What we know of English Country Dance comes from John Playford’s The English Dancing Master, published in 1651. Since there were multiple editions of this work, most produced well after Playford’s death, the 1651 edition is often referred to as “First Playford.” Recent searches indicate that First Playford is out of print in the U.S. However, the full text is available online at the following URLS:
The English Dancing Master is a remarkable work. Playford had some 8 to 10 “collectors” go throughout England, making notes of the dances they saw. Most medieval and Renaissance scholars in all fields were “prescriptive,” describing how they thought things should be, rather than as they are. “Descriptive” studies, simply describing what is seen and done, were still a new idea in 1651. (A prime example of “prescriptive” method in a dance manual is Arbeau’s Orchesographie.)
In each of the dances below, I include Playford’s description. The reader will note that Playford used -- to be charitable -- somewhat less care in editing than is found in the typical period dance manual.
Most in the SCA accept dances in First Playford as period. However, there is controversy on this point. Many of the dances in First Playford are mentioned as dances in pre-1600 sources. However, these sources do not describe the dances, and it’s quite likely that a dance could change in 51 years, particularly when those 51 years included the English Civil War and related upheavals.
About a third of the dances in First Playford follow a pattern of three verses and three choruses. Thus, by learning the pattern you make it fairly easy to learn Playford dances. (In my experience, once a group is familiar with this pattern, they can be taught a new Playford dance in as little as a minute. There is a West Kingdom troupe known as the Dance Commandos, who pride themselves on being able to do new dances without being taught them. Knowledge of this pattern is a large part of their secret.) English Country Dances that don’t follow this pattern exactly still tend to follow a three verse / chorus pattern.
If the dance is in a circle, the verses are:
When the dance is in a square or longways set, the first verse becomes double forward - double back, done twice.
The basic verses take 16 beats. However, the music - often folk songs and music of long standing - sometimes will have 24 or 32 beats in the verse. When the verse is 24 beats, a turn single is added after each half verse. In a longways set: double forward, double back, turn single; double forward, double back, turn single. If the verse is 32 beats, add a set and turn after each half verse. Thus: double forward, double back, set and turn; double forward, double back, set and turn.
Playford’s step descriptions were often less than helpful. The following is the entire step glossary from First Playford:
A Double is foure steps forward or back, closing both feet.
A Single is two steps, closing both feete.
Set and turne single, is a single to one hand, and a single to the other, and turne single.
D. Is for a Double
S. Is for a Single.
The descriptions of "single" and "double" are consistent with other dance sources from the Renaissance. Playford does not describe siding, arming, or the turn single. However, the Country Dance tradition has continued to this day, so some educated guesses can be made. What is generally accepted is this:
"Siding" requires that you face the person with whom you’re siding. Go forward a double, moving obliquely so you finish the double side-by-side with the other person. Double back to place. Repeat on the other side.
"Arming" looks like the Allemande from modern Square or Contra Dancing. Take the hand or arm indicated, and go around in eight beats to finish in place. Do the same again, using the other hand/arm. (You can do this with a forearm to forearm grip, or simply holding hands. However, with more vigorous dances, forearm to forearm is recommended.)
A turn single is a turn in place, which takes four beats.
Playford almost never set forth direction -- which hand to use, which side or arm to start with in siding or arming, which foot to start a step with. This is consistent with the dances from the Inns of Court repertoire. Playford was not even consistent on the simple matter of which side of a couple the men stand on. There is a great deal of SCA "urban legend" about these things, but that is all it is. The following conventions are used in most of Artemisia, and are the most common conventions in the SCA. However, they are just that, conventions. If you go to a place where different conventions are used, when in Rome and all that... If a dancer moves to the "wrong" side, remember that there virtually never is a "wrong" side. At any rate, the conventions:
In each dance, Playford’s instructions appear in italics, followed by my notes. Dances are presented roughly in increasing order of difficulty. The first three dances have the same chorus throughout. The next two have choruses that change. The last four introduce various types of "hay" figures.
