DIBBING.

This is the term used in the dance, as it is used in field and garden work, for making a hole with a dib, or dibber, in the soil, into which the seed is dropped.  The dance, of course, represents the setting of beans—­more truly and largely, the sowing of the seed in springtime.

In dibbing (see [small box] in music) all stoop well forward, holding the right hands outward, with sticks pointing to the ground.  The act of dibbing consists in thumping the stick firmly on the floor and at once lifting it again.

B.

Bar 1.—­Dib all together at beginning and half-bar, as shown in music ([small box]).

Bar 2.—­Remain stooped; at beginning of bar, pairs tap sticks across—­odd numbers tapping even numbers.  Hold sticks crossed as they were tapped for remainder of bar.

Bar 3.—­Dibbing, as in bar 1.

Bar 4.—­Beginning, partners tap across; half-bar, No. 1 taps No. 3.

Bar 5.—­Beginning, No. 3 taps No. 5; half-bar, No. 5 taps No. 6.

Bar 6 (9/8 time).—­Beginning, No. 6 taps No. 4; second beat, No. 4 taps
No. 2; third beat, partners tap across, as in bar 2.

In remaining six bars of “B,” repeat dibbing and tapping as in the first six bars.

In the notation of “Bean-setting” (p. 61), the term “Dibbing” will be used to denote all the actions, here explained in detail, that go to the music of “B.”

COUNTRY GARDENS (HANDKERCHIEF DANCE).

In the hand-striking figure of this dance (for hand-strokes, see mark O in “B” music) there are four movements, as follows:—­

    Each dancer strikes both hands together.  This is called in the
    Notation that follows—­b.

    Each, with the right hand, strikes the right hand of partner. 
    This is marked in the Notation—­r.

    Each, with the left hand, strikes the left hand of partner.  This
    is marked in Notation—­l.

    Each throws up hands.  This is marked in Notation—­u.

In striking, handkerchiefs are held bunched together in the hands.

[Illustration:  NOTATION OF HAND-STRIKING.

    BEATS 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
    HANDS b b r b b l b b r l u
    STEP R R R R L L L L R R R R both Ju.]

CONSTANT BILLY (STICK DANCE).

In this, sticks are held and used, both in the “A” and “B” music, as explained in “Rigs o’ Marlow” (see p. 55).

Stick-tapping in “B” music is done according to the following diagram:  signs, &c., to be read as in diagrams for “Rigs o’ Marlow” (see X in music).  The beats whereon stick-tappings occur are written in diagram as b. (bar); and h.-b. (half-bar).

In the first bar of “B” music, at half-bar, No. 1, with top end, taps butt of No. 2.  In the second bar, at half-bar, No. 2, with top end, taps butt of No. 1.  In the third bar, at half-bar, No. 1 taps No. 2 as in first bar.  In the fourth bar, No. 1, at the beginning, with the butt, taps No. 2’s top end; and at half-bar, No. 1, with top, taps top end of No. 2, thus:—­