Sharp, Cecil J., and Macilwaine, Herbert C., The Morris Book,  London: Novello & Co, (1907)

[p61]

NOTATION.

MUSIC.	MOVEMENTS.	FORMATION.
	BEAN SETTING (STICK DANCE). In this dance, the step throughout is 4/2.
Once to yourself	Partners tap across on last half-bar.	Column
A. (1st time).	Ring (see p.51) Partners tap across at half-bar in bars 4 and 8.	Col. to Ring.
B. (1st time).	Dibbing (see p. 52)	Front
A. (2nd time).	Cross-Over. Partners tap across at half-bar in bars 4 and 8, that is , at middle and end of Cross-over.	"
B. (2nd time).	Dibbing.	"
A. (3rd time).	Back-to-back. Tap as in A. (2nd time).	"
B. (3rd time).	Dibbing. Two bars before the end, leader calls "All in," whereupon all, as they tap, for the last time, j. outward, forming Column, and stand for a moment with sticks crossed.	" Column
	ALL IN

[p62]

MUSIC.	MOVEMENTS.	FORMATION.
	LAUDNUM BUNCHES (CORNER DANCE).
Once to yourself	Ju. last half-bar.	Column
A.	Ju. last half-bar. Down-and-back, Ju. Up-and -back, j. (forming Fr.)	" " Col. to Front.
B. (Corners) Bars 1,2 and 3	Nos. 1 and 6 advance, at 6/3 step, and cross to each other's place.	Front
Bar 4.	Nos. 1 and 6 (having now changed corners), turn about, inward, at 6/3 atep, till they face each other.	"
Bars 5 and 6	Nos. 1 and 6 advance, at 6/3 step, to centre, until they are face to face; they do not touch or pass.	"
Bars 7 and 8	Nos. 1 and 6 retire at 6/2 step, back to corners; and Ju. on half-bar of bar 8.  They have now changed corners.	"
B.(Corners) (2nd time).	Nos. 2 and 5 change corners, precisely as Nos 1 and 6 in B, 1st time.	"
B. (Centres) (3rd time).	Nos. 3 and 4 change places precisely as the others. Opposites have now all changes places.	"
A. (repeat).	Chain.	Column.

[p63]

MUSIC.	MOVEMENTS.	FORMATION.
B. (Corners) (Repeat) 1st time.	Nos.1 and 6 change corners as before.	Front
B. (Corners) (Repeat) 2nd time.	Nos.2 and 5 change corners as before.	"
B. (Corners) (Repeat) 3rd time.	Nos.3 and 4 change places as before. Opposites have now all re-changed places.	"
A2.	Cross-over.	"
C. (Capers) (1st time) Bar 1	Nos. 1 and 6 advance, at 6/3 step, to centre, facing each other's corners.	"
Bar 2 (9/8 time: 3 beats)	On beat 2, Nos. 1 and 6, their right shoulders now level, and almost touching, jump heavily on both feet, and advance, at 6/1 step, High, on beat 3.	"
Bar 3	Nos. 1 and 6 continue advance, 6/1, High.	"
Bar 4	Nos. 1 and 6 reach opposite corners and turn about to right and inward, same step.	"
Bar 5 (9/8 time: 3 beats)	Nos. 1 and 6 advance, 6/1, High, and come face to face on third beat.	"
Bars 6 and 7	Nos. 1 and 6 remain facing, and step at 6/3 step.	"

[p64]

MUSIC.	MOVEMENTS.	FORMATION.
Bars 8 and 9	Nos.1 and 6 retire to corners at 6/2 step.  Ju on half-bar of bar 9. Nos. 1 and 6 have now changed corners.	Front
C. (Capers) (2nd  time)	Nos.2 and 5 change corners precisely as Nos. 1 and 6 in C, 1st time.	"
C. (Capers) (3rd time)	Nos.2 and 4 change places precisely as the others.	"
A2.	Back-to-back.	"
C. (Capers) (Repeat).	Movements as in first Capers.  Opposites re-change places. But at the beginning of bar 6 of 3rd repeat, leader calles "All in," whereupon all turn inward at 6/3 step, form Ring in the centre, raise the right feet; and on last beat, all throw up hands and Call.	Ring.
	---------------
	COUNTRY GARDENS (HANDKERCHIEF DANCE).
Once to yourself	Ju. last half-bar.	Column.
A1.	Down-and-back, Ju. Up-and-back, j. (forming Fr.).	" Col. to Front.

