their hands are raised forward and a little higher than the head, on arms slightly bent at the elbows.

THE CALL.

In the Notation it will be seen that at the end of some dances the side is instructed to "Call." This means that on last half-bar all raise their voices on a high-note "Ah!" something after the manner of Scottish dancers, though the Morris "Call" is less of a war-whoop and more of a l.u.s.ty shout.

LENGTH OF DANCES.

It must always be remembered that the Morris-men themselves vary the length of their dances, according to the humour of the moment, and their freshness or fatigue. A dance can always be shortened by leaving out one or more figures: the musician will know what to do by the call of the leader.

In "Blue-eyed Stranger," for instance, if the side is feeling particularly high-spirited, the whole sixteen bars of "B" music may be danced; but as a rule this will be found too long. Again, to extend "Rigs o' Marlow" (another trying dance) the music may be played four times instead of three, when Back-to-back will be danced to "A" music. "Bluff King Hal," danced to its full length as shown in the Notation, will as a general rule also be found too long. It can easily be shortened by leaving out repet.i.tions or certain figures. In brief, once the dances are learned it is a very simple matter, and quite according to tradition, to lengthen or abbreviate them in any way desired.

SPECIAL INSTRUCTIONS FOR VARIOUS DANCES.

BEAN-SETTING (STICK DANCE).

TO FORM RING.

This is the only one of those dances we have described that begins with the Ring. The side starts in Column. To form Ring, Nos. 3 and 4 move a little outward from the line as "A" music begins. Then all dance in Ring formation to the right (_see_ Fig. 1) until, at the beginning of bar 4, all opposites have changed places: that is, Nos. 1 and 6 are each in the other's position, Nos. 3 and 4, 2 and 5 have also changed. In bar 4, files close in slightly, j. (_i.e._, form Column), and tap sticks across on half-bar of bar 4. In remaining four bars of "A" music form Ring again, and all return to position as they came (_see_ Fig. 2). At half-bar in bar 8, all j. (forming Column), and partners tap sticks across.

[Ill.u.s.tration: Fig. 1.]

[Ill.u.s.tration: Fig. 2.]

DIBBING.

This is the term used in the dance, as it is used in field and garden work, for making a hole with a dib, or dibber, in the soil, into which the seed is dropped. The dance, of course, represents the setting of beans--more truly and largely, the sowing of the seed in springtime.

In dibbing (_see_ [small box] in music) all stoop well forward, holding the right hands outward, with sticks pointing to the ground. The act of dibbing consists in thumping the stick firmly on the floor and at once lifting it again.

B.

Bar 1.--Dib all together at beginning and half-bar, as shown in music ([small box]).

Bar 2.--Remain stooped; at beginning of bar, pairs tap sticks across--odd numbers tapping even numbers. Hold sticks crossed as they were tapped for remainder of bar.

Bar 3.--Dibbing, as in bar 1.

Bar 4.--Beginning, partners tap across; half-bar, No. 1 taps No. 3.

Bar 5.--Beginning, No. 3 taps No. 5; half-bar, No. 5 taps No. 6.

Bar 6 (9/8 time).--Beginning, No. 6 taps No. 4; second beat, No. 4 taps No. 2; third beat, partners tap across, as in bar 2.

In remaining six bars of "B," repeat dibbing and tapping as in the first six bars.

In the notation of "Bean-setting" (p. 61), the term "Dibbing" will be used to denote all the actions, here explained in detail, that go to the music of "B."

COUNTRY GARDENS (HANDKERCHIEF DANCE).

In the hand-striking figure of this dance (for hand-strokes, _see_ mark O in "B" music) there are four movements, as follows:--

Each dancer strikes both hands together. This is called in the Notation that follows--b.

Each, with the right hand, strikes the right hand of partner.

This is marked in the Notation--r.

Each, with the left hand, strikes the left hand of partner. This is marked in Notation--l.

Each throws up hands. This is marked in Notation--u.

In striking, handkerchiefs are held bunched together in the hands.

[Ill.u.s.tration: NOTATION OF HAND-STRIKING.

BEATS 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 HANDS b b r b b l b b r l u STEP R R R R L L L L R R R R both Ju.]

CONSTANT BILLY (STICK DANCE).

In this, sticks are held and used, both in the "A" and "B" music, as explained in "Rigs o' Marlow" (_see_ p. 55).

Stick-tapping in "B" music is done according to the following diagram: signs, &c., to be read as in diagrams for "Rigs o' Marlow" (_see_ X in music). The beats whereon stick-tappings occur are written in diagram as b. (bar); and h.-b. (half-bar).

In the first bar of "B" music, at half-bar, No. 1, with top end, taps b.u.t.t of No. 2. In the second bar, at half-bar, No. 2, with top end, taps b.u.t.t of No. 1. In the third bar, at half-bar, No. 1 taps No. 2 as in first bar. In the fourth bar, No. 1, at the beginning, with the b.u.t.t, taps No. 2's top end; and at half-bar, No. 1, with top, taps top end of No. 2, thus:--

[Ill.u.s.tration: DIAGRAM OF STICK-TAPPING.]

The steps are the same for all. When tapping is continued (_see_ Notation) for eight bars, then, in the last four, all start on the left foot, and step thus: L.L.R.R.L.L.R.L. Tapping is the same in first and second four bars.

In tapping, of course, odd numbers do as No. 1 in diagram, even numbers as No. 2.

RIGS O' MARLOW (STICK DANCE).

In this the sticks are held throughout by the middle, in the manner explained (_see_ p. 60). In all single-tapping pa.s.sages, to "A" music, sticks are held slanting upward, like a single-stick, but with the upper arm close to the body. In Column formation, odd numbers--that is, leading file--hold the forearm to rightward; even numbers--right file--hold the forearm across the body, so that the sticks cross between files, ready for tapping. Leading file always taps the other file, which holds the sticks firm.

In the double-tapping, to "B" music, sticks are held in the middle, hand below stick, which is now held straight, parallel with the ground, advanced towards partner, and raised about as high as the neck.

The following diagram will show how sticks are tapped in this movement.

Angles and numbers, as in p. 54, &c., represent the leader and partner, Nos. 1 and 2: the other pairs, of course, tap precisely as these two, odd and even numbers respectively.