The Morris Book written by Cecil J. Sharp

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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.

[Illustration: 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
butt of No. 2. In the second bar, at half-bar, No. 2, with top end, taps
butt 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 butt,
taps No. 2's top end; and at half-bar, No. 1, with top, taps top end of
No. 2, thus:--

[Illustration: 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 passages, 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.

The arrows between angles represent sticks. As tapping has now to be done
with both ends of the sticks, these are shown in this way. The barbed end
is the top, the feather the butt-end. The top is held always to the
right--butt, or barb, to leftward of each dancer. The tapping will be
shown bar by bar. The steps shown apply to _all_ the dancers.

In the first bar of "B" music, No. 1, with top end, taps the butt of No.
2, on beats 3 and 4, thus:--

[Illustration: DIAGRAM OF STICK-TAPPING.]

In the second bar of "B" music, No. 2, with top end, taps the butt of No.
1, on beats 3 and 4, thus:--

[Illustration: DIAGRAM OF STICK-TAPPING.]

In the third bar of "B" music, No. 1 taps No. 2 precisely as in bar 1.
Same step.

In the fourth bar of "B" music, No. 1 taps No. 2 on every beat, as
follows:

First beat, No. 1, with butt end, taps No. 2 on top end.
Second beat, with top end, taps butt.
Third beat, with butt, taps top.
Fourth beat, with top end, taps top of No. 2.
Thus:--

[Illustration: DIAGRAM OF STICK-TAPPING.]

This double-tapping looks complicated, both in dance and diagram, but is
really very simple. A few hints upon the most difficult bar, the fourth,
will explain the whole. In this, on beat 1, No. 1, to tap with his butt
the top of No. 2's stick, raises the wrist and hand till the stick is
above and at right-angles to No. 2's, then thrusts outward till his butt
strikes No. 2's top. On beat 2, No. 1 lowers his hand, keeping the stick
perpendicular, moves hand to right and taps his top on No. 2's butt. Beat
3 is as beat 1; on beat 4, No. 1 simply lowers hand and taps No. 2 on his
right, or top end. This explains all the taps that occur.

For the method, which is invariable, except where specially stated, of
holding the stick (_see_ p. 60).

In the second four bars of "B," double-tapping and steps are repeated
precisely as in first four bars; and throughout the dance it is the same
to "B" music, four bars of double-tapping, repeated, up to the call "All
in."

BLUFF KING HAL.

In this the step is 4/3 throughout. It should be danced something after
the fashion of "Morris-Off," but not quite so soberly; yet the step is
less vigorous than the normal Morris step. Like "Morris-Off" it has, what
with its length and staid monotony, a quaintness all its own. To teach
and to learn the right way of dancing "Bluff King Hal" is more a matter
of drill and precision than lusty _abandon_: it must be danced evenly,
seriously almost, and quite quietly, or its true effect will be marred or
lost.

The music is marked _ad libitum_: the musician simply brings his labours
to an end in whichsoever section he shall hear the warning call of "All
in." Even the Morris-men themselves do not invariably go through all the
movements. These instructions are given in order that, should audience or
dancers weary of the exercise, it can be curtailed. Where we have taught
the dance to novices, we have found, at first, curtailment to be
advisable, for the length and monotony of it palled. Later, however, when
the learners had mastered its curious intricacies, we found no weariness
amongst them, but a constant demand for every single movement to be
performed in its traditional completeness, and over and over again, as
long as we chose to play it. We shall therefore describe it here at
length, and leave it to the tact and discretion of the teacher where and
when and to what extent it shall upon occasion be abbreviated. The files
should stand as in Corner Dances--about twelve feet apart.

HOW D'YE DO (CORNER DANCE).

This dance, as will be clearly seen from the Notation (_see_ p. 75),
serves as illustration of the national method of settling quarrels--by a
bout of fisticuffs. All the dances are typical of the race; this one is
of course singularly so. Where boys are found disposed to look favourably
upon the Morris dance, "How d'ye do" may be recommended as the very best
to encourage the tendency in them. There is a spice of wholesome
rowdiness in the spirit of the dance that will not fail to make itself
known and beloved of boys. Besides, the shaking of hands before the
fight, the squaring-up for war, and the reconciliation, can only be given
the right robustious ring and defiance by the fighting sex. Another most
engaging feature of "How d'ye do," is that the notes fitting these words,
as will be found, are sung in every instance by the dancers, before,
during and after the encounter. There is plenty of room, there, for a
different sounding of the phrase: for making it ring of challenge, and
strife, and victory--also of honourable defeat, after lusty strokes have
been dealt and taken: the next best thing to a win--sometimes even a
better thing.

The following instructions for the dancing of "How d'ye do" must be noted
in connection with the Notation (_see_ p. 75).

The phrase "How d'ye do" is always sung, by all the couples, as marked
and played in music "B." Opposite pairs advance as shown. They should
meet together in the centre on the word "do," and shake hands, or square
up for the fight, according to instructions.

Having joined hands, or squared, and paused in the centre, the first two
pairs (Nos. 1 and 6, and 2 and 5) break away immediately after pause, and
back briskly to their places, making room for the next pair. There is no
changing of corners in this dance.

The last pair (Nos. 3 and 4) remain in position, holding hands or
squaring up, during pause in music, and still remain in the attitude
while bars 4 and 5 of "B" are played. During these bars all the other
dancers stand still.

