The Gay Gordons (polka) on The Session Eight comments The Gay Gordons This is the Scott Skinner original of the eponymous dance (I believe). There is another tune from Shetland in the database called "Gordon’s" but this is not the same or even a variation on it. I think ‘Gordons’ here is as in ‘Gordon Highlanders’ (possibly) and is a plural as opposed to the possessive (i.e. Gordon’s tune). I put it down as a Polka to get the right time signature but I think it is technically a March (but there’s no option for ‘march’ when submitting a tune). It’s a well known tune that’s fun to play at a good pace. . Gay Gordons ceolachan posted a lot of good information about "Gay Gordons" in the comments of The Meeting of the Waters . “Gordon’s Mixer” ~ gin and what else? Here follow, eventually, a couple of alternates to the Nigel Gatherer ABCs copied here, though that notation has the parts repeating.

To give further credit, Nigel gives as his source "The Master Method for Highland Bagpipe", 1953, with the composer for this number given as Mr. James Scott Skinner?

~ or in ‘letters’ and complete: X:237 B:Master Method for Highland Bagpipe (1953) Z:Nigel Gatherer e|A>B cB/A/|d>e fe/d/|ca cB/A/|cB Be| A>B cB/A/|d>e fe/d/|ca e/c/d/B/|cA A:|] c/e/|a>f ed/c/|d>e fe/d/|ca cB/A/|cB Bc/e/| a>f ed/c/|d>e fe/d/|ca e/c/d/B/|cA A:|] Anyway, here are the promised others, notated for a pronounced 4 count march: M: 4/4 K: A Major |: e2 | A3 B c2 BA | d3 e f2 ed | c2 a2 cB AB |c2 B2 B3 e | A2 AB c2 BA | d3 e f2 ed | c2 a2 ec AB |c2 A2 A2 :| |: ce | a3 f e2 dc | d3 e f2 ed | c2 a2 c2 BA |

c2 B2 B3 e | a2 af ef/e/ dc | d3 e f3 d | c2 a2 ec AB |c2 A2 A2 :| K: G Major G3 A B3 G | c2 d2 e4 | B2 g2 d2 BG | B2 A2 A4 | G3 A B2 AG | c2 d2 e2 dc | B2 d2 de dc | B2 G2 G2 :| |: d2 | g2 ge d2 cB | cB cd ef/e/ dc | B2 g2 G3 A | B2 A2 A4 | ga ge d4 | c2 cd e4 | B2 g2 A2 cA | B2 G2 G2 :| or if you prefer it the other way, 2/4: |: e | A>B cB/A/ | d>e fe/d/ | ca c/B/A/B/|cB B>e | AA/B/ cB/A/ | d>e fe/d/ | ca e/c/A/B/|cA A :| |: c/e/ | a>f ed/c/ | d>e fe/d/ | ca cB/A

/|cB B>e | aa/f/ ef/4e/4d/c/ | d>e f>d | ca e/c/A/B/ |cA A :| K: G Major G>A B>G | cd e2 | Bg dB/G/ | BA A2 | G>A BA/G/ | cd ed/c/ | Bd d/e/d/c/ | BG G2 :| gg/e/ dc/B/ | c/B/c/d/ ef/4e/4d/c/ | Bg G>A | BA A2 | g/a/g/e/ d2 | cc/d/ e2 | Bg Ac/A/ | BG G :| As mentioned elsewhere, the Irish take on this, or even the Scottish country ceilidh, is not so mincing as this video gives or as the RSCDS (‘Royal’ Scottish Dance Society) would have us believe… Just be sure to have a dram or two of a lovely single malt and care nae more… All Star Ceili Band version X:10 C:As played by All Star Ceili Band (transcribed by Anna Nemeth) M:4/4 Q:1/4=100 K:Amaj e |{c}

A>c ec/A/ d/c/d/e/ fe/d/|c/A/e/A/ c/A/e/A/ c/B/B/A/ B>{ce}z |A>c ec/A/ d/c/d/e/ fe/d/|c/e/a/e/ c/e/d/B/ cA A :| (3e/f/g/|a/>g/a/>f/ ec/A/ d/c/d/e/ fe/d/|c/A/e/A/ c/A/e/A/ c/B/B/A/ B(3e/f/g/ |a/>g/a/>f/ ec/A/ d/c/d/e/ fe/d/|c/e/a/e/ c/e/d/B/ cA A :| The All Star Ceili Band has become my favorite band since I got their casette They play Gay Gordons as a hornpipe/barndance with an exceptional swing.

