Dances for December 10, 2018




1 – 2 2nd and 3rd couples dance into the centre of the set with two skip-change and face diagonally in.

3 – 4 They set, turning right about on the second step to face the corners of the set, men facing men, women facing women. 2nd and 3rd couples are hereafter referred to as “centres,” 1st and 4th couples as “corners.”

5 – 6 Passing right shoulder with two skip-change, centres change places with their corners, who face diagonally in.

7 – 8 All set, corners turning right about.

9 – 10 Passing right shoulder again, corners dance out and centres dance in to face diagonally in.

11 – 12 All set, centres turning right about, and

13 – 16 Centres turn their corners by the right hand once round and

17 – 20 Dance left hands across once round, finishing facing their corners again.

21 – 32 Double diagonal reels of four: to begin, centres pass their corners right shoulder. As the dancers pass in the middle they give left hands across for two steps, half round. Corners finish in their original places, but

33 – 34 Centres, giving left hand to partner, change places (2nd woman and 3rd man doing a “polite” turn) to finish back to back in the middle of the set, facing their partner’s original corner.

35 – 36 All set.

37 – 40 Each turns the person he is facing by one hand so that centre couples begin by going between corner couples (left hand for 2nd woman and 1st man, 3rd man and 4th woman: right hand for 2nd man and 1st woman, 3rd woman and 4th man).

41 – 48 Centres, facing diagonally in, set, with two pas de basque and four points, twice.

49 – 52 Centres dance between corner couples and cast into the middle again, facing diagonally in, and

53 – 56 Set, with two pas de basque and four points, once.

57 – 64 With 3rd couple making an arch and 2nd dancing under it, 2nd dance down and, together, cast up round 4th woman and dance up the middle to the top of the set, while 3rd couple dance up and, together, cast off round 1st man and dance down the middle to the bottom of the set, After casting, 2nd man and 3rd woman pass left shoulder. On 63-64 1st couple move down and 4th move up.

Repeat once more with new centres and new corners.

Dance devised by Alex. T. Queen, of the R. S. C. D. S., Southport Branch, Pipe Major Clan MacLeod Band.

Snow on the Mountain
32-bar jig for 3 couples in a 4-couple longwise set

1-4 1st couple giving right hands, cross over and cast to second place (2nd couple stepping up on bars 3-4).
5-8 1st couple dance half a figure of eight, 1st woman up around 2nd woman, 1st man down around 3rd man, turning right about at the end to finish back-to-back in the middle of the set facing out own side.

9-16 Petronella double triangles: 1st couple dance as regular double triangles, but on bars 15-16, they swivel to their right to finish 1st woman facing up, 1st man facing down.
2nd and 3rd couples dance as follows:
1-2 Set as in double triangles
3-4 Petronella turn moving one place counter clockwise / to their right around the rectangle (2nd man to 3rd man’s place, 3rd man to 3rd woman’s place, etc.)
5-8 Repeat bars 1-4 to finish in the diagonally opposite position.

17-20 1st woman with top couple (3rd couple), and 1st man with bottom couple (2nd couple), dance right hands across once round in four bars, 3rd man and 2nd woman finish facing out.

21-24 3rd man, followed by 3rd woman and 1st woman, and 2nd woman, followed by 2nd man and 1st man, chase clockwise half way around the set and continuing to move in a clockwise direction, flow directly into

25-32 2nd couple, 1st couple, and 3rd couple dance six hands round and back.

Repeat, having passed a couple.

Music: “​ Return to Eilean Dubh​ ,” by Sherry W. Ladig. Suggested alternate is “Miss Grace Hey’s Delight”
or other jigs with a 16-bar B part.
Devised 2003 by Lara Friedman-Shedlov for Audrey McClellan’s novel “The White Rose of Scotland,” the
second in her trio of romance novels about life on the fictional island of Eilean Dubh.
I believe the original deviser of the formation “petronella double triangles” was John Bowie Dickson, in
the dance “Pinewoods Reel.”