Upon a Summer’s Day
Longways for six
Leade up all a D. forwards and back. set and turne S. _.__ That agine _:__ The men take all hands, and the women hands meet all a D. back again; the first on each side goe under the others arches on their owne side, and meet below _.__ Hands againe, and the next CU. as much _:__ Hands againe, and the next CU. as much _.:___
Sides all, set and turne single _.__ That againe _:__ As before_.:___
Armes all, set and turne single _.__ That againe _:__ As before_.:___
Longways set of three couples
First verse:
Lead forward a double, fall back a double, set and turn, Lead forward a double, fall back a double, set and turn.
Chorus:
(Men join hands and ladies join hands, to make two facing lines of three. The music allows no time for this, so do it as you finish each verse.)
1. The facing lines go forward a double, then back a double
2. Men 2 and 3 and ladies 2 and 3 raise their joined hands
3. Couple 1 go between couple 2, and under the raised hands, man 1 going under the men’s hands, and lady 1 under the ladies’. Couple 1 joins on at the foot of the set, becoming the new couple 3.
4. Repeat 1-3, but with the new couple 1 coming down.
5. Repeat 1-3, with the new couple 1 coming down. At this point, all should be back to their original places.
Second verse:
Side right with partner, set and turn, side left with partner, set and turn
Chorus
Third verse:
Arm right with partner, set and turn, arm left with partner, set and turn
Chorus
Hearts’ Ease
for foure
Meet all a D. fall back a D. _.__ That againe _:__ Men fall back from your We. meet again and turne Co. once round with the right hand _.__ All fall back from the Co. they turne, meet againe and turn your owne with the left hand.
Sides all with your owne, then with the Co. _.__ That againe _.__ As before _:__
Armes all with your owne _.__ That again with the Co. and fall backe from your owne first, as before _:__ As before _:__
Two couples facing
First verse:
Double forward, double back, double forward, double back
Chorus:
1. Face partner; men double back from partner
2. Men double toward partner, turn to contrary, and arm right with contrary
3. Face contrary; men double back from contrary
4. Men double toward contrary, turn to partner, and arm left with partner
Second verse:
Side right with partner, side left with contrary
Chorus
Third verse:
Arm right with partner, arm left with contrary
Chorus
Notes: This is one of those rare cases where Playford actually specifies direction. I’ve had people look at this and say this proves that arming goes right arm first. However, does Playford specify right and left because that’s how it looked in all dances, or is he spelling it out because it’s different in this dance? We cannot know.
The way the second and third verses divide attention between partner and contrary is seen in other two couple dances in First Playford.
In the chorus, do only the men do the doubles, or do all? Many re-constructors have both men and women moving, and the version above seems to be a minority position. If you take Playford absolutely literally though, it appears that only the men move for the first double back and forward, but all move on the second in each chorus.
Rufty Tufty
For foure
Meet all a D. backe again _._ That again _:_ Set and turn S. _._ Leade your owne with the left hand to each wall, change hands, meet again, turn S. _._ One man lead up, and the other downe, change hands, meet again and turne S. _:_
Sides all _._ That again _:_ As before _._ As before _:_
Armes all _._ That again _.:_ As before _._ As before _:_
Two couples facing
First verse:
Double forward, double back, double forward, double back
Chorus:
1. Set and turn.
2. Set and turn, going 1 1/2 times around, so your back is to your contrary.
3. Double forward with your partner as you face.
4. Turn in place to face back into the set, and double forward as you face.
5. Turn single, continuing until your back is to your partner.
6. Double forward with your contrary as you face.
7. Turn in place to face back into th set, and double forward as you face.
8. Turn single, finishing facing your partner.
Second verse:
Side right with partner, side left with partner
Chorus
Third verse:
Arm right with partner, arm left with partner
Chorus
Notes: Playford only specifies one set and turn, but two seem to fit the music better, and is the more common re-construction.
Remembering where to face in the chorus can be trying. What finally worked for me is when my partner at a ball some ten years back explained it thus: "Snub them, then snub me."