GAY GORDONS [1]. AKA and see “The Gordon Highlanders’ March.” AKA "Gie Gordans." Scottish (originally), New England; Country Dance Tune (cut time) or March. A Major. Standard. AB (Miller & Perron, Sweet): AABBCCDD (Cranford/Fitzgerald). This tune was included in J. Scott Skinner’s 1921 concert set romantically entitled "Spey’s Fury’s” and was composed in 1915 by the great strathspey artist The original title was “The Gordon Highlanders March” but came to be called “The Gay Gordons” through association with the famous Scottish country dance. The ‘Gay Gordons’ remains a popular couple dance, still occasionally to be found at New England contra dances, for example, and at Scottish dancing events, where it has been over time one of the most popular Scottish Country Dances. The origins of the dance are unclear, and may not have anything to do with Scotland! One story goes that it was a Continental dance from sometime in the 19th century.

Others theorize that it was a turn of the 20th century member of a group of military-style dances, including such as the Military Two-Step, the Canadian Barn Dance and others. Perhaps the earliest reference to the dance dates to the year 1915, although Christine Martin (2002) says there was a previous reference to a Gay Gordons dance in 1907. *** The title refers to the Gordon Highlanders, a Scottish unit in the British army first raised in 1794 as the 92nd Regiment. The word ‘gay, sometimes spelled ‘gie’ (as in Jimmy Shand’s 1942 recording) or ‘gey’, perhaps to preclude modern associations of ‘gay’ with homosexuality, in this context means ‘handsome in appearance’ or ‘decked out’ (as in formal kilted dress). The dance is performed to many tunes, however, usually a march followed by a jig, and not simply the tune given below. “Scotland the Brave” followed by “Highland Laddie,” for example, is cited as one typical medley vehicle for the steps.

The famous Scottish bandleader and accordionist Jimmy Shand recorded a “Gay Gordons” medley in the 1950’s with Skinner’s tune as the lead-off piece. *** It has been speculated that the original epithet ‘Gay Gordon’ referred to the courtly Continental manners of the original Norman members of the clan who relocated to the remote North East of Scotland. One famous Gay Gordon was doubtless Lord Strathven, says Emmerson (1972), who danced with Marie Antoinette and became a favorite at the court of Louis XVI for his "agreeable personality and admirable skill in dancing." Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 76, pg. 34. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 166. Sweet (Fifer’s Delight); No. or pg. 27 (has an alternate ‘B’ part). Alcazar Dance Series FR 204, "New England Chestnuts 2" (1981).

Folkways FW8827, Arbuckle, Mikkelson & Clifton - "Old Time Couple Dances" (1961). Bobby Brown and the Scottish Accent – “Grandfather Mountain Gala.” Ceilidh Dance instructions Content on this site is licensed under a Creative Commons License . Ceilidh Dance instructions This is a collection of ceilidh dances I know, saying how to dance them and what music they need. This is by no means exhaustive yet, but I welcome suggestions, comments and further tips. Just drop me a mail at ian@scottishdance.net . I explain some of the terminology below . At the moment I have the following dances: The Packhorse Rant Musicians Notes for musicians wanting guidance on what to play. I have tried to give an indication of suitable tunes along with each dance, together with number of bars and number of repetitions where this matters. In general, the dancers continue until the band take pity, but if not specified, a good length for the 16-bar dances is probably 4-6 times 32 bars (i.e.

8-12 times through the dance); for 32-bar dances like The Dashing White Sergeant, Pride of Erin, Circassian Circle, Lucky Seven it would be 6-8 times through; for set dances like Strip the Willow, continue until the original couple is back to the top (should be roughly 8x32 for a 4-couple set). There is a tradition at ceilidhs of repeating each dance; if you do this, err on the side of fewer repetitions in each set, so maybe 8 times through the 16-bar dances (4x32), 6 times through the 32-bar dances, etc. A good source for suitable tunes is Taigh na Teud's Scottish Ceilidh Collections - these are available from Amazon , Scotland's Music and good Scottish music stores around the country. The Britannia Twostep Formation: in threes around the room facing anti-clockwise, man between two ladies. Music: 6/8 pipe march. Description 1: Nearer hands joined, touch the left heel then the left toe to the floor, bouncing on the right foot with each touch. 2: All skip to the left for one step.

3-4: Repeat 1-2 with the opposite feet. 5-8: Skip forward for two steps, then backwards for two steps. 9-10: Set on the spot facing forwards. 11-12: Still setting, the man raises his arms and the ladies turn underneath. 13-16: Skip forward for two steps, then backwards for two steps. Repeat ad lib. The Canadian or Highland Barn Dance Formation: couples around the room facing anti-clockwise, ladies on the right. Music: 2/4 or 4/4 pipe march (not 6/8) or scottische. Bars: Starting with the outside foot, walk forward for three steps and hop (or kick). 3-4: Walk backwards for three steps and hop. 5-6: Skip sideways away from your partner (men towards the centre of the room, ladies towards the edge) for two steps and clap. 7-8: Return to partner and join in ballroom (waltz) hold. 9-12: In ballroom hold, skip sideways to the man's left, lady's right for two steps then back again.

