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Improper English — March 2026

March 10, 2026 · Berkeley Fellowship of Unitarian Universalists, 1924 Cedar St, Berkeley CA

First Half

The Farmer’s Joy english Joseph Pimentel
The Collier’s Daughter english John Young (The Dancing Master)
Domino Five english Derek Haynes
Trip to Provence english Susan Kevra
The Fast Packet english Bob Lilley

Drop if short for time
Michedonia english Dan Blim

Second Half

Dancing Across the Atlantic english Loretta Holz
Peridot Ring english Susan Kevra
Sapphire Sea english Christine Robb
Trip to Skye english Renee Camus

Likely to swap for backup
Old Wife Behind the Fire english Neal

Alternates

The Geud Man of Ballangigh english Playford

Easy fallback
The Minor Spaniard english Jenny Beer

Easy fallback
Lilliburlero english Playford (The Dancing Master)

Backup for Collier's Daughter
Jack’s Maggot english Playford

Backup for Domino Five
An Early Frost english Philippe Callens

Backup for Trip to Skye
Impropriety english Brooke Friendly & Chris Sackett

If scaffolding gates

Joseph Pimentel (2012)

duple minor longways

Adam Broome 6/8 A major 2004 BIII p. 56

Choreography

A1

(1-8) 1^st corners set forward, turn single R, two hand turn

A2

(1-8) 2^nd corners, the same

B1

(1-2) 1s lead down the center
(3-4) 1s wheel around as a couple (CW, right hand person backing up)
(5-6) 1s cross up through 2s to original places
(7-8) 1s cast down while 2s move up

B2

(1-4) Star R
(5-8) Star L

Teaching Notes

Pimentel:

This is a simple dance which works well for new dancers, and the tune is so wonderfully joyful that everyone seems to enjoy it.

B1. I like each figure to fit two bar phrases, and for all four figures to feel like one fluid movement. Though I do not often use the words “gate” and “half figure eight,” I think newer dancers begin to get the feel for those figures here without even knowing it. That is intentional.

B2. Encourage intermediate dancers to start the star L on their right foot, so the new first corners have a nice transition into the setting at the top of

John Young (The Dancing Master) (1718) Interp. Graham Christian (2016)

duple minor longways

2/2 G minor BI p. 21

Choreography

A1

(1-4) 1s cross, go below while 2s lead up
(5-8) 1s two hand turn (1s now crossed over)

A2

(1-4) 1s cross, go below another couple, 2s stay there
(5-8) 1s two hand turn and open up facing up (all proper)

B1

(1-2) 1s lead up (face orig N 2s)
(3-6) Circle left
(7-8) Turn single

B2

(1-4) Circular hey (PR, NL, PR, NL)
(5-8) All two hand turn

Background

Also known as The Duke of Rutland’s Delight.

Teaching Notes

B1. There’s debate about which direction the turn single should go here. TS L feels more natural to most dancers coming out of the circle, but TS R leads better into the circular hey. Encourage TS R, but emphasize that dancers may choose their direction.

Derek Haynes (1998)

five-dancer set (four dancers in corners, active in the middle facing up)

Spootiskerry Traditional 4/4 G major

Choreography

A1

(1-4) Star right with right side corners
(5-8) Star left with left side corners

A2

(1-8) R shoulder hey for 3 on right diagonal

B1

(1-8) L shoulder hey for 3 on left diagonal

B2

Series of R shoulder changes:
(1-2) Active changes with top R corner
(3-4) New middle changes with top L corner
(5-6) New middle changes with bottom L corner
(7-8) New middle changes with bottom R corner

Background

Originally a Scottish Country Dance, it makes a very capable ECD.

Teaching Notes

B2. Each change consists of the middle passing a corner by the R shoulder, that corner entering the middle, turning 90 degrees and passing the next.

This dance can be modified to be Domino Eight with these changes:

Six dancers form a 2x3 grid.
Two actives stand in each square of the grid facing each other.
B2: Before the series of R shoulder changes with corners, the actives quickly change with each other.

