Introduction
Author:
John Sweeney
Formation:
Circle 5-couple set
Music:
Specific tune - Up Tails All ([English] Dancing Master, 1651)
Choreography
A1/2
1-8
INTRODUCTION: All meet a double & back, set & turn single; all that again
1s with
2s with
3s with
4s with
5s with
A3/4
1-16
2s: Forward & back a double to them, split them and cast back to face them, neighbor arm right and left
A5/6
1-16
3s: Forward & back a double to them, split them and cast back to face them, neighbor arm right and left
A7/8
1-16
4s: Forward & back a double to them, split them and cast back to face them, neighbor arm right and left
3s: Forward & back a double to them, split them and cast back to face them, star right & left with them
A9/A10
1-16
5s: Forward & back a double to them, split them and cast back to face them, neighbor arm right and left
4s: Forward & back a double to them, split them and cast back to face them, star right & left with them
A11/A12
1-16
5s: Forward & back a double to them, split them and cast back to face them, star right & left with them
4s: Forward & back a double to them, split them and cast back to face them, circle left & right with them
A13/A14
1-16
1s: Forward & back a double to them, split them and cast back to face them, star right & left with them
5s: Forward & back a double to them, split them and cast back to face them, circle left & right with them
A15/A16
1-16
1s: Forward & back a double to them, split them and cast back to face them, circle left & right with them
5s: Forward & back a double to them, split them and cast back to face them, dosido right & left with them
A17/18
1-16
2s: Forward & back a double to them, split them and cast back to face them, circle left & right with them<
1s: Forward & back a double to them, split them and cast back to face them, dosido right & left with them
A19/A20
1-16
2s: Forward & back a double to them, split them and cast back to face them, dosido right & left with them
1: Forward & back a double to them, split them and cast back to face them, side-by-side right & left with them
A21/A22
1-16
3s: Forward & back a double to them, split them and cast back to face them, dosido right & left with them
2s: Forward & back a double to them, split them and cast back to face them, side-by-side right & left with them
A23/A24
1-16
3s: Forward & back a double to them, split them and cast back to face them, side-by-side right & left with them
A25/26
1-16
4s: Forward & back a double to them, split them and cast back to face them, side-by-side right & left with them
A27/28
1-16
FINALE: All meet a double & back, set & turn single; all that again
© John Sweeney
Notes
Notes
1
The original tune is an 8-bar phrase and I have notated the dance accordingly. If you use a regular 32-bar tune then you need 7x through if you do the dance once, 10x if you repeat the dance with the 1s starting the sequence again as soon as the 2s are back or 13x if you repeat the dance without stopping for the FINALE after the 5s get back.
2
1s always do arming when they are leading, 2s do stars, 3s to circles, 4s do dosidos and 5s do siding
3
5s need to get home quickly after finishing their siding with the 4s
4
John says "The original has 1s splitting the couple and arming once with each couple all the way around the circle 'for as many as will' .. 'and so forwards to the next, the rest following in order'. The timing of when the rest follow is unclear. Sharp interprets it as 2s don't start until 1s have been all the way around. After each couple does arming all the way around, the dance starts again with stars, then with circles, but only star or circle once with each couple. At one of our dances Chris Turner called the original dance but with couples having their own figure and using the timing I have described. Whenever I tried it though it seemed a bit rushed. I added the Up a Double to the next couple and doubled all the moves so that there is much more time for people to recover and I feel the dance has a bit more to it now so that it is more fulfilling. Setting can be to your partner or to the centre of the circle. A clap at the beginning of your personal figure is recommended. There can be congestion in the middle as two couples are falling back a double, so warn people to be careful and try to get the other dancers to spread out if there is room."
5
John says "Instead of these figures, you can let each couple choose their own figure - anything they can fit into 16 steps. Alternatively, they could use these more modern options:
Couple 1: Balance the Ring; Petronella (spin one place to the right) x2 - then arch over that couple as you lead on to the next
Couple 2: Basket Couple
couple 3: Men Cross; Ladies Cross x2
Couple 4: Full Hey - Ladies start right shoulder Couple
Couple 5: Four changes of a circular hey (could be balance, change, change x 2)"
Couple 1: Balance the Ring; Petronella (spin one place to the right) x2 - then arch over that couple as you lead on to the next
Couple 2: Basket Couple
couple 3: Men Cross; Ladies Cross x2
Couple 4: Full Hey - Ladies start right shoulder Couple
Couple 5: Four changes of a circular hey (could be balance, change, change x 2)"
6
Charles Bolton has a similar adaptation in square set formation which can be found in his book Retreads 3
7
Here is what the original dance looks like:


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