13-16: Use four step-hops to polka anti-clockwise round the room. Repeat ad lib. Formation: Large circle round the room, ladies on the right of their partner. Music: 32 bar Reels. Hands joined in a circle, all advance for four steps, retire for four steps. 5-8: Drop hands, ladies advance and retire. 13-16: Men advance, turn round and walk out to the next lady CW (the one who was on their left; the one who is now to the right of their partner as they view). 17-24: All spin with new partners 25-32: Hands crossed in front (right to right and left to left), ladies on the outside, promenade ACW around the room. Repeat ad lib. The Cumberland Square Eight Formation: four couples arranged around a square, lady on the right of the man. Couple with their backs to the music are couple number 1, couple on their left number 2, couple opposite number 3 and couple on the right number 4 (ie numbering clockwise).

Music: This is normally danced to tunes in common time (32 bar and the dance is 64 bars long) but can be and is sometimes done to jigs (6/8 tempo). Bars: Description 1-8: End couples (1 and 3) take ballroom (waltz) hold and dance across the set, men passing back to back, then dance back again, ladies passing back to back. 9-16: Side couples (2 and 4) repeat. 17-24: End couples dance right hands across in a star (wheel), then left hands back again. 25-32: Side couples (2 and 4) repeat. 33-40: End couples dance the basket: make a small circle in the middle, men joining hands behind ladies' backs, ladies' arms on top of men's. In this formation, circle round to the left. With sufficient speed, the ladies' feet can lift off the floor (there's a good video of it on YouTube ). Remember to leave time to land and get back to place! 41-48: Side couples (2 and 4) repeat (getting the hang of this?).

49-56: All join hands and circle round to the left and back. 57-64: Take promenade hold with partner (right hand in right, left in left, both in front of you) and dance anticlockwise once round the set. Repeat ad lib. Note: sometimes the circle is to the left only; in this case it is for the full eight bars. Note: sometimes the caller misses out the promenade to allow 24 bars for the basket - this allows time for landing and changing over... The Dashing White Sergeant Formation: three facing three around the room, man between two ladies or lady between two men. Music: The Dashing White Sergeant - 32 bar reels, starting and ending with "The Dashing White Sergeant". Bars: Description 1-8: Join up in a circle of 6 and circle round to the left for 8 steps (4 bars) and back to the right. 9-12: The person in the middle turns to the person on their right and sets to them, then turns them once round right hand (variation - both hands). The other partner stands still. 13-16: Repeat with the other partner.

17-24: Using elbow grip, turn 1st partner, then 2nd partner, then 1st partner, then 2nd partner. (Variation - dance a reel of three, giving left shoulder to 1st partner to start). 25-28: In the lines of three, advance towards each other (two skip steps) and retire. 29-32: Both lines dance forwards, one line raising their hands in an arch and the other line dancing underneath, and dance on to meet the next set of three coming in the other direction. Repeat with new three. The Eightsome Reel Formation: four couples arranged around a square, lady on the right of the man. Couple with their backs to the music are couple number 1, couple on their left number 2, couple opposite number 3 and couple on the right number 4 (ie numbering clockwise). Music: Lively reels, played 40 bars for the first time through, plus 8 lots of 48-bar repetitions (phrased 24+24), plus a final 40 bars.

So that's 464 bars: 40 + 8x48 + 40. "The Deil Amang the Tailors" is commonly used for the first and last 40 bars; other tunes often used include "Soldier's Joy", "Mrs MacLeod of Raasay", "The Fairy Dance", "The Mason's Apron". Bars: Chorus: 1-8: All join hands in a circle and circle round to the left for 8 steps (four bars) and back. 9-12: Ladies join right hands in the middle, and hold partners around waist, and all dance right hands across in a star (wheel). 13-16: Swing round (couples still holding around the waist) so the men join left hands, and dance back with a left hand star. 17-20: Face partners and set twice. 21-24: Spin partners (turn RH). 25-40: Giving right hands to partner to start, dance a grand chain around the set (keep going in the same direction and give right hand, then left hand, then right hand, ... until you get back to place).

If you get back early, spin until the end of the phrase. Figure - repeat 8 times 1-8: 1st lady goes into the centre of the set and sets while the others circle round to the left and back. 9-16: 1st lady sets to partner, turns him, sets to opposite man and turns him. 17-24: 1st lady turns partner, opposite man, partner, opposite man (variation - dance a reel of three with partner and opposite man, giving left shoulder to partner to start). 25-32: 33-48: Repeat bars 9-24 with side men. Repeat Figure with 2nd lady, 3rd lady, 4th lady, 1st man, 2nd man, 3rd man, 4th man in the centre. Chorus: Repeat the 40 bars of the start of the dance. The Flying Scotsman There are several versions of this, but one common one is: Formation: Longwise sets of 4 couples, men on the right and ladies on the left as viewed from the band. Couples number from nearest the band.