Gathering Pease Cods
Round for as many as will
Goe all two Dubles round, turne S. _._ That back again _:_ Men hands, and goe round in the inside, and come to your places _._ We. as much _:_ Men meet and clap hands, We. as much, while the men goe back, men meet again and turne S. _._ We. meet, men meet, while the We. go back, We. meet againe and turne S. _:_
Sides, turne s. _._ That againe _:_ As before, the We. going first _:_ As before, the We. meeting first _:_
Armes all, turn S. _._ That againe _:_ Men hands as at the first. Men meet as the first time _:_
Circle of as many couples as will (note that more than five couples will lead to a very chaotic dance)
First Verse:
Eight steps left, turn single, eight steps right, turn single
First Chorus:
1. Men put their right fists into the center and go round clockwise, then turn single to return to their places
2. Ladies join hands in the center, and go round clockwise, then turn single to return to their places
3. Men double to the center and clap
4. As the men double back out, ladies double to the center and clap
5. As the ladies double back out, men double to the center and reverence, then turn single to return to their places
6. Ladies double to the center and clap
7. As the ladies double back out, men double to the center and clap
8. As the men double back out, ladies double to the center and reverence, then turn single to return to their places
Second Verse:
Side right with partner, turn single, side left with partner, turn single
Second chorus:
(same as first chorus, except everywhere the men went first, the ladies will go first)
Third Verse:
Arm right with partner, turn single, arm left with partner, turn single
Third chorus:
(same as first chorus)
Jenny Pluck Pears
Round dance for six
Hands and 2. D. round, set and turne S. _.._ That againe _:_ First man set his Wo. in the midst with his face to him, the 2. man set in his Wo. the 3. as much. Honor all _._ Men goe round bout the We. back again _._ back again _:_ First man take out his Wo. 2. as much 3. as much. Honor _._
Sides all, set and turne S. _._ That againe _:_ As at the first, We. setting in the men _._ Then We. go round and take them out.
Armes all set and turne S. _._ That againe _:_ As the first time _._ Men go Round _._ Back againe _._ First man take out his Wo. 2. as much 3. as much. Honour all _._
Circle of three couples, numbered
First verse:
Eight steps left, set and turn, eight steps right, set and turn
First chorus:
Second verse:
Side right, set and turn, side left, set and turn
Second chorus:
(same as first chorus, except men’s and ladies’ roles are changed, with the men in the center, and the ladies going around)
Third verse:
Arm right, set and turn, arm left, set and turn
Third chorus:
(same as first chorus)
Note: Playford never specified sets and turns in the chorus, though this is a common assumption among re-creators. Having sets and turns in the chorus does fit nicely with the music. On the other hand, it’s difficult to get all the way round the circle in 8 beats, so having all 16 beats to go around makes some sense. Also, what to do with the first chorus’ words, "back again...back again"? Does this mean circle thrice, e.g. left-right-left? While this would be consistent with Playford’s words, it’s very difficult to make work with the music.
A "hay" is a weaving figure. In first Playford, the hay appears in many forms - so many that it’s often easiest to just define the hay for the purposes of the particular dance. That being said, the most basic form of the hay is the "single hay." Playford did not describe it, but the following is a typical reconstruction. In a line of three people, 2 and 3 face up the line, and 1 faces down. Visualize a spot on the floor where 1 and 3 are standing. These spots do not move.
To hay, "slalom" up and down the line, remembering to include the two spots on the floor as you slalom, until all are back at their starting places. To describe more fully:
It sounds confusing, but it’s actually easier at speed. Learning to hay is key to learning Grimstock, Chestnut, and Picking of Sticks.
Grimstock
Longways for six
Leade up all a D. forwards and back, set and turne S. _.__ That againe _:__ First Cu. goe downe between the 2. the third come up between the first _.__ This forwards and back to your places _:__
Sides all, set and turne S. _.__ That againe _:__ First Cu. goe downe under the 2. Cupples armes, the third come up under the first _.__ This forwards and back to your places _:__
Armes all, set and turne S. _.__ That againe _:__ First Cu change places, and goe downe the S Hey _._ And come up the S. Hey on her owne side _:__
Longways for 3 couples
First Verse:
Double forward, Double back set and turn, Double forward, Double back, set and turn
First Chorus:
The first chorus is sometimes called a "mirror hay." Couple 1 face down the set, and couples 2 and 3 face up. Couple 1 passes between couple 2, and you continue thus, alternating going between a couple and having a couple pass between you, until all are back to place.