Susan Kevra (2015)

duple minor longways

Voyage de la Diabline Rachel Bell 3/4 F major BIII p. 139

Choreography

A1

(1-4) 1s half figure eight down (12)
(5-6) 1s right hand to partner, balance F&B (6)
(7-8) 1s box-the-gnat (6)
(All home)

A2

(1-4) 2s half figure eight up (12)
(5-6) 2s right hand balance (6)
(7-8) 2s box-the-gnat (6)
(All home)

B1

(1-4) In a ring of 4, balance F&B twice, moving one place to the L each time.
(All halfway around from home)
(5) Partners cross R (3)
(6-8) Neighbor left shoulder around (9)
(All progressed)

B2

Full open chain
(1-2) 2^nd diagonals pull by R (6)
(3-4) Partner turn by L (6)
(5-6) 2^nd diagonals pull by R (6)
(7-8) Neighbor turn by L (6)

Teaching Notes

When taught with roles, this dance was written improper:

Caution dancers the dance will be easier if they cross over when waiting out.
A1. When danced with roles, typically the R dancer would start the half figure eight and go under in the box-the-gnat. This still flows especially well for the 1s, so you can encourage this by suggesting that for the left file dancer start the half figure eight and that they go under in the box the gnat.
A2. This matters less for the 2s but you can still suggest the inverse (R file dancer start fig eight and go under in box-the-gnat).

Bob Lilley (1987)

duple minor longways

Enrico Traditional interp. Thomas Hardy 4/4 D major BII p. 42

Choreography

A1

(1-4) 1^st Corners R elbow turn 1 ½ (8)
(5-8) 2^nd Corners the same (8)

A2

(1-4) 1^st Corners back to back (8)
(5-8) 2^nd Corners the same (8)

B1

Clapping:
(1) To R diag person: together, together, right (2)
(2) To L diag person: together, together, left (2)
(3-4) To partner: together, right, together, left, together, together, both (4)
(5-8) Repeat sequence (8)

B2

(1-6) Circle left 1 ½ (to original places) (12)
(7-8) ½ pousette CW (1^st corners fwd) to progress (4)

Dan Blim (2014)

duple minor longways

Carpathian Tune Traditional 2/4 G minor BIII p. 92

Choreography

A1

(1-2) 1s cast, 2s lead up (4)
(3-4) 1s set (4)
(5-8) 1s half figure eight up (8)
(Ones crossed over)

A2

(1-2) 2s cast, 1s lead up (4)
(3-4) 2s set (4)
(5-8) 2s half figure eight up (8)
(All crossed over)

B1

(1-2) On the 2^nd diagonal trade by R (4)
(3-4) Partner 2 hand turn ½ on the side (4)
(5-6) On the 2^nd diagonal trade by R (4)
(7-8) Partner 2 hand turn ½ on the side (4)
(All progressed)

B2

(1-4) Circle left (8)
(5-8) Partner 2 hand turn (8)

Background

Written for the wedding of a couple with one partner from Michigan and the other from Macedonia.

Loretta Holz (2003)

duple minor longways

Dancing Up A Storm Charlene Thomson 6/8 A minor / A major 2003 BIII p. 46

Choreography

A1

(1-8) 1L full figure eight through 2s with 1R chasing (16)
To finish, 1L crosses the set and 1R falls in behind
(1s crossed over)

A2

(1-8) 2R full figure eight through the 1s with 2L chasing (16)
To finish, 2R crosses the set and 2L falls in behind
(All crossed over)

B1

(1-2) On the 2^nd diagonal give right hand, give left hand (4)
(3-4) Crossed hand turn ½ (4)
(5-8) Partners back to back on side (8)

B2

(1-2) On the 1^st diagonal give right hand, give left hand (4)
(3-4) Crossed hand turn ½ (4)
(5-8) Partners back to back across (8)

Susan Kevra (2017)

3-couple longways

Rachel Bell 2/2 C major 2017 BIII p. 109

Choreography

A1

(1-4) Taking inside hands, partners lead up a double and back, turning in toward partner to face down (8)
(5-8) Lead down a double and fall back (8)

A2

(1-4) Partners swirly siding (over by L, back by R) (8)
(5-8) All set and turn single R (8)

B1

(1-4) All circle L ½, drop hands and face partner (8)
(5-8) w/o hands partner balance F&B, cross by R, turn over R to face partner (8)