Music: 32-bar Reels, either 4x32 or 8x32 - Freeland Barbour wrote "Duncan's Return" for it, but I don't think it's official. Bars: Description 1-8 1st lady, followed by 2nd and 3rd ladies, dances across the top of the set, behind 1st man, in front of 2nd man, behind 3rd man and across the bottom and back to place. 9-16 1st 3 men repeat around the ladies. 17-24 1st couple join both hands and side-slip (gallop) down the room for 8 slip-steps (4 bars), then back up again TO THE BOTTOM OF THE SET (4th place). 25-32 All join hands on the sides and sideslip down the room and back up again. Finish in the order 2, 3, 4, 1, ready to start again. The Gay Gordons Formation: couples around the room facing anti-clockwise, ladies on the right. Music: 2/4 or 4/4 march. E.g.

"Scotland the Brave", "The Gay Gordons". Bars: Description 1-2: Right hands joined over lady's shoulder (man's arm behind her back) and left hands joined in front, walk forward for four steps, starting on the right foot. 3-4: Still moving in the same direction, and without letting go, pivot on the spot (so left hand is behind lady and right hand is in front) and take four steps backwards. 5-8: Repeat in the opposite direction. 9-12: Drop left hands, raise right hands above lady's head. Lady pivots on the spot. (The man may set). 13-16: Joining hands in ballroom hold, polka round the room. Repeat ad lib. For scottish country dancers, the grip in the first eight bars is allemande hold. Highland Schottische Formation: couples in a circle around the room, ladies on the outside, men on the inside, joined in ballroom hold with partners. Music: Schottische.

Description 1-2 Men with left foot, ladies with right, point toe in 2nd, bring foot up in front of shin (3rd aerial), point in 2nd and bring foot up behind calf (3rd rear aerial). Bounce on supporting foot on each of these four beats. 3-4 Step onto that foot, close other foot behind, step onto the original working foot again, and close original supporting foot behind calf. 5-8 Repeat 1-4 with other leg. 9-10 Repeat 3-4 (ie step, close, step, hop). 11-12 Repeat 7-8 (ie 9-10 in other direction). 13-16 Polka as in Canadian barn dance - step, hop, step, hop - rotating clockwise and following line of dance anticlockwise around the room. Repeat ad lib.

There follow chapter, verse, chorus and encore on the "Schottische" (for whom it may concern !) from Charles Gore: The Highland Schottische was introduced in 1855 and was known by the name of "the Balmoral Schottische" (Robbie Shepherd, who knows all there is to know - and quite a lot besides - about Scottish Dancing) Scott Skinner published a "Balmoral Schottische" in his Elgin Collection (1884); on the same page of this collection is a tune of his called "Glenlivet" which describes as Strathspey or Highland Schottische. [From a Dictionary of Music]; "Schottische (English !), Schottisch (German "Scottish", a misnomer since there is no evidence of Scottish origin); the German Polka, a round dance of the mid-19th cent. Some books confuse it with the Ecossaise, which is a country dance and thus very different. Both are in simple duple time.

[From Caoimhin Mac Aoidh, "Between the Jigs and the Reels"]: The Berlin Polkey was a popular dance in Donegal maybe in the late 19th c. and up to 1930 or so. The Highland is special to Donegal; though universally so called "it appears to have originated from the Schottische, a dance of German origin". "The Highland as commonly performed throughout Donegal today is a couple dance (ie. a girl and a boy)", dancing first side by side, then face to face. The term "Highland Schottische" appears to have arisen to differentiate it from a "German Scottische". "A Barn Dance in Donegal has the unusual title of the "german". [Are you still with me ?] There is no precise equivalent in Gaelic. Highland Scottisches seem to have been danced (traditionally) to tunes like "Orange and Blue", "Lad wi' the Plaidie", "Cathkin Braes" and "John MacAlpine" (aka: Oft in thStilly Night). They all look like strathspeys to me! Charlie Formation: Large circle round the room, ladies on the right of their partner.

Music: 32 bar Reels or Jigs. Bars: Hands joined in a circle, circle round to the left (8 bars/16 steps). 9-16: Advance into the centre and retire twice. 17-24: Dance a grand chain around the circle, starting giving right hand to partner, left hand to the next person, right to the next, and so on, continuing in the same direction around the circle and counting aloud until you reach "seven". When you reach seven, do not pass, but stop with that person. Men are travelling anti-clockwise, ladies clockwise. 25-32: Spin that new partner, finishing back in the large circle, lady on the right, ready to start again. Repeat ad lib. Once the dancers have the hang of the dance, the caller often varies the number of hands, 8, 9, 10, etc. The Military Twostep Formation: couples around the room facing anti-clockwise, ladies on the right. Music: 6/8 pipe march.

