This is called in the Notation--6/2.
[Illustration: BEATS 1 2 3 4 5 6 1 2 3 4 5 6
STEPS R L R R L R L L]
This is called in the Notation--6/3.
These steps are perfectly simple, and all but one may be learned at a
glance, even by one who has no knowledge of music, for such a one has
only to keep his eye upon the beats, which give the rhythm.
The exception--the only one that presents a difficulty at first--is the
one marked 4/3 and 6/3, these two being one, since only the time differs;
the feet step the same in each. A hint will make this step come as easily
as the rest. Let the beginner in temporary difficulty with it bethink
himself of the polka-step; sing a stave of the polka, and dance round the
room to it. He will find that his feet are stepping exactly in order of
the Morris 4/3 and 6/3 step--left, right, left, hop-left; right, left,
right, hop-right, and so on. Now, all he has to do in order to adapt the
polka to the Morris four-time step of 4/3 is, firstly to manage his feet
as described, then to make the hop at end of each bar of the polka not as
it were a dotted note, but in even measure with the other beats: for the
last step of each bar to Morris four-time music is a hop, as in the
polka, but in even time and in the Morris fashion.
Now, having adapted the polka step to the Morris 4/3, let the learner
simply count six to the bar and step to it in exactly the same way. He
will find, given just an average ear for rhythm, that he will soon be
dancing thus, counting as he
1 2 3 4 5 6
dances--1, 2, 3, 4, 5, 6--Right--left, Right--right;
1 2 3 4 5 6
Left--right, Left--left.
Having mastered these, one last instruction may be given. The 4/3 Morris
step is occasionally varied, so as to make it exactly like the
polka-step--that is, with the final hop danced like a dotted note; like a
quaver, if the music be in common time. This is a variation practised
occasionally by the Morris men themselves, and the enthusiastic amateur
will find himself dropping into it occasionally, following his
enthusiastic leader. No instructions for this changing of the step will
be given in the Notation, for it cannot be specified. The whole side will
fall into it naturally, upon occasion: for instance, where there is a
long stretch of the step, danced in one position, couples facing, arms
swinging and handkerchiefs waving, as in "Blue-eyed Stranger." This is
fairly intoxicating to the dancer, and here the hop will often suggest
itself. And again, in hurrying, if one gets left behind a pace, as, for
instance, in the Chain. But to hop, or not to hop, unevenly in the 4/3
step, that is a matter that will be easily arranged by the spirit of the
dancers and the discretion of their leader. We desire merely to indicate
a rule that, upon occasion, may be agreeably infringed.