B2

(1-4) Top couple cross by R, go below to middle place (8)
while middle couple lead up
while bottom couple back to back
(5-8) Partners 2 hand turn (middles 1 ½, others 1x)
(Ending 2, 3, 1)

Christine Robb (2015)

duple minor longways

Tom Kruskal’s Emily Troll & Amelia Mason 2/2 F major (orig. A major) BIII p. 121

Choreography

A

(1-4) Circle left (8)
(5-8) 1^st corners turn by R (8)
(9-12) 2^nd corners turn by L (8)
(13-16) 1s cast down and come up the middle (8)
while 2s lead up and cast onto the end of a line of 4
ending facing the R side of the hall, except the R file dancer who faces in

B

(1-8) Dolphin hey (1s as a unit pass R file dancer by right to start) (16)
ending in a line of four facing up
(9-12) Up a double, fall back (8)
(13-16) Gate (1s up and through the middle) (8)
ending progressed
release early to take hands with next

Renee Camus (2024)

duple minor longways

John Whelan 3/4 B minor 1985 NIB · Sheet music ↗

Choreography

A1

(1-2) Circle L ½ (6)
(3-4) Cast back one place over left shoulder (6)
(5-8) Neighbors left shoulder around across the set (12)

A2

(1-2) Circle R ½ (6)
(3-4) Cast back one place over right shoulder (6)
(5-8) Partners right shoulder around across the set (12)
(All home)

B1

Take hands four
(1-2) Balance left and right with a crossover step (6)
(3-4) Balance in and out turning the ring halfway around (6)
(5-8) Repeat B1 1-4 (12)
(All home)

B2

(1-4) Neighbors set and link (12)
(5-6) Partners balance F&B (6)
(7-8) Partners two hand turn (6)

Teaching Notes

Camus:

This dance uses a crossover setting step similar to (the West Coast interpretation of) Irish Lamentation. It’s the cross-step waltz basic: Dancers start by crossing their right foot over their left. Starting the whole dance with the R foot may help.

It’s nice to have a lot of space for this dance, both up and down the set and across.

Sheet Music

Neal (1726) Interp. Fogg/Jackson (1990)

duple minor longways

4/4 G major BII p. 97

Choreography

A1

(1-4) 1s set, cast down while 2s lead up (8)
(5-8) 1s two hand turn (8)

A2

(1-4) 2s set, cast down while 1s lead up (8)
(5-8) 2s two hand turn (8)
(All home)

B1

(1-4) 1s cross, go below while 2s move up (8)
(5-8) 2s cross, go below, come up the center
while 1s move up and cast onto ends of a line of 4 (8)

B2

(1-4) Up a double, fall back, bend the line (8)
(5-8) Two changes rights and lefts (PR, NL) (8)

Playford (1698)

duple minor longways

Hunt the Squirrel 6/8 A major 1709 BI p. 43

Choreography

A1

(1-4) 1s lead down between the 2s and cast back to place (8)
(5-8) L file dancers lead through the R file dancers and cast back to place (8)

A2

(1-4) 2s lead up through the 1s and cast back to place (8)
(5-8) R file dancers lead through the L file dancers and cast back to place (8)

B1

(1-4) 1L set to corner and turn single R (8)
(5-8) 1R set to corner and turn single R (8)

B2

(1-4) Circle L half and fall back w/ neighbor (8)
(5-8) Partners set and all cross by R (8)

Jenny Beer (2000)

duple minor longways

6/8 E minor BII p. 85

Choreography

A1

(1-4) 1^st corners set and turn single R (8)
(5-8) 1L “defect” and two hand turn partner (8)

A2

(1-4) 2^nd corners set and turn single R (8)
(5-8) 2L “defect” and two hand turn partner (8)

B1

(1-2) 1s lead down the middle (4)
(3-4) 1s face each other and set (4)
(5-8) 1s lead up and cast off while 2s lead up (8)
(All progressed)

B2

(1-4) Circle L (8)
(5-8) 2s gate 1s up through the middle and around to 2^nd place (8)

Background

Beer:

Background: Designed as a less strenuous version of “The Spaniard,” from Thompson, 1777.

Tune: The Minor Spaniard, by Jenny Beer. A minor key variation on “The Spaniard” tune.