Description 1-2: Lady with hand on man's shoulder, man with arm around waist, touch heel then toe of outer foot to ground twice, bouncing on the inner foot with each touch. 3-4: Walk forward for three steps then turn towards each other to face in the opposite direction. 5-8: Repeat in the opposite direction. 9-10: Facing partner and joining both hands, bounce on both feet, then kick the right foot across the body (to the left), followed by the left foot across the body (to the right). 11-12: The man raises his left hand and the lady turns underneath (dropping the other hand). 13-16: The Pride of Erin Waltz Formation: couples around the room facing anti-clockwise, ladies on the right. Music: 32 bar waltzes. Description 1-4: Nearer hands joined, swing the inner leg (and joined hands) forward and back, then walk forwards. 5-8: Repeat in the opposite direction. 9-10: Facing partner, both hands joined, and heading clockwise, cross trailing leg over leading leg (ie right over left for ladies, left over right for men), then point with leading leg.

11-12: Repeat in opposite direction. 13-16: Take four steps anti-clockwise, pulling leading shoulder back to face alternately away from and towards your partner with each step. 17-24: Joining both hands, swing together (slightly to the right of partner) and away, then change places, turning the lady under the man's left arm while doing so. Repeat. 25-28: In ballroom hold, take two steps anti-clockwise, then two clockwise. 29-32: Repeat ad lib. The Sausage Machine Formation: Longwise sets of 4 couples, men on the right and ladies on the left as viewed from the band. Couples number from nearest the band. Music: 32-bar 4/4 reels or 6/8 jigs. Bars: Description 1-8: 1st couple cast behind their lines to below 4th couple, turn once round by the right hand, and cast back up behind their lines to original place.

9-16: 1st couple with 2nd couple, and 3rd couple with 4th couple dance right hands across in a wheel (star) and back with the left. 17-24: All join hands in a circle. 1C dance down under an arch made by 4C, then cast back up to the top, making an arch over the other dancers. Other dancers follow as appropriate. Keep hands joined throughout this movement! 25-32: 1st couple cast behind the lines to the bottom of the set (below 4th couple) and turn by the right hand to the end of the phrase Repeat with a new top couple. The St. Bernard's Waltz Formation: couples around the room in ballroom hold heading anti-clockwise, ladies on the outside. Music: waltzes. Description 1-4: In ballroom hold, take three steps sideways towards the lady's right, man's left, then stamp both feet. 5-6: Take two steps sideways in the opposite direction. 7-8: Take two steps towards the centre of the room (lady heading forwards with right foot then left foot, man backwards with left foot then right).

9-10: Take two steps back out (same feet). 11-12: Lady turns about on the spot under the joined hands. 13-16: Waltz onwards round the room. Repeat ad lib. Strip the Willow Formation: Longwise sets of 4 couples, men on the right and ladies on the left as viewed from the band. Couples number from nearest the band. Music: 6/8 or 9/8 double jigs. E.g. "The Irish Washerwoman", "The Curlew", "The Jig of Slurs" for 6/8 and "Drops of Brandy" for 9/8. Bars: 1st lady turns 2M LH, partner RH, 3M LH, partner RH, 4M LH. 21-24 Spin with partner RH to the end of the phrase. 25-36 1st man turns 4L LH, partner RH, 3L LH, partner RH, 2L LH. 37-40 Spin with partner RH to the end of the phrase.

41-52 1st lady works down men, while 1st man works down ladies, turning 2C LH, partner RH, 3C LH, partner RH, 4C LH. 53-56 Spin with partner RH to the end of the phrase. Repeat ad lib. Orcadian (or Shetland) Strip the Willow Formation: Couples in a long line down the room, men on the right and ladies on the left as viewed from the band. Couples number from nearest the band. Music: 6/8 or 9/8 double jigs. E.g. "The Irish Washerwoman", "The Curlew", "The Jig of Slurs" for 6/8 and "Drops of Brandy" for 9/8. Bars: 1st couple spin RH. 9-... 1st couple work down the opposite line (ie of the people of the opposite sex) turning side person LH, partner RH, next side person LH, ... When 1st couple reach the bottom, they spin to the end of the phrase, then join the side lines. A new couple starts every 16 bars.