When the music strikes into "A" section, all take part according to
instructions. Nos. 8 and 4 loose or lower hands immediately the "A" music
starts, and take their place and part with the others.

SHEPHERD'S HEY.

STICK-TAPPING.

In this, the sticks are held in the fist, up and slanting outward, the
top as high as the head. Partners cross sticks, leading file (Nos. 1, 3,
and 5) holding to the right of even numbers. The tapping (or clashing,
rather, for here the sticks are loudly clashed together) is done on first
three beats of bars 1 and 2, and 5 and 6 of "B" music (_see_ mark X).
Partners strike each other's sticks, right, left, right, according to
position, in the manner of sham fencing--the manner of brigands in
pantomime.

While the tapping is being done all stand fast, not moving the feet at
all. When the six taps are finished, in bars 1 and 2, 5 and 6, the sticks
are held crossed and in position; and in bars 3 and 4, 7 and 8 all break
into 4/3 step, and keep it up throughout those bars. The movement sounds
absurdly simple: so it is, but if done with precision the effect is at
once quaint and stirring.

HAND-CLAPPING.

This is done with the naked hands, handkerchiefs hanging loose from
middle fingers; and dancers should clap hands as loudly as ever they can.
Each dancer claps hands and knees in a number of different ways,
according to explanation and diagram which follow. All stand fast while
clapping, not moving the feet.

Each individual dancer--
Claps his hands together before him:
Shown thus in diagram which follows b.
Or slaps right knee with right hand r.k.
Or slaps left knee with left hand l.k.
Or raises right knee and claps hands under it un.r.
Or raises left knee and claps hands under it un.l.
Or claps both hands together, behind him b.beh.

[Illustration: DIAGRAM OF HAND-CLAPPING.]

Hand-clapping in last four bars of "B" music is a repetition of clapping
in first four bars, as shown in diagram. Therefore in the Notation of
this dance (p. 77) the term "Hand-clapping" means clapping as shown
above, and the same repeated.

ON HOLDING STICKS.

Unless specially instructed otherwise, the stick is held, whether at the
end or middle, as follows. It must be grasped much as a penholder should
be; that is, lying in the hollow at the base of the thumb, supported by
the second finger, and with the forefinger and thumb meeting together
above it, to hold it in place.

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). | Col. to
|Partners tap across at half-bar in | Ring.
| bars 4 and 8. |
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 the 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 | Column.
| stand for a moment with sticks |
| crossed. |
| ALL IN. |

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, | Front.
| and cross to each other's place. |
| |
Bar 4 |Nos. 1 and 6 (having now changed | "
| corners), turn about, inward, at |
| 6/3 step, 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_ changed |
| places. |
| |
A. (repeat). |Chain. | Column.
| |
B. (Corners) | |
(Repeat) |Nos. 1 and 6 change corners as | Front.
1st time. | before. |
| |
B. (Corners) | |
(Repeat) |Nos. 2 and 5 change corners as | "
2nd time. | before. |
| |
B. (Centres) | |
(Repeat) |Nos. 3 and 4 change places as | "
3rd time. | 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 | "
| towards the centre, facing each |
| other's corners. |
| |
Bar 2 |On beat 2, Nos. 1 and 6, their right | "
(9/8 time: | shoulders now level, and almost |
3 beats). | 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 |Nos. 1 and 6 advance, 6/1, High, | "
(9/8 time: | and come face to face on third |
3 beats). | beat. |
| |
Bars 6 and 7 |Nos. 1 and 6 remain facing, and | "
| step at 6/3 step. |
Bars 8 and 9 |Nos. 1 and 6 retire to corners at | Front.
| 6/2 step. Ju. on half-bar of |
| bar 9. |
|Nos. 1 and 6 have now changed |
| corners. |
| |
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. (repeat) |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 calls "All in," |
| whereupon all turn inward, at |
| 6/3 step, form Ring in the centre, | Ring.
| raise the right feet; and on last |
| beat, all throw up hands and |
| Call. |

MUSIC. | MOVEMENTS. | FORMATION.
| |
| 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.
| |
B1. | |
Bars 1 to 4. |Hand-striking as per Notation | Front.
| (_see_ p. 58). |
| |
Bars 5 to 8. |Half-chain. | Column.
| |
Bars 9 to 12. |Hand-striking. | Front.
| |
Bars 13 to 16. |Half-chain. This completes the | Column.
| Chain. |
| |
C1. |Chain. | Column.
| |
B2. | |
Bars 1 to 4. |Hand-striking. | Front.
| |
Bars 5 to 8. |Hand-striking, repeated. | "
| |
A2. |Cross-over. | "
| |
B3. | |
Bars 1 to 4. |Hand-striking. | "
| |
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. | Column.
| formation). Half-bar, all throw |
| up hands. |
| |
| ALL IN. |

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). | Col. to
| | Front.
|Partners tap at half-bar in bars 4 |
| and 8. |
| |
B1. | |
Bars 1 to 4 |Tapping (_see_ diagram, p. 54). | "
| |
Bars 5 to 8 |Half-Chain. Tap on half-bar in | Column.
| bar 8. |
| |
Bars 9 to 12 |Tapping, as in first 4 bars. | Front.
| |
Bars 13 to 16 |Complete Chain. Tap on last | Column.
| half-bar. |
| |
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. | "
| |
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 | Column.
| on last half-bar, holding sticks |
| as at the beginning. |
| |
| ALL IN. |

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