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Only selected alternate names are listed parenthetically with the TERMS.  Click-on an underlined letter above to navigate on this page.

Learning the following terms is not the best way to learn Irish set dancing.   The text is generalized since many patterns with the same label are danced differently in multiple sets; note conditional words like usually, sometimes, vary, may, if, one or more and often used in the definitions.  Written language often is inadequate to define physical movements.  Attend a ceili where sets are danced and listen to the caller and watch the dancers.  Dance, dance, dance!  Enjoy!

ABBREVIATIONS — The following abbreviations are used in creation of textual documentation for Irish sets and two-hand dances.  No attempt has been made to create abbreviations for every name by which a pattern may be known.

More than one abbreviation may be joined in the documentation.  One of those joined may be italicized and/or made bold.  For example, see  LAXH   (Lead Around with Crossed Hands in front ) or A&ROW (Advance and Retire with Open Waltz  hold).

The bar-count is shown in bold for most patterns.  Thus for BTL2FH6, the dancers back-the-lady for two bars and house around (or inside) the set for six bars.

½ DIA	Half diamond
½ DIAM	Half diamond
1S	First side pair (couple)
1SG	First side gent
1SL	First side lady
1T	First top pair (couple)
1TG	First top gent
1TL	First top lady
2S	Second side pair (couple)
2SG	Second side gent
2SL	Second side lady
2T	Second top pair (couple)
2TG	Second top gent
2TL	Second top lady
3s	Threes
7s	Sevens              A   B  C   D   E  F  G  H  I  J  K  L   M  N  O   P  Q  R   S  T  U   V  W  X  Y  Z
A&R	Advance and retire
ACW	Anticlockwise; dance  to the right
ADV	Advance
ALT	Alternate
ARD	Around
ANO	Another
BAL	Balance, often precedes  I/O (In and Out)
B	Back
B2B	Back to back
BK	Back
BK2BK	Back to back
BK-2-BK	Back to back
BKWD	Backward
BTL	Back the lady
BTM	Back the man
B-XMAS	Big Christmas; 8 dancers swing in a circle, with arms at backs
C	Céilí (hold), for SWINGs, HOUSEs
CHG	Change
CH	Chain
CHN	Chain
CK	Circle
CORN	Corner; plural:  CORNs
CTR	Center
CW	Clockwise; dance  to the left
D@H	Dance at home; always with turns; may be at other than original home
DAP	Dance around partner
DBL	Double
DIA	Diamond          A   B  C   D   E  F  G  H  I  J  K  L   M  N  O   P  Q  R   S  T  U   V  W  X  Y  Z
DIAM	Diamond
DIO	Dance it out, with no turns
DIP	Dance in place, with no turns
DO	Dance out
E	Elbow hold for swing (usually) or house
EA	Each
EXC	Except (usually) or Exchange – Note context
EXCH	Exchange
E	File, dancers behind one another facing the same direction
FC	Face
FH	Full house
FI, F-I	Face in[to  the set ] (usually) or Figure in
FR	From
FWD	Forward
G	Gent; possessive: G’s
Gs	Gents; possessive:  Gs’
H	Hand, Home or House – Note context
HG	High gate
HHC	Hand holding circle
HI	House inside the set
HO	Home; sometimes  H
Hs	Hands or Homes – Note context
HSE	House; sometimes  H
I	In
I/O	In and out
IP, I-P	In place             A   B  C   D   E  F  G  H  I  J  K  L   M  N  O   P  Q  R   S  T  U   V  W  X  Y  Z
K	Kick
L CHN	Ladies chain
L	Lady, Left or Lift – Note context
L PR	Left pair (couple)
L-ARM	Left arm
L2L	Left hand or shoulder to left hand or shoulder – Note context
LA	Lead around
LB	Lead back
LDS	Leads
LnL	Left hand in left hand
LnR	Left hand in right hand
LN	Line; plural  LNs
LN-UP	Line up
Ls	Ladies or Lefts – Note context
LV	Leave
L-XMAS	Little Christmas; 3 or 4 dancers swing in a circle with arms at backs
M CHN	Men chain
MID	Middle
MIDL	Middle
MV	Move
NO TCH	No touch
nSID	Inside
O	Out, Outside or Original – Note context
OPP	OutsideOpposite
OR	Original (usually followed by PART – partner)
ORIG	Original (usually followed by PART – partner)
oSID	Outside
PART	Partner; plural PARTs
PL	Place
OTH	Other                   A   B  C   D   E  F  G  H  I  J  K  L   M  N  O   P  Q  R   S  T  U   V  W  X  Y  Z
OTS	On-the-spot, usually with no turns
OW	Open waltz hold
POS	Position
PR	Pair, used in lieu of an abbreviation for Couple
PTH	Pull the hand, usually the lady’s
P-THRU	Pass through
PW	Pinwheel (Star)
QH	Quarterhouse
R	Right
R PR	Right pair (couple)
R2R	Right hand or shoulder to right hand or shoulder – Note context
R-ARM	Right arm
R4 / L4	Right (hands) for four bars then left (hands) for four bars
REL	Release
RELSE	Release
REV	Reverse
RnL	Right hand in left hand
RnR	Right hand in right hand
RPT	Repeat
SL	Slide
SQ	Square
SS	Side pairs (couples)
SSG	Side pairs (couples) gents
SSL	Side pairs (couples) ladies
SWG	Swing
SWGC	Swing in Ceili hold
SWGE	Swing in Elbow ceili hold
SWGW	Swing in Waltz hold
SWGing	Swinging
SWH	Sweetheart hold
SxS	Side by Side
T	Tap                     A   B  C   D   E  F  G  H  I  J  K  L   M  N  O   P  Q  R   S  T  U   V  W  X  Y  Z
TCH	Touch
THRU	Through
TIL	Until
TIO	Tap it out
TLU	Turn the lady under
TO-PL	To place
TRN	Turn; plural:  TRNs
TT	Top couples (pairs)
TTG	Top couples gents
TTL	Top couples ladies
UND	Under
UTF	Under the finger
VSTG	Visiting
W	Waltz hold (usually) or walk – Note context
X	Time, Times or Crossover – Note context
XH	Crossed hands in front, usually with rights on top
XOVR	Crossover

