Longways for six; in three parts (1st Ed., 1650).
| MUSIC | MOVEMENTS | |
| First Part | ||
| A1 | 1–4 | All lead up a double and fall back a double to places. |
| 5–8 | That again. | |
| A2 | 1–4 | First man changes places with the middle dancer on the opposite side and then with the last dancer on his own side (r.s.). |
| 5–8 | All lead up a double and fall back a double to places. | |
| A3 | 1–4 | First woman does as the first man did in A2. |
| 5–8 | As in A2. | |
| A4 | 1–4 | Second woman does as the first man did in A2. |
| 5–8 | As in A2. | |
| A5 | 1–4 | Second man does as the first man did in A2. |
| 5–8 | As in A2. | |
| A6 | 1–4 | Third man does as the first man did in A2. |
| 5–8 | As in A2. | |
| A7 | 1–4 | Third woman does as the first man did in A2. |
| 5–8 | As in A2. | |
| Second Part | ||
| A1 | 1–4 | Sides all. |
| 5–8 | That again. | |
| A2 | 1–8 | First man and first woman face, take both hands, and go four slips down between second man and second woman; while second man and second woman go four slips up into the top place (2 bars). |
| Second man and second woman take both hands and slip down to places between first man and first woman; while first man and first woman slip up to places (2 bars). | ||
| First and second couples repeat these movements (4 bars). | ||
| Simultaneously, third man and third woman cross over, cast up to the top, cross over again and cast down to places (sk.s.). | ||
| A3 | 1–8 | Third and second couples do as first and second couples did in A2, third couple first slipping up between second man and second woman; while first man and first woman cross over, cast down to the bottom, cross over again and cast up to places. |
| Third Part | ||
| A1 | 1–4 | Partners arm with the right. |
| 5–8 | Partners arm with the left. | |
| A2, A3, A4 | First man, followed by second and third men, crosses over and threads or heys through the three women (they standing still), passing outside first woman, inside second, and outside third. The first and second men, on reaching third woman pass, clockwise, round her and face up; while the third man, instead of following second man round third woman, passes counter-clockwise completely round second woman and faces up, thus becoming the head of the file (sk.s.). | |
| Third man, followed by first and second men, then heys up to the top, the second man (now the hindermost), instead of following first man round first woman, passing counter-clockwise round second woman, and facing down. | ||
| The three, now led by second man, then hey once more to the bottom, the first man (now the hindermost) passing counter-clockwise completely round second woman and facing up. | ||
| Led by first man, the three, now in their proper order hey up to the top, turn to their right, cast down to the bottom, and then move up to their respective places. | ||
| A5, A6, A7 | The women do as the men did in A2, A3 and A4. |
[In the first figure the Round often has the middle couple stand improper, which means that the leading up and back is always with someone of the opposite sex. To avoid confusion in the last (sheepskin-hey) figure the middle couple then generally arms right or left once and a half to become proper for the figure.
If you remember that in the Sheepskin Hey each dancer takes the short-cut once, then it is possible to recover from a mistake (provided the other dancers don’t panic) — all that matters is that you take the short-cut sometime, and exactly when is immaterial — so if you forget to take the short-cut at the correct point simply take it at the next opportunity (leaving a solo dancer going round the end, and two taking the short cut).]
Note: There is a handwritten note in a copy once owned by Susannah Sharp (Cecil Sharp's youngest daughter) at the end of the first part that says "All turn right except when dancing from 1st man's place (i.e. 1st, 3rd men, 2nd wo.) when turn is left."
I don't understand this since as a 1st man I would cross on the diagonal, turn 90° to my right, cross on the other diagonal and then turn 135° to my left. Since the second turn is the bigger one I think she is telling me I am correct — I hope she doesn't mean I should do a 270° twirl left after the first crossing.
She has another style point written against the sheepskin hey "Third man turns round middle woman on 5th beat of phrase."
Page transcribed by Hugh Stewart