Second Verse:
Side right with partner, set and turn, Side left with partner, set and turn
Second Chorus:
The second chorus repeats the first, except that couples keep their hands joined (except when turning back into the set at the end). Thus, you will alternate "over and under" as well as "between and outside."
Third Verse:
Arm right with partner, set and turn, Arm left with partner, set and turn
Third Chorus:
Couple 1 trade places, passing right shoulders.
Man 1 will go single hay in the ladies’ line, starting by passing right shoulders with lady 2, as lady 1 goes single hay in the men’s line, starting by passing left shoulders with man 2. For couples 2 and 3, this is no different than a single hay. However, when couple 1 reaches the bottom of the set, they will trade lines again, passing right shoulders, so that they will go up in their own lines.
Chestnut (aka Dove’s Figary)
Longways for six
Leade up all a D. and back _:_ That againe _:_ Men fall back, and We. at the same time, change places each with his owne, men hands round to your places, and We. at the same time, men being on the We. side, and We. on the mens side _._ Back againe to your places _:_
Armes all _._ That again _:_ Fall back and change places as before, men the Hey, and We. at the same time, the first Cu. staying in the last place _._ This back againe _:_
Sides all _._ That again _:_ Fall back and change places as before, the first man leade downe his We. the rest following him, stay in the last place _._ This back again, but cast off instead of leading betweene the rest _:_
Longways for three couples
First Verse:
Double forward, double back, double forward, double back
First Chorus:
(Facing partner)
1. Single back, then single forward
2. Double forward, passing right shoulders by partner
3. Men and ladies each form a circle. Men circle left and ladies circle right, reforming in two lines, facing partners. Couple 1 is now at the foot of the set, and couple 3 is at the head.
4. Repeat 1-3, so all are back at their original starting places.
Second Verse:
Side right with partner, side left with partner
Second Chorus:
(Facing partner)
1. Single back, then single forward
2. Double forward, passing right shoulders by partner
3. Man and lady 1 face down the set, as 2 and 3 face up. Go half a single hay -- continue haying until 1 is at the foot and 3 is at the head.
4. Repeat 1-3, so all are back at their original starting places. 1 will face up for the hay, and 2 and 3 will face down.
Third Verse:
Arm right with partner, arm left with partner
Third Chorus:
(Facing partner)
1. Single back, then single forward
2. Double forward, passing right shoulders by partner
3. Couple 1 lead couples 2 and 3 down the middle of the set. Couple 1 will finish at the foot of the set, and couple 3 at the head.
4. Repeat 1-3, except that man and lady 1 will separate and lead up the outside of the set, so all are back at their original starting places.
Notes: Note that Playford gives the verses as doubles-arming-siding. This order appears nowhere else in Playford, so I, like most re-constructors, have assumed this is an error, and follow the more typical pattern.
The choruses are less confusing if you notice that they all follow the same pattern: Single back, single forward, change sides, invert the set -- repeat.
Dargason (aka Sedany)
For as many as will standing thus * * * * ) ) ) )
First man and We. sides once set and turn S. _._ pass forward each to the next sides, set and turn S._:_ As much to the next_.:_ and so forward and back till you come to your places where you began.
Armes all as you sided, till you come to your own places.
The single Hey all handing as you pass till you come to your places.
The setting for this dance is unique. Man 1 and lady 1 are facing each other. Man 2 is behind man 1, and lady 2 behind lady 1, and so on, so you have two facing single files. The numbers of men and ladies do need to be equal.
Man 1 and lady 1 side right. They then set and turn. While turning, they move forward to pass each other. (Most folks pass on their left. However, the key thing is to have agreement on the matter before the music starts.) Man 1 then sides right with lady 2, as lady 1 sides right with man 2, and the four of them set and turn to pass.
Eventually, you’ll reach the end of the line. At that point, the turn single should be a turn-and-a-half, so you’re facing back into the set. Of course, you’ll have to rest through 16 counts of the dance.