[p65]

MUSIC.	MOVEMENTS.	FORMATION.
B1. Bars 1 to 4.	Hand-striking as per Notation (see p53).	Front
Bars 5 to 8.	Half-chain.	Column.
Bars 9 to 12.	Hand-striking.	Front.
Bars 13 to 16.	Half-chain.  This completes the Chain.	Column.
C1.	Chain.	Column.
B2. Bars 1 to 4.	Hand-striking.	Front.
Bars 5 to 8.	Hand-striking, repeated.	"
C2.	Back-to-back.	"
B4. Bars 1 to 4.	Hand-striking.	"
Bars 5 to 7.	Hand-striking, repeated.  Beginning of bar 5, leader calls "All in."	"
Bar 8.	Beat 1, all j. (giving Col. formation).  Half-bar, all throw up hands.	Column.
	ALL IN.

[p66]

MUSIC.	MOVEMENTS.	FORMATION.
	CONSTANT BILLY (STICK DANCE).
Once to yourself	Partners tap across, last half-bar.	Column.
A1.	Down-and-back, Ju. Up-and-back, j. (forming Front). Partners tap at half-bar in bars 4 and 8.	" Col. to Front.
B1. Bars 1 to 4.	Tapping (see diagram, p.54).	"
Bars 5 to 8.	Half-Chain. Tap on half-bar in bar 8.	Column.
Bars 9 to 12.	Tapping, as in first 4 bars.	Front.
Bars 13 to 16.	Complete Chain.  Tap on last half-bar.	Column.
A2.	Chain. Tap at half-bar in bars 4 and 8.	"
B2. Bars 1 to 4.	Tapping as before.	Front.
Bars 5 to 8.	Tapping as before.	"
Bars 9 to 16.	Cross-over.  Tap at half-bar in bars 12 and 16.	"
A3. Bars 1 to 4.	Tapping as before.	"
Bars 5 to 8.	Tapping as before.	"
B3. Bars 1 to 8.	Back-to-back.  Tap as in Chain, &c.	"

[p67]

MUSIC.	MOVEMENTS.	FORMATION.
Bars 9 to 12.	Tapping as before.	Front.
Bars 13 to 16.	Tapping as before; but in bar 14 leader calls "All in," and in bar 16 all j. (to Col.), and tap across on last half-bar, holding sticks as at the beginning.	" Column.
	ALL IN.
	-------------
	TRUNKLES (CORNER DANCE).
Once to yourself	Ju, last half-bar.	Column.
A1.	Down-and-back, Ju., Up-and-back, j. (formong Fr).	Column to Fr.
B1. (Corners).  Bars 1 to 3	Nos. 1 and 6 advance at 4/3 step, beginning with the left foot, so that they are face to face at the end of bar 3.	Front.
Bar 4	At the beginning, Nos. 1 and 6 stamp their right feet. Nos. 1 and 6 raise and swing their right feet and on the half-bar, strike them together, sidelong; then step briskly backward to their places, making room for Nos. 2 and 5.
B1. (Corners). (2nd time).	Nos. 2 and 5 do precisely as Nos. 1 and 6 in B1, 1st time.	"

[p68]

MUSIC.	MOVEMENTS.	FORMATION.
B1. (Centres). (3rd time).	Nos. 3 and 4do precisely as Nos. 1 and 6 in B1, 1st time.	Front.
C1. (Capers).  (1st time). Bars 1 and 2	Nos. 1 and 6 advance at 4/3 step, beginning with the left foot, so that they are face to face at the end of bar 3.	"
Bar 3	Nos. 1 and 6 turn about, inward and to right, at 4/3 step.	"
Bar 4	Nos. 1 and 6 advance at 4/3 step until they come face to face, but do not touch or pass.	"
Bar 5	Nos. 1 and 6 retire, at 4/2 step, to opposite corners.	"
Bar 6	Beginning, Nos 1 and 6 reach opposite corners. Half-bar, Nos. 1 and 6 Ju. Nos. 1 and 6 have now changed corners.	"
C1. (Capers) (2nd time).	Nos. 2 and 5 change corners as Nos. 1 and 6 in C, 1st time.	"
C1. (Capers) (2nd time)	Nos. 3 and 4 change places as Nos. 1 and 6 in C, 1st time.	"
A1. (repeat)	Chain.	Column.
B1.  (repeat). (3 times).	As before, with the difference only that pairs start with the right foot so that, in bar 4, they stamp and strike together the left feet.	Front.