The Swedish Masquerade Formation: couples around the room in heading anti-clockwise, nearer hands joined, ladies on the outside. Music: That tune... With nearer hands joined, walk slowly along the line of dance 9-16 With nearer hands joined, walk slowly against the line of dance back to starting point Waltz 17-20 With nearer hands joined, facing along line of dance, balance away from partner and back towards partner twice. 21-24 Waltz along line of dance. 25-32 Polka 33-36 With nearer hands joined, facing along line of dance, balance away from partner and back towards partner twice. 37-40 Polka along line of dance. 41-48 Repeat bars 33-40. The Veleta Formation: couples around the room facing each other, both hands joined, ladies on the outside, men with backs to centre. Music: waltzes. Description 1-2 Step to the side along line of dance (man with left foot, lady with right) and swing other leg across. Step back and swing other leg across. 3-4 Step, close, step to the side along line of dance.

5-8 Repeat in the opposite direction. 9-12 Step, close, step to the side along line of dance and then back again. 13-16 Take ballroom hold and waltz along the line of dance. The Virginia Reel This seems actually to be a family of similar dances - probably word-of-mouth having lead to variations. One variety is: Formation: Longwise sets of 4 couples, men on the right and ladies on the left as viewed from the band. Couples number from nearest the band. Music: "Hoedown" reels, e.g. "Turkey in the Straw". Bars: All advance and retire, then turn partners RH. 9-16 All advance and retire, then turn partners LH. 17-24 All advance and retire, then turn partners BH. 25-32 All advance and retire, then dance back to back with partners (do-si-do). 33-40 1st couple join both hands and side slip down the middle and back.

41-48 1st couple, followed by 2nd, 3rd and 4th couples cast off to the bottom; 1st couple make an arch and the other three couples dance up to new positions. Finish 2,3,4,1, ready to start again. One variation has bars 33-40 expanded - slip down to the bottom (4 bars) and strip the willow back up again (12 bars), followed by the cast and arch figure on bars 49-56. Another has two advance and retires to start, followed by the three turns and do-si-do all together in 16 bars (9-24). Another is advance and retire, turn RH, turn LH, back-to-back, followed by 33-48. There is also a 64-bar version which I can't remember at the moment. The basic shape seems to be: Start with advancing/turning/do-si-do with partners (in various amounts) 1s solo (various different versions) 1s lead cast to the bottom, make an arch and everyone else dances up under the arch to progress (2341).

Comment from Sylvia Miskoe, band leader in Concord, NH USA: In the US when you have a live band and are doing it the American way, you play a jig for the first part where dancers are doing things with their partners. Usually 32 bars worth. Then when the strip begins the music changes to a reel like Rakes of Mallow of Mrs McLeod. When the march/cast off/up the center starts the music changes to a march like Yankee doodle, Hail Hail the Gang's All Here, or even Ode to Joy. The musicians have to pay close attention to the caller and the dancers because often the strip can take more than 32 bars and the march can be short. Terminology Up/Down In a longwise set, the couple nearest the band is numbered 1, and the other couples are numbered 2, 3, 4 (and 5, ... if appropriate) working down the line. "Up" is towards the band, and "down" is away from the band. Ballroom hold has the man facing the lady, lady's right hand in man's left, man's right hand on lady's waist, and lady's left hand on man's right shoulder.

Line of dance (LoD): the direction a normal waltz (polka or whatever) moves around the floor (anti-clockwise around the room). Anti-line of dance (Anti-LoD): the opposite to LoD. Setting The basic idea of a setting step is to spend two bars admiring your partner (or someone else) while shifting the weight from foot to foot. To be more precise (something alien to the ceilidh dance ethos, but hey!) the step is the pas de basque: Bar 1: step onto the right foot beat with the left foot in third position (a "T" formation with your feet, left heel in right instep), bringing the right foot off the ground step back onto the right foot pause (if you're feeling ambitious, go for the jetté at this point) Bar 2: Repeat with opposite feet. Note the phrasing with 4 beats in the bar, even though you only do things on three of them. Best practised to a reel (4/4 - "egg and mustard") rather than a jig (6/8 - jiggety jiggety).

cast off or "cast to 2nd place" A cast takes you behind the standing person/people (or where they would be if they were standing) - "off" takes you "down" the set (away from the band, towards the higher numbers), up takes you "up" the set. Unless otherwise stated, you only move one place down or up. eg: /--1M 1L--\ | | \->2M 2L<-/ 3M 3L 4M 4L Cast off one place (also in this instance cast off to second place) - note if 2nd couple are still there they will get run over. Reel of 3 Reel of 4 Think of a reel of three with an extra person and an extra loop. Four dancers in a line, middle dancers facing out, outer dancers facing in. / / Out1 Mid1 Mid2 Out2 / / Bar 1: Out1 & Mid1, and Mid2 & Out2 Pass RS. Bar 2: Out1 and Out2 pass LS while Mid1 and Mid2 turn around to face in. Bar 3: Mid1 & Out2, and Out1 & Mid2 Pass RS.