When man 1 and lady 1 reach the center again, they wait until the lines behind them finish sorting.
The entire process is repeated, arming right instead of siding right.
After the arming is completed, the entire line will go a single hay. The first pass is between man 1 and lady 1. This is a “handing” hay, so take alternating hands as you pass.
Notes: A “handing” hay makes it easier to keep track of a long hay. In fact, I often use handing as a teaching aid when teaching hays to newer dancers.
When you reach the end of a linear hay, it is not unusual to be confused. If you find yourself in this situation, keeping this in mind may help: You just went around a spot on the floor. The person coming at you has just woven past several people. Assume that the person coming at you is more attuned to what’s happening, and follow their cue.
Picking of Sticks
Longways for six
Leade up all a D. Forwards and back _.__ That again _:__ First man changes with the 2. Wo. then with the last man _.:___ Leade up as before, then the Wo. change as the man did, every Cu. doing thus.
Sides all _.__ That again _:__ The first Cu. slip down betweene the 2. they slipping up, then th 2. slip downe, and the first slip up _.:___ All this again the last Cu. crossing over below, go up and cross above, fall to your places _.:___ _:__ Then the foure last slip, and the first Cu. cross about _.:___ _:__
Armes all _.__ That again _:__ The We. stand still, men going the Hey between them, the last man going about the middle Wo. doe thus three times over, then goe quite round about all the We. to your places _.:___ _.:___ The We. doe as much.
Longways for three couples
First Verse:
Double forward, double back, double forward, double back.
First Chorus:
(For the first chorus, identify the places in the set. For example, the front left position is "first lord’s," no matter who is there -- even if it’s a lady. The front right is likewise "first lady’s," and the same for second and third lord’s and lady’s.)
1. First lord’s change places with second lady’s in four beats.
2. Second lady’s change places with third lord’s in four beats. (Note that this means the person who starts at first lord’s will do two trades diagonally.)
3. All double forward and back.
4. First lady’s change places with second lord’s in four beats.
5. Second lord’s change places with third lady’s in four beats.
6. All double forward and back.
Repeat 1-6 until all are back at their original places.
Second Verse:
Side right with partner, side left with partner
Second Chorus:
Couple 1 join both hands, and slide down four steps to replace couple 2. At the same time, couple 2 part to let couple 1 through, and slide up four steps into couple 1’s place. This process is done a total of four times, so from couple 1’s perspective, it’s "slip down, slip up, slip down, slip up." The couple going toward the center of the set joins hands, and the other separates. (An easy way to remember this is "in on the inside, out on the outside.")
During all of this, couple 3 will pass by each other at the foot of the set, go up the opposite side of the set, pass by again at the head, and go down their own sides. A common courtesy is to pass left shoulders, so the man will have the slightly longer distance to travel.
The whole process is repeated, except couples 2 and 3 will trade places as couple 1 goes around the set.
Third Verse:
Arm right with partner, arm left with partner
Third Chorus:
Man 1 leads the other men forward, passing in front of lady 1, and weaving up and down the ladies’ line. (The ladies do not move.) As the man 3 passes lady 2, instead of weaving by, he will go half a circle around her, as man 1 and 2 continue. Thus, man 3 will now be leading the men, with man 2 at the end. As man 2 passes lady 2, he will continue around her, until he is in the lead. This continues until man 1 is back in the lead. Man 1 will the lead the men in front of lady 1, then straight down the outside of the ladies’ line, behind lady 3, and up the men’s line to places.
The ladies will then weave about the men in the same fashion, the men remaining stationary.
Notes: Don’t be surprised if several attempts are needed to make this dance work. On a class’ first try with music, I am happy if no collisions occur.
This may be sort of a "mimed" dance. "Pick up sticks" is a modern term for a simple weaver’s tool. In discussing this dance with my lady, Baroness Elyn of Coffinbury (a spinner and weaver of some note), we noticed that all three choruses evoke weaving. (Modern country dancers sometimes refer to the sliding figure in the second chorus as "shuttling.")