[p69]

MUSIC.	MOVEMENTS.	FORMATION.
C1. (repeat). (3 times).	As before, All change places again, returning, therefore, to original situations.	Front.
A2	Cross-over.	"
B2. (3 times).	As in B1.  Pairs start with left feet, and stamp and strike right feet in bar 4.	"
C2. (Capers). (3 times). Slower,except in last two bars, played in original time.	As in C1, except that pairs in changing places, step rather higher to the slower music, also in the last two bars of normal time. The High Step is to be reserved for the Slow Capers in C3, and repeat.	"
A2. (repeat).	Back-to-back.	"
B2 (repeat). (3 times).	As in B1 (repeat), pairs start with right feet so that, in bar 4, they stamp and strike the left feet.	"
C2 (repeat). (3 times). Capers. Slower.	As in C2.  Pairs re-change.	"
A3.	Cross-over.	"
B3. (3 times).	As in B1 and B2.  Pairs start with left feet, and stamp and strike right feet.	"
C3 (Capers). (3 times).	As in C1, pairs change places.	"
Bars 1,2,3,4 in each repitition (very slow).	In these the step is 4/1, and High - really as high as possible.	"

[p70]

MUSIC.	MOVEMENTS.	FORMATION.
Bars 5 and 6 in each repitition (presto).	In these, the pairs retire, after meeting in the centre, at 4/2 step, lifting the feet as high as possible, and as quickly.  The greater the contrast between these two quick bars and the preceeding slow ones, the better the effect.	Front.
A3. (repeat).	back-to-back.	"
B3. (repeat). (3 times).	As in B1 and B2 (repeats), pairs start with the right feet, and stamp and strike left feet in bar 4.	"
C3. (Capers) Very slow. (Repeat). (3 times).	As in C3.  Pairs re-change to original places. At the beginning of bar 5, in final repitition of the music, leader calls "All in," when all draw together into Ring, Throw up the right hands, raise the right feet, and Call.	" Fr. to Ring.
	ALL IN.
	------------------------------------
	RIGS O'MARLOW (STICK DANCE).
Once to yourself.	Tap sticks on last two beats of bar 4.	Column.
A. (1st time).	Step 4/2 throughout "A" music in all repititions. Down-and-back twice. Partners tap sticks across on last two beats of bars 4 and 8; but on making last tap but one, j.  (forming Fr.), so that the final tap is given in Front formation.	" " Col. to Front.

[p71]

MUSIC.	MOVEMENTS.	FORMATION.
B. (1st time).	Double-tapping.  (For instructions, see diagram, p.55).	Front.
A. (2nd time).	Chain. Tap sticks as in A, 1st time.	"
B. (2nd time).	Double-tapping, as in B, 1st time.	"
A. (3rd time).	Cross-over.  Tap sticks as in A, 1st time.	"
B. (3rd time).	Double-tapping, as in B, 1st time.	"
A. (4th time).	Back-to-back.  Tap sticks as in A, 1st and 2nd time.	"
B. (4th time).	Double-tapping as in B, 1st and 2nd time.  In abr 7, leader calls "all in," whereupon all j., giving Col. formation, in which the final tap is made.	" Column.
	ALL IN.
	--------------------------
	BLUFF KING HAL (HANDKERCHIEF DANCE.)
Once to yourself.	None.	Front.
A. Bars 1 to 4	Advance slowly, until files are face to face.  On half-bar of bar 4, partners nod to one another (see instructions, p.57).	"

[p72]

MUSIC.	MOVEMENTS.	FORMATION.
Bars 5 to 8	Retire to original position.	Front.
B. Bars 1 to 4	Mark time.	"
Bars 5 to 8	Advance and nod as before.	"
C. Bars 1 to 4	Retire.	"
Bars 5 to 8	Mark time.  Files link arms in last bar, and remain linked until told to loose arms.	"
A. Bars 1 to 4	Advance as before, nod.	"
Bars 5 to 8	Retire.	"
B. Bars 1 to 4	Mark time.	"
Bars 5 to 8	Advance as before, nod.	"
C. Bars 1 to 4	Retire.	"
Bars 5 to 8	Loose arms.  Files turn very slowly about until they are reversed.	"
A. Bars 1 to 4	Retire, until partners' backs are all but touching.	"
Bars 5 to 8	Advance to original position.	"
B. Bars 1 to 4	Mark time.	"
Bars 5 to 8	Retire as before.	"

