In Capers, wherever the 4/1 or 6/1 High Step is used, the hands are swung backward on beginning of bar, forward and upward on half-bar; and this movement is continued all the time the High Step (4/1 or 6/1) is used.

The arms in all these movements described, should really be swung as far, both backward and forward, as possible.  The Morris-men themselves swing the arms behind to an angle of 45 degrees or so; but in the forward swing their hands are raised forward and a little higher than the head, on arms slightly bent at the elbows.

THE CALL.

In the Notation it will be seen that at the end of some dances the side is instructed to “Call.”  This means that on last half-bar all raise their voices on a high-note “Ah!” something after the manner of Scottish dancers, though the Morris “Call” is less of a war-whoop and more of a lusty shout.

LENGTH OF DANCES.

It must always be remembered that the Morris-men themselves vary the length of their dances, according to the humour of the moment, and their freshness or fatigue.  A dance can always be shortened by leaving out one or more figures:  the musician will know what to do by the call of the leader.

In “Blue-eyed Stranger,” for instance, if the side is feeling particularly high-spirited, the whole sixteen bars of “B” music may be danced; but as a rule this will be found too long.  Again, to extend “Rigs o’ Marlow” (another trying dance) the music may be played four times instead of three, when Back-to-back will be danced to “A” music.  “Bluff King Hal,” danced to its full length as shown in the Notation, will as a general rule also be found too long.  It can easily be shortened by leaving out repetitions or certain figures.  In brief, once the dances are learned it is a very simple matter, and quite according to tradition, to lengthen or abbreviate them in any way desired.

SPECIAL INSTRUCTIONS FOR VARIOUS DANCES.

BEAN-SETTING (STICK DANCE).

TO FORM RING.

This is the only one of those dances we have described that begins with the Ring.  The side starts in Column.  To form Ring, Nos. 3 and 4 move a little outward from the line as “A” music begins.  Then all dance in Ring formation to the right (see Fig. 1) until, at the beginning of bar 4, all opposites have changed places:  that is, Nos. 1 and 6 are each in the other’s position, Nos. 3 and 4, 2 and 5 have also changed.  In bar 4, files close in slightly, j. (i.e., form Column), and tap sticks across on half-bar of bar 4.  In remaining four bars of “A” music form Ring again, and all return to position as they came (see Fig. 2).  At half-bar in bar 8, all j. (forming Column), and partners tap sticks across.

[Illustration:  Fig. 1.]

[Illustration:  Fig. 2.]