Bar 4: Mid1 and Mid2 pass LS while Out1 and Out2 turn around to face in. Bars 5-8: Repeat (heading in opposite direction) back to place. ian@scottishdance.net Edinburgh, Scotland This website uses Google Analytics, a web analytics service provided by Google, Inc. (�Google�). Google Analytics uses �cookies�, which are text files placed on your computer, to help the website analyze how users use the site. The information generated by the cookie about your use of the website (including your IP address) will be transmitted to and stored by Google on servers in the United States . Google will use this information for the purpose of evaluating your use of the website, compiling reports on website activity for website operators and providing other services relating to website activity and internet usage. Google may also transfer this information to third parties where required to do so by law, or where such third parties process the information on Google's behalf. Google will not associate your IP address with any other data held by Google. You may refuse the use of cookies by selecting the appropriate settings on your browser, however please note that if you do this you may not be able to use the full functionality of this website.

By using this website, you consent to the processing of data about you by Google in the manner and for the purposes set out above. The Gay Gordons | The Strathspey Server Aug. 11, 1998, 1:32 a.m. (Message 12775) One of our local dancers i Colleen Putt Aug. 11, 1998, 6:50 p.m. (Message 12778, in reply to message 12775 ) Okay, I'm going to try this again. (Sorry, I have no idea what happened last time...) One of our dancers is looking for piano for "The Gay Gordons". Can anyone help? Cheers, Colleen Trans Vector Technologies, Inc Aug. 11, 1998, 7:24 p.m. (Message 12779, in reply to message 12778 ) >One of our dancers is looking for piano for "The Gay Gordons". Can anyone >help? Ah, now this sounds really intriguing. I usually dance it with a lady, but a piano?

hmmm, I imagine some difficulty with the twirls, even if the piano is willing... But seriously, as for music, I am once again in a position to display the depth of my ignorance. I must have at least 50 recordings called "The Gay Gordons" and the only common theme between all of them is "some marchy thing played at a comfortable (nearly brisk) walking tempo". Some of the marches are 4/4 or 2/4 (Reel-like) and some are 6/8 (Jig-like) and some recordings mix the Reel and Jig tempos. My observation is that most musicians choose "Any Good March" for The Gay Gordons. Cheers, Oberdan. Trans Vector Technologies, Inc, 184 Estaban Drive, Camarillo, CA 93010-1611 Phone: (805)484-2775, FAX: (805)484-2718, EMail: xxxxx@xxx.xxx William Crawford Aug. 11, 1998, 7:55 p.m.

(Message 12781, in reply to message 12775 ) There are instructions for the dance, plus music arranged for accordion and fiddle, in the booklet - Popular Ceilidh Dances. The other dances featured are St. Bernard's Waltz, Canadian Barn Dance, Virginia Reel, and Military Two-step. Although not specifically written for the piano, I am sure a good pianist would have no problem using the music. The booklet costs the princely sum of 3.50 (GBP). P&P 1.00 William William Crawford xxxxxxxxxx.xxxxx@xxxxxx.xx.xx Unit 7D, Muir Of Ord Ind.

Est., Ross-shire, IV6 7UA, Scotland Tel: 01463 871422 Fax: 01463 871433 ---------- From: Colleen Putt[SMTP:xxxxx@xxxxxx.xxxxxx.xxx] Reply To: xxxxxxxxxx@xx.xxxxxxxxxx.xxx-xxxxxxxxx.xx Sent: 11August1998 15:46 To: xxxxxxxxxx@xx.xxxxxxxxxx.xxx-xxxxxxxxx.xx Subject: The gay gordons Okay, I'm going to try this again. (Sorry, I have no idea what happened last time...) One of our dancers is looking for piano for "The Gay Gordons". Can anyone help?

Cheers, Colleen -- "Colleen Putt" <xxxxx@xxxxxx.xxxxxx.xxx> begin 600 WINMAIL.DAT M>)\^(B /`0:0" `$```````!``$``0>0!@`(````Y 0```````#H``$(@ <` M& ```$E032Y-:6-R;x-xxxx@xx%I;"Y.;W1E`#$(`0V !

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(Message 12783, in reply to message 12775 ) Oberdan Otto commented: "I must have at least 50 recordings called "The Gay Gordons" and the only common theme between all of them is "some marchy thing played at a comfortable (nearly brisk) walking tempo". Some of the marches are 4/4 or 2/4 (Reel-like) and some are 6/8 (Jig-like) and some recordings mix the Reel and Jig tempos. My observation is that most musicians choose "Any Good March" for The Gay Gordons." I've just had a similar request for sheet music for the Gay Gordons and, like Oberdan, I presumed it was danced to "any good march". (Though my recollection is that the 4/4 time signature is most common). But I've been told by a long time dancer whose opinion I value that it is customarily danced to "Scotland the Brave". While I am sure I have danced it to a variety of tunes, that does seem the most familiar melody. Nothing authoritative here, just anecdotal evidence.

Marjorie McLaughlin RSCDS xx@xxx.xxx San Diego, CA Colleen Putt Aug. 11, 1998, 11:50 p.m. (Message 12786, in reply to message 12775 ) > >One of our dancers is looking for piano for "The Gay Gordons". Can anyone > >help? > > Ah, now this sounds really intriguing. I usually dance it with a lady, but > a piano? hmmm, I imagine some difficulty with the twirls, even if the piano > is willing... I saw that omission AFTER I sent the message. :-) Of course, my friend is looking for *music* for the Gay Gordons. Your further observations are accurate; I get the tune "Scotland the Brave" ringing around in my head when I think of the tune. Is that the usual tune? Cheers, Colleen RSCDSSD Aug. 12, 1998, 1:23 a.m.

(Message 12787, in reply to message 12775 ) After sending the previous posting about the music for Gay Gordons (and confirming Colleen's musical memory of Scotland the Brave), I spoke to Muriel Johnstone. She informs me that bands in Scotland choose "any good" 2/4 marches followed by 6/8 jigs as a medley for the dance. So that confirms what Oberdan found on his recordings. Marjorie McLaughlin RSCDS xx@xxx.xxx San Diego, CA Norman BETT Aug. 12, 1998, 6:37 p.m. (Message 12792, in reply to message 12775 ) I can't resist gettong my oar in here. Oberdan, Muriel and others are absolutely write: any good march will suffice. But this needs to be qualified by the situation, the nature of the event.

At a ceilidh night in England (as distinct from Scotland) I give them `Scotland the Brave (preferably in D) followed by Highland Laddie, The Barren Rocks of Aden, then a sudden change to 6/8 for `the Cock of the North' followed by `A Hundred Pipers'. These are all good dancing tunes instantly recognisable to 90% of the floor. For a second round I give them song material such as Harry Lauder, Jimmy Logan etc. or perhaps `The Tartan'. In Scotland however I would use pipe music such as `The Hills of Perth', `Australian Ladies' and many others, though I believe that many Scottish bands eschew all that stuff and play weird marches in 3 flats !! There is a fiddle tune in A (modelled on the pipe scale) called the Gay Gordons, said to have been composed by Scots Skinner (I have it but don't know where it was originally published). This. followed by the Lovat Scouts (also Skinner) used to be my standard set for the dance. But that is half a century ago.

Norman Mr Norman Bett Cambridge UK Tel: 01223-248988 David South Aug. 14, 1998, 1:17 p.m. (Message 12797, in reply to message 12775 ) This has been an interesting thread ... There is a tune now known as "The Gay Gordons" written by James Scott Skinner and (from memory) published in "The Scottish Violinist". It was originally called "The Gordon Highlanders' March", but became known as "The Gay Gordons" due to association with the dance and due to the fact that both dance and tune were dedicated to the Gordon Highlanders. Some musicians use this march, with others for the dance, but by far the majority of musicians use "any good march" of either 2/4, 4/4, or 6/8. Jimmy Shand recorded a Gay Gordons set in the 1950s with the Skinner tune as the lead tune. More recently, Bobby Brown and the Scottish Accent recorded the Skinner tune on "Grandfather Mountain Gala". I personally like the tune very much.

It's very "Skinner" and IMHO has the strong "marchy" sound and feel that you need for that dance. Mind you, I have a couple of recordings in my collection where a band has tried to use a 3/4 or 9/8 march. It doesn't work. As a sideline, there was a military march written especially for the dance and recorded by Victor Silvester in the early 1970s. For my money though, the tune doesn't have anywhere near the same drive (and before anyone says anything, I like Victor Silvester aswell). David South, Geelong, Victoria, Australia. SMiskoe Aug. 14, 1998, 3:24 p.m. (Message 12799, in reply to message 12775 ) I recall a recording called Gay Gordons that had a number of Skinner tunes on it. At the time I danced to the recording I just thought they were variations on one tune but now I know it included Cameron Highlanders and Bonny Banchory as well as Gay Gordons. Interesting comment on the setting vs twirling. I learned the dance before I learned SCD and always did a twirl.

Then I was taught that the 'proper' way was to do a turning pas-de-basque. When that step is used one cannot progress as far as when one twirls. Cheers, Sylvia Miskoe, Concord, NH USA

Question: The Gay Gordons is commonly danced to which tune?
Answer: Scotland The Brave