MUSIC.	MOVEMENTS.	FORMATION.
C. Bars 1 to 4	Advance as before.	Front.
Bars 5 to 8	Mark time.  Link arms in last bar, and remain linked until told to loose arms.	"
A.B.	Go through same movements, linked, as in preceding A and B. Loose arms at end of B.	"
C.	Files extend into single line, facing music. To do this, Nos. 1 and 2 advance; Nos. 3 and 5 follow No. 1; Nos. 4 and 6  follow No. 2. When all are in line, with Nos. 1 and 2 at wings, Nos. 5 and 6 in centre, all face music. Distances between dancers to be kept the same as when in file.	Line.
A. Bars 1 to 4	Mark time.	"
Bars 5 to 8	Advance.	"
B. Bars 1 to 4	Retire.	"
Bars 5 to 8	Mark time.	"
C. Bars 1 to 4	Advance.	"
Bars 5 to 8	Retire.  Link arms in last bar.	"
A.B.	Mark time, advance and retire linked, and mark time, as in preceding A and B. In the last bar, loose arms and join hands.	"

MUSIC.	MOVEMENTS.	FORMATION.
C.	Form into Ring:  Nos. 1 and 2 joining hands in last bar.	Ring.
A. (8 Bars), and B. (Bars 1 to 4).	Move to right, dancers making the colmplete circle.	"
B. Bars 5 to 8, and C. Bars 1 to 4.	Move to left, dancers nearly travelling round circle again.	"
C. Bars 5 to 8	Nos. 5 and 6 loose hands.  No. 5 joins hands with No. 1,   and No. 6 with No. 2, forming two rings, one to each file. Each ring will form round about the line of position of its numbers when in file.	Two Rings.
A. (8 bars) and B. Bars 1 to 4.	Rings move to right, as single Ring previously, but making double circuit.	Two Rings.
B. Bars 5 to 8, and C. Bars 1 to 4.	Rings move to left, as single Ring previously, nearly double circuit.	"
C. Bars 5 to 8	Rings break up and re-form line of 6 as before.	Two Rings to Line.
A.B.C.	Line mark time, advance, retire, &c., as before, link arms in last bar of C.	Line.

MUSIC.	MOVEMENTS.	FORMATION.
A.B.C.	Line as before, linked.  Last 4 bars of C, break into files, in original position in Front, but reversed as before.	Line.
A.B.C.	Files reversed, mark time, retire, advance, &c., as before.  Link arms in last bar of C.	Front.
A.B.C.	Files reversed, mark time, retire, advance, &c., as before, arms linked.  Loose arms, and turn slowly about in last 4 bars of C, forming Front.	"
A.B.C.	Mark time, advance, nod, &c., as before. Link arms in last bar of C.	"
A.B.C.	Mark time, advance, &c., with linked arms, as before. At the call of  "All in," the dance ends quietly on the last four bars, mark time, of C.	"
	----------------------------
	HOW D'YE DO (CORNER DANCE).
Once to yourself.	Ju. last half-bar.
A. (1st time).	Down-and-back, Ju.  Up-and-back., j. (forming Fr.).	Column.
B. (1st time) (Corners) Bar 1.	This is the Challenge.  Nos. 1 and 6 advance and shake hands, as described (see p.58).	Column to Front
Bar 2.	Nos. 2 and 5 the same.	"

MUSIC.	MOVEMENTS.	FORMATION.
Bar 3.	Nos. 3 and 4 the same.	Front.
Bar 4 and 5.	Nos. 3 and 4 pause (see p.58).	"
A. (2nd time).	Chain.	Column.
B. (2nd time) (Corners). Bar 1.	This is the Fight.  Nos. 1 and 6 advance and square up, as shown in the description (see p.58).	Front.
Bar 2.	Nos. 2 and 5 the same.	"
Bar 3.	Nos. 3 and 4 the same.	"
Bars 4 and 5.	Nos. 3 and 4 pause as before.	"
A. (3rd time.)	Cross-over.	"
B. (3rd time) (Corners).	This is the Reconciliation, and goes precisely as in B, 1st time.	"
A. (4th time).	Back-to-back.	"
B. (4th time) (Corners)	This is Good Fellowship, and goes precisely as in B, 1st and 3rd time.	"
A2.	Cross-over.  As usual, up to bar 7, when leader calls "All in," whereupon all close inward into Ring in the centre;  throw up hands, raise right feet on the last half-bar, and Call.	Ring.
	ALL IN.

