hook: hey for six in a triplet
by: Rick Mohr
formation: triplet
ones improper, twos and threes proper
| A1 | 2 | ones pass by right shoulders
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| 4 | ones go down the outside into the twos' place, twos move up
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| 2 | ones pass by right shoulders
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| 8 | ones loop to *individual* right and go around the ends of the set to end proper in twos' place
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| A2 | 12 | circle left 6 places
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| 4 | partners allemande right ¾
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| B1 | 4 | form a long wave - partners keeping right hands and neighbors taking left hands - and balance
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| 12 | half hey for six - neighbors pass left shoulders to begin, ends face in for a right shoulder pass - until partners meet
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| B2 | 16 | partners balance & swing, end with the new twos and threes facing up proper and the new ones improper
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Rick's notes:
"The figures of this dance fit the music phrases exactly, so it can be quite satisfying if dancers are on the ball but somewhat unforgiving if they get confused.
The active couple moves continuously in A1. First they cross around the 2's to the middle position, and then without stopping they cross again and both turn right—the gentlespoon loops around the bottom couple while the ladle loops around the top couple. As the active dancers return to the middle position (proper) all join hands and match their motion smoothly into a circle left.
The circle left in A2 takes 12 steps, so be aware to call the allemande right in time for its four steps to end the phrase in time to balance the wave at the start of B1. Then 12 weaving hey steps invert the set in time for the partner balance and swing at the start of B2.
In terms of the original numbering, once through the dance leaves the couples in a 3, 1, 2 sequence."
My own notes:
Rick isn't kidding about the precision of the timing! While this is one of my favorite triplets to call thanks to the unique hey for six, it's much more unforgiving than a quick glance at the figures might indicate. The best way to teach the hey that I've found is to note that it inverts the set and that you're leaving your partner to start with. It's very important to make sure that all sets have considerable space between them. While the movement within the triplet needs to be kept tight, it's easy for dancers to lose track of which set they're in if the ends of the distinct triplets aren't adequately separated. If this isn't possible, I would suggest finding clear markers to put between the sets to delineate between them (or don't call this in that scenario in the first place!).