ADVANCE AND RETIRE (BALANCE IN/OUT)  —  Dance forward and backward for four or eight bars of music, usually two bars into the set and two bars out of the set.  Sometimes dance diagonally.  Handholds and step patterns vary.  Example:   Top couples take crossed hands and advance and retire twice.

ANTICLOCKWISE   — Dance opposite the direction the hands of an analog clock turn.   Sometimes TO THE RIGHT is used for ANTICLOCKWISE, particularly when couples CROSSOVER or LEAD AROUND.  Example:   All couples take open waltz hold and lead around anticlockwise.

BACK TO BACK —  1) One or more couples dance around each other, dancing forward and past, then across and behind one another without turning (the back to back portion), then backward and to place.  The movement may begin left-shoulder-to-left or right-shoulder-to-right.  2) The term is used to define positions of dancers during a movement.    Example:  Side couples, in waltz hold, dance sevens to opposite and to home with gents then ladies back to back.

BACK THE LADY, BACK THE MAN (infrequently)  —  One or more couples dance to the next position on the right with the lady dancing backward (reverse) and the gent dancing forward.  Usually the movement is danced in two bars of music.  When reversing the lady to each position on the right (FOUR SHOVES), eight bars of music are required.

 L. Edward Taylor

BATTER —  Battering is heel and toe tapping during a set dance movement.  Percussive battering is danced in the tempo of music being played.   The step combines multiple heel and/or toe taps with gentle (low) leg lifts and forward and/or backward stepping.  The stepping is often gentle skipping.  The batter-step is also danced by sean nos (old style) dancers, either solo or in groups.  Example of a basic battering step for couples dancing at home:   heel-toe-down, down on the opposite foot; heel-toe-down, down on the opposite foot;  down on the same foot;  heel-toe-down, down on the opposite foot;  down on the same foot.  This pattern is sometimes called  batter down, batter down, down, batter down.  Gents begin the first batter on the left foot and ladies begin the initial batter on the right foot.

BIG CHRISTMAS —  All eight dancers of a set form a circle, link arms across the backs/waists, place right foot in and swing clockwise for eight or sixteen bars, pushing/paddling with the left foot.  Sometimes also swing anticlockwise with reversed foot positions.  Fewer than eight but greater than two dancers swing in a LITTLE CHRISTMAS.

CEILI HOLD, OLD CEILI HOLD   —  For CEILI HOLD, partners face one another; place right hands on partner’s waist then hold left hands underneath the right arms (illustrated below).  If the hold is to be used during a SWING, as the upper body hold is taken, place right feet parallel with the outside of each foot nearly touching.  Use the right feet as a pivot point to paddle around clockwise for either two, four, six or usually eight bars of music.  For the infrequently danced OLD CEILI HOLD, partners grasp right thumbs at shoulder height then take partner’s right elbow underneath with the left hand.  For a SWING, the feet placement and movement is the same as for the CEILI HOLD.  Both holds are sometimes taken for other dance patterns.

 L. Edward Taylor       

CHAIN (GRAND CHAIN)   —  Dance around the perimeter of the set grasping alternating hands, or forearms, with each oncoming dancer.  Partners may begin right-hand-in-right and gents dance anticlockwise and ladies dance clockwise.  Sometimes, partners begin right-hand-in-right, make a 180-degree turn, in two bars of music, then gents dance clockwise and ladies dance anticlockwise.   In the Newport Set, dancers face and chain first with their near corner partner.

CIRCLE (CIRCLE-UP) —  Dancers form a ring holding inside (closest) hands. Example:   Circle, advance and retire twice.

CLOCKWISE --  Dance the same direction the hands of an analog clock turn.  Sometimes TO THE LEFT is used for CLOCKWISE, particularly when couples CROSSOVER or LEAD AROUND.  Example:   Side couples take crossed hands and lead around clockwise inside the set (ladies shoulder to shoulder), ending with the couple originally on the left.

CORNER   —  This is the space between couples arranged in a square.  Dance notes may specify CORNER PARTNERS dance; thus gents would turn left and ladies would turn right for a NEAR-CORNER pattern.  Infrequently a dancer of a couple is required to dance with a FAR-CORNER partner.  Example:   In the Cashel Set,  All ladies cross in front of partners and swing the gent on the left.

CROSS   —  One or more dancers dance from one position to another.Example:  Side gents cross and swing the opposite lady.  The CROSSOVER usually involves multiple couples.

CROSSOVER   —  1.  Couples dance from one side of the set to the other side without passing-through the opposite couple.   Handholds, direction (anticlockwise or clockwise) and step patterns vary.  A VISIT is a crossover when couples across from one another (Opposites) dance clockwise (or anticlockwise) forward to face the position on the left (or right); then dance backward to the opposite position; then dance forward to the next position on the left (or right); then dance backward to home positions.  The usual handhold for a VISIT crossover is either crossed in front (right hands on top) or in open waltz (the lady's left hand on the gent’s right shoulder, the gent’s right hand/arm on the lady's back/waist with the outside hands of both hanging free at the side).  Example:  Top couples keep crossed hands and crossover to the right to home and turn the lady to place.    2.  A solo dancer may crossover.   3.  Opposite singles (gents or ladies) may crossover at the same time.

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DANCE AT HOME   (HOUSE AT HOME )   —  In waltz hold, partners dance at one position, usually clockwise.  For eight bars, make two complete turns; for four bars, make one revolution.  While dancing at home other than above, make no turns for DANCE IN-PLACE, DANCE-IT-OUT, DANCE OUT or SET-TO-PARTNER (no touch for the latter).  Example:   All couples dance at home.

FILE  —  When dancers organize front-to-back, the formation is a FILE but it is sometimes erroneously called a LINE.  At least three dancers organized shoulder-to-shoulder (side-by-side) form a LINE or a LINE UP.

FIVE STEP (FIVE-STEP, 5-STEP, 1-2-123, 1-2-345)  —  This is a dance pattern often used during ADVANCE AND RETIRE, LEAD AROUND and CROSSOVER.   The pattern can be danced to various musical rhythms but is perhaps most often danced with reels and hornpipes.  The pattern is sometimes erroneoulsly called just a walking step.  Walking is indeed a small part of certain set dance patterns; namely dancers move as though traversing a sidewalk but without the lift, grace, gentleness and flair of the five step.  No hand-holds and various hand-holds are danced using the five step.

Using two bars of music and alternating feet for each step, STEP, STEP, STEP-STEP-STEP (or 1, 2, 3-4-5 or slow, slow, quick-quick-quick).  The step may be forward or backward and the 3-4-5 may be almost in-place or forward or backward.   No matter the direction or place, all steps are danced with a gentle lift and a graceful flair.  Inexperienced dancers sometimes erroneously dance the 3-4-5 as a stomp-stomp-stomp.  The stomp adds a harshness or a hardness many dancers believe does not belong in social set dancing.

A caller for an ADVANCE AND RETIRE might say "Step, step, three-four-five, back, back three-four-five."   Indeed the five step is perhaps most often danced with the ADVANCE AND RETIRE pattern.  Even if danced in-place there should be an alternating on and back pattern to the 3-4-5.  Be more on the balls of the feet than on the heels.

The five step is not a batter step.  However, it's structure is often a basis for battering.   Dancers add various heel-toe or toe-heel  batters to the 1, 2 and/or 3-4-5 "elements."  The five step structure is also danced in sets which traditionally are danced "with a lively polka batter" or "lively polka" (BALLINGEARY, HOLLYMOUNT, SKIBBEREEN and SUMMIT examples).  For such sets dancers batter at each stage or element of 1and, 2and, 3-4-5.

FULL HOUSE, (AROUND THE HOUSE, HOUSE)  —  Usually in waltz hold, partners dance anticlockwise around the perimeter of the set, usually in eight bars, turning clockwise four times and using two bars to advance to each position.   Sometimes dancers double (step-step-step-step) the entire eight bars or just the final two bars of music.

FUN (ENJOYMENT, PLEASURE)  —  None of these words are used in defining the dance patterns of the sets.  They do, however, truly describe Irish set dancing. 

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HALF SET   —  Two couples dance a set choreographed for only four dancers (BALLINASCARTY HALF, KILDOWNET HALF, ROSCOMMON HALF, etc.).  Sometimes, lacking a full set of dancers, two couples will dance patterns of a full set.

HIGH GATE  —  A gent and two ladies form a line of three, usually side-by-side each other.  A lady dances under an arch formed by the gent’s and the other lady’s upraised arms.  The handholds, order of arching and quantity of arching movements vary.  Example:   First side couple high gate with the second top lady, partner under, visiting lady under, then partner under.

HOME   —  This is the starting position (place) a couple takes to begin each set.  During a set, dancers change positions many times; they most often end each Figure of the set in their HOME places.  During certain social figures with partner changes, the dance directions may specify the gent or the lady dance to his/her original home or dance the partner-change until all partners are at original HOMES.

HOUSE EACH OTHER  —  Dance the same as HOUSE INSIDE with two couples (often opposites) dancing around each other.  Example:  Top couples keep crossed hands and house each other.

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HOUSE INSIDE  (SHOW THE LADY )  —  In waltz hold, a couple dances eight bars anticlockwise inside the set, turning clockwise four times.   This is the same as a FULL HOUSE except dance inside the set instead of around the perimeter.  Example:  Second side couple house inside.

HOUSE TO OPPOSITE  [or HOUSE TO HOME]  —  Usually in waltz hold, partners dance anticlockwise half-way around the set, usually using four bars, turning clockwise twice.  Two or four couples may dance the pattern simultaneously.  For some sets, use either six or eight bars of music to dance half-way around the set.  Example:   All couples take waltz hold and slide in and out once then house to opposite.

LADIES CHAIN  —  Ladies dance across the set touching (grasping) right hands in the center, take left-hand-in-left and dance around the opposite gent and usually dance back to her partner in eight bars.  Handholds and turns with the opposite gent vary.  In some sets ladies also chain on the way to HOME.   Ladies may also cross the set and chain with the opposite gent without chaining in the center.  The ladies sometimes also chain around themselves and return HOME without dancing with the opposite gent.    Example:  All ladies chain, tops begin and sides begin two bars later.

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LEAD AROUND  —  Couples dance around the set, usually anticlockwise and usually in eight bars.  Handholds and step patterns vary.  Example:   All couples take crossed hands in front and lead around anticlockwise (illustrated below).

LINE, LINE UP  —  A line is at least three dancers organized shoulder-to-shoulder (side-by-side).  When dancers organize front-to-back, the formation is a FILE but it is sometimes erroneously called a LINE.

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LITTLE CHRISTMAS  (BUNDLE OF FUN, SWING-IN-4, SWING-IN-3)   —  Dancers form a circle, link arms across the backs/waists, place right foot in and swing clockwise for eight or sixteen bars, pushing/paddling with the left foot.  Sometimes also swing anticlockwise with reversed foot positions.  All eight dancers swing in BIG CHRISTMAS.

MEN CHAIN  —  Gents face one another and take right hands then chain on to another gent or lady.  Handholds and turns vary.   See:   FERMANAGH SET.  The MEN CHAIN is in far fewer sets than is the LADIES  CHAIN. 

MUSIC   —  There cannot be fine set dancing without dance music.  Sets are danced to traditional Irish rhythms – flings, hornpipes, reels, polkas, quadrilles, jigs, slides and waltzes.  Quite often a single set will contain multiple rhythms (with correspondingly different foot patterns).  Usually each figure of a set will have a single rhythm and tempo throughout.

Music may be provided by one or many musicians; a group of four or five may be the average size for ceili bands.  The dance music is almost exclusively instrumental (non-vocal) for set dancing.   (Occasionally a singer will provide a song for couples as they waltz at a ceili.)  Set dance musicians play the accordion (button and piano type), fiddle, bodhran and other drums, flute (wooden and metal), piano, banjo, guitar, bouzouki, uilleann pipes, tin whistle and other instruments.

ON THE SPOT   —  Dance in a position of the set without turning.  Example:  All couples take sweetheart hold and dance to the next position on the right then dance two bars on the spot; repeat to home.

OPEN WALTZ HOLD  —  A couples stands side-by-side with the lady's left hand on the gent’s right shoulder and the gent’s right hand/arm on the lady's back/waist with the outside hands of both hanging free at the side.

 L. Edward Taylor

OPPOSITE (HALFWAY)  —  This is the place 180 degrees from another place (position) in the set.  Example:   Top ladies cross and dance at home with the opposite gent.

PARTNER   --  The person one dances with is a partner.  Partners may change during a set.  Example:  Face your partner and dance back to back, beginning right shoulder to right.

PASS THROUGH  —  Couples, usually opposites, change positions by passing-through one another.  The in-center orientation (ladies in the center, couple X in the center first, etc.) and turns to-place after passing-through vary.

PINWHEEL  (STAR)  —  Dancers join one hand near shoulder height to form the hub of a wheel and dance around, in four or eight bars.  Sometimes dance four bars clockwise then four anticlockwise.  Beginning hands alternate for some sets.  Example:  Top couples face (turn) left, side couples face right:   pinwheel clockwise for eight bars.

POSITION (PLACE)  —  This is the space occupied by a set dancer in a set.

PROGRESSIVE  —  This is a TWO-HAND DANCING TERM, not a SET DANCING TERM.  With progressive, a particular pattern is danced within a group of dancers then the group divides and dances forward or backward in the line-of-dance to form another group where the pattern is repeated.   (When a Two-Hand is not progressive, a pattern is danced repeatedly by the same group until the music stops or the dancers quit.)  The term is included here as sometimes Two-Hand and Set Dances are danced at the same ceili.

QUARTERHOUSE  (BODY, POLKA BODY, HOP QUARTERHOUSE, IN-OUT AND AROUND)  —  All couples dance one bar into the set and one bar out of the set (or in-place for two bars) then dance clockwise to the next right position in two bars of music.  Repeat three times.  The foot-pattern and/or direction for the first two of each four-bars differs for the Borlin, Mealagh Valley Jig, Kenmare and other sets:  the lady may be reversed for the first two bars each time; all couples may jump then kick on the first two bars.

A similar pattern, danced in either twenty-four or thirty-two bars, is often called a LONG BODY.

SET, SETS —  This refers to 1) the groups of eight dancers gathered together to enjoy  2) the dance patterns of specific dances.  See HALF SET.

SEVENS   —  This is a dance step wherein dancers move in a specific direction (across the set, to the side, in and out, etc.) lightly stamping seven times with alternating feet.   Each seven is danced to one bar of music.  Dependent upon the set being danced, the weight may be on the trailing or leading foot.  Example:  Side couples dance sevens in and out once then house to home.

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SIDES, SIDE COUPLES  —  This is two couples of the four couples of a set.  Dependent upon the set, the FIRST SIDE COUPLE may be on the left (predominantly) or on the right of the FIRST TOP COUPLE.   The SECOND SIDE COUPLE is directly across the set from FIRST SIDE COUPLE as the music for the set begins.

   

 Order of couples for an Irish set dance

SLIDE AND CHANGE  —  Often in waltz hold, dancers slide into the set in two bars and out of the set in two bars then HOUSE TO OPPOSITE in four bars.  The entire pattern is often repeated to HOME with no intervening dance pattern.

 SQUARE-THE-HOUSE or DIAMOND and HALF-DIAMOND  —  Usually all couples of a set, dancing specific step patterns, move without turning from their home position diagonally to each next position on the right.  Often a single couple or opposite couples dance a HALF-DIAMOND inside the set to the opposite side, from where the HOUSE TO HOME is often danced.

SWEETHEART HOLD (ACROSS THE SHOULDERS)  —  A couple stands side-by-side, facing the same direction, with the gent holding the lady’s right hand in his right hand at her right shoulder.  They hold left hands in front.  When a gent dances with two ladies in SWEETHEART HOLD, he holds left-in-left hand at the second lady’s left shoulder (and thus cannot hold hands in front with either lady).

 L. Edward Taylor

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SWING   —  Partners take waltz, céilí (illustrated below) or elbow hold (OLD CEILI), place right feet parallel with the outside of each foot nearly touching.  Using the ball of the right foot as a pivot-point, paddle-step around one another clockwise with the left feet for two, four, six or usually eight bars of music.  Example:   All couples swing for six bars then dance-out for two bars.

 L. Edward Taylor

TEMPO   —  This is the speed of the music.  The tempo varies with the rhythm of the music (hornpipe to jig, etc.) and the playing style of the musicians.  Tempos of today may be different than those of decades ago; for example, some historians-of-dancing have reported earlier tempos were universally slower than those of today.

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TOPS, TOP COUPLES  —  This is two couples of the four couples of a set.  The FIRST TOP COUPLE starts each dance with the music at its back.   The SECOND TOP COUPLE is directly across the set from FIRST TOP COUPLE as the music for the set begins.

TURN   —  With specific step patterns and handholds:  1)  A couple(s) rotates around one another, often only once.  2)   Gents may also TURN a lady to-place at the end of a dance pattern.  3)   See UNDER-THE-FINGER.

UNDER-THE-FINGER   —  The gent forms an arch with the lady as she TURNS underneath that arch.  Couples may dance in-place, dance across the set or around part or all the perimeter of the set during the pattern.  Usually dance four or eight bars.  Handhold may be right-in-right or left-in-left.

WALTZ HOLD (STANDARD HOLD)  —  A couple faces one another with feet offset to the left (never toe-to-toe).  The gent places his right hand flat on or near the lady’s left shoulder blade and the lady places her left hand on the gent’s right shoulder (or upper arm if there is a height disparity with the couple).  They take their high hands at shoulder height, hers resting in his.

WHEELBARROW   (PLOW, PUSH-PULL, T-FIGURE)  —  Dancers dance a pattern with two ladies and one gent facing a gent, holding hands in a specific pattern.  Often, ADVANCE AND RETIRE then ladies dance with the other man.  Multiple variations are danced.

04-22-2008 Edition                      CONTACT:   larryetaylor@hotmail.com

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