Playford (The Dancing Master) (1690)

duple minor longways

6/8 G major BI p. 67

Choreography

A

(1-4) 1s lead down through 2s, cast back to place (8)
(5-8) 2s lead up through the 1s, cast back to place (8)

B1

(1-2) 1^st corners change by R (4)
(3-4) 2^nd corners change by R (4)
(5-8) w/ neighbor, fall back a double, then come forward turning single right (8)

B2

(1-2) Partners change by R (4)
end with back to neighbor
(3-4) Neighbors pass backwards by R (4)
(5-8) Three changes of a circular hey (PR, NL, PR) (8)

Teaching Notes

B2. Note that there are five changes of varying speed. You have four steps for the first two changes and then need to get through three changes of a circular hey in the same amount of time. It’s traditional to skip. At the end of the hey, the 1s can catch inside hands to be ready for the lead down.

Playford (1702) Interp. Cecil Sharp (1922)

duple minor longways

2/2 D major BI p. 59

Choreography

A1

(1-8) 1L cross to pass corner by right and start a hey for three on the R file (16)

A2

(1-8) 1R cross to pass corner by left and start a hey for three on the left file (16)

B1

(1-4) Star right (8)
(5-8) Star left (8)

B2

(1-2) 1^st corners change by R (4)
(3-4) 2^nd corners change by R (4)
(5-6) Circle L ½ (4)
(7-8) 1s cast, 2s lead up (4)

Philippe Callens (2000)

duple minor longways

Midwinter Blossom Bob Pasquarello 3/4 G major 1989 BII p. 36

Choreography

A

(1-2) L file turn single right (6)
(3-4) Partners right hand turn ½ (6)
(5-6) (New) L file turn single left (6)
(7-8) Partners left hand turn ½ (6)
(9-10) All turn single right (6)
(11-14) Star right, end facing neighbor (12)
(15-16) Pass neighbor right (6)
(All progressed)

B

(1-2) Partners set (6)
(3-4) Partners hole-in-the-wall cross right (6)
(5-8) Join hands and circle left (12)
(9-12) Half pousette (1^st diagonals forward) (12)
(13-16) 1s cross, go below
while 2s two hand turn ½, holding on take two side steps up to progress

Background

Callens:

Written December 2000 and first successfully presented at Brasstown, North Carolina, during Winter Dance Week, with composer Bob Pasquarello present. The dance was inspired by Patrick Reyntiens who suggested that I write a dance in memory of those who have died of AIDS. An early frost (1985) is also the name of a film directed by John Erman, about a young man with AIDS and his family’s reactions to his illness. Although this dance is not formally connected with the film, I decided to make reference to its title for my composition on the same subject.

Teaching Notes

A1. After the star, end facing the same neighbor that you starred with.

Brooke Friendly & Chris Sackett (1999)

duple minor longways

Millison’s Jegge Playford 6/8 D minor 1651 BII p. 63

Choreography

A1

(1-4) Neighbors gate 1 ¼ (1s down through the middle to begin) (8)
ending in a line of 4 facing down

A2

(1-4) Lines lead down, fall back (8)

B1

(1-2) Neighbors lead out the sides (1s moving forward to face out) (4)
(3-4) Neighbors turn as a couple with 2s turning under (4)
(5-6) Neighbors lead in (4)
(7-8) 1s cast off while 2s lead up (4)

B2

(1-4) 1s half figure eight up (8)
(5-8) Neighbors gate (1s up through the middle to begin) (8)
ending in progressed places ready to gate with new neighbors
Note that the ones have changed places!

Background

Friendly & Sackett:

Our local dance group in Ashland is part of a network of groups in Oregon, The Heather and the Rose Country Dancers. The H&R newsletter is titled Progressed and Improper. This inspired us to write a dance where the Is would end improper to start the next round, allowing dancers to experience dancing from both sides of the set. As we worked with the concept, we expanded the idea to include the turn as a couple to give dancers further opportunities to play with roles they may not be used to. The dance became, in a sense, a choreographic statement of the way we approach the dance form. Many thanks to Bruce Hamilton for the title.

Teaching Notes

Friendly & Sackett:

For the turn as a couple in B1 bars 3-4, the 2s, who are above, always go down and to the inside of the set and under the joined hands while the 1s go up and to the outside of the set. It is similar to a California twirl without the feeling of a twirler and a twirlee.