N.B. - The tune is in triple time.
|A1||1–2||First man and first woman cross over and change places.|
|3–4||First man goes back-to-back with second woman; while first woman goes back-to-back with second man.|
|5–6||First man, facing down, turns single and then turns second woman with the right hand once round; while the first woman turns single and then turns second man with the right hand once round.|
|7–8||First man and first woman turn left with left hands, half-way round to places.|
|B1||1–2||First man and first woman cross over and cast down into second place (improper), second couple moving up into first place.|
|3–4||First and second men go back-to-back with their partners.|
|5–8||First couple standing between second couple, all four take hands and move up six steps and fall back six steps, first couple falling into first place (improper), second couple into second place (proper).|
|B2||1–6||First couple goes the Figure-8 through the second couple, first man crossing over, passing clockwise round second man and counter-clockwise round second woman, first woman crossing over, passing counter-clockwise round second woman and clockwise round second man..|
|7–8||First man and second woman cross over and cast down into second place, second couple moving up into first place.|
There is a school of thought that combines the turn single in A1 with the falling back part of the back-to-back so we then have the two turns fitting with the musical phrases. Personally I agree with Cecil Sharp, but accept that this is the one's figure so cooperate with their timing.
Cecil Sharp is definitely wrong in using two Bs in this dance since Playford has a strong reminder to make it clear that he really only intended one B music.
Pat Shaw suggested:-
Ones cross, acknowledge partner; back to back neighbour
Ones turn single, turn neighbour right, ones half turn left home.
Ones cross, cast and back to back WHILE the twos meet, lead up and cast onto the end of a line of four facing up;
The line leads up three steps, falls back, ones cross up and cast round the twos ('half-figure-eight up', except the twos aren't in the right place) WHILE the twos move in to meet below the ones and lead up to progressed place.
Page transcribed by Hugh Stewart