MUSIC.	MOVEMENTS.	FORMATION.
	SHEPHERD'S HEY (STICK OR HANDKERCHIEF DANCE)
Once to yourself	Ju. last half-bar.	Column.
A1.	Down-and-back, Ju. Up-and-back, j. (forming Fr.)	" Col. to Fr.
B1.	Tapping (or Hand-clapping). (See p.59.)	Front.
A2.	Chain.	Column.
B2.	Tapping (or hand-clapping).	Front.
A1. (2nd time).	Go-and-come.	"
B1. (2nd time).	Tapping (or Hand-clapping).	"
A2. (2nd time.)	Back-to-back.	"
B2. (2nd time).	Tapping (or Hand-clapping).	"
A3.	Go-and-come. j. on last half-bar (to Col.). To extend, repeat A1, B1, A2, B2 (2nd time).	Fr. to Col.
A3. (repeat). (Presto).	Dance at 4/3 step, mark time (that is, in position); left hand hanging loose, until last half-bar, when it is thrown up.   Right hand holds stick across the body, the stick slanting upward towards the right shoulder. Two bars from end leader calls "All in."  All Ju. on last half-bar, and throw up both hands.	Column.
	ALL IN.

MUSIC.	MOVEMENTS.	FORMATION.
	BLUE-EYED STRANGER (HANDKERCHIEF DANCE).
Once to yourself	Ju. last half-bar.	Column.
A1.	Down-and-back, Ju. Up-and-back, j. (forming Fr.)	" Col. to Fr.
B1. Bars 1 to 8.	All dance at 4/3 step, mark time; swinging hands back and forth together in time. Bars 7 and 8 to be danced to 4/2/ step.	Front.
B1. Bars 9 to 16.	Chain.	Column.
A2.	As previously B1, bars 1 to 8.	Front.
B2. Bars 1 to 8.	Cross-over.	"
B2. Bars 9 to 16.	As previously B1, bars 1 to 8.	"
A1. (2nd time.)	Back-to-back.	"
B1. Bars 1 to 8. (2nd time).	As previously B1, bars 1 to 8, until bar 7, when leader calls "All in."  All then draw into Ring in centre, throw up hands on half-bar of bar 8, and call.  (To extend this dance to full length of music, see note p.50.)	Fr. to Ring. Ring.
	ALL IN.

MORRIS OFF.

This, as the name denotes, is the tune to which the dancers step as they leave the scene - be it stage, or high road, or village green - of their performance. Its execution is very simple, and there is no limit to the number of times the eight-bar measure may be played - or rather, the limit is set according to the fancy of the leader, for he may, if he pleases, and if the audience manifests no impatience, lead his side back and forth in a serpentine track, round and round for ever so long, till finally they wind from the scene.

The step is the 4/3 step throughout, but with a difference. It is more of a plod, with less of stamping and much less lifting of the feet. Morris Off, danced in the traditional manner, gives one the impression of a company agreeably tired, but pleased and comfortable, having rollicked to their hearts' content, and to the contentment of the lookers-on and being now upon the way to supper, and to bed. Of course, if they be still exuberant, they may show it, and stamp their lustiest; still a demurer step will usually suggest itself as the more appropriate. This quieter manner is best described as almost a slow, very gentle trot, the steps little longer than the foot - left, right, left; and then, on the fourth beat, not a hop, but a tap with the heel.

As for the movements. After "Once to yourself," the side marks time for 6 bars, and makes a complete right turn, slowly, in bars 7 and 8; then the leader, with Nos. 3 and 5 behind him, starts forward as described, Nos. 2, 4 and 6 meanwhile marking time. As No. 5 draws level with No. 2, he falls in behind, and Nos. 4 and 6 in order after him.

The side is now going slowly forward, in the manner of "Follow my leader." In every repetition of bars 7 and 8, all make a complete right turn, as already described, so that at the repeat of the first bar all are again facing in the course the leader shall have set.

The course will be set according to circumstances, and the position of exit, if in a room; or, if in the open, the leader will wind - or in the old manner of saying, he will "hey" - to some chosen point for quitting the scene.

To hey was to wind in and out and round about - though the term has many meanings. That is the leader's business: to lead the side across and back again, all turning together in the last two bars, and back and across again, or round about occasionally, as long as he may please.

Suppose more than one side has been dancing; then the leading side will start as already described, the other, or others, falling in as may have been previously arranged.

Morris Off, smoothly and quietly danced, with its strange monotony, has a fascination all its own. It is farewell, with no sorrow in it; good-bye, but with no dread of loneliness tomorrow; somehow, one cannot tell how, all the wholesomeness of the Morris, and of the folk that sent it down to us, and are with us yet, is in this dance. When the dance is over, and the bells quiet, there is neither surfeit nor exhaustion. Morris Off is like to make one think of sound sleep and clear